October Watch: Dracula (1931)

With the arrival of the Universal Horror Blu-Ray set, I wanted to get Dracula (1931) in before Halloween.

I first saw Dracula back in high school when it was going through a bit of a renaissance, probably because of those @#$%ing Anne Rice books that I kind of blame for leading to Twilight.

As a kid my concept of Dracula the character was fairly benign and drawn from things like The Groovy Ghoulies and the 70's-monster-plosion.*  But Dracula never seemed to be available on VHS, and I sure as hell wasn't going to read a whole book, but thanks to the monster-magazines and books I always seemed to have growing up, I already knew the story, including the character names and basic plot elements.

I was surprised how spooky I did find the film the first time I saw it.  I've always been of the Ed Wood school of willing-suspension-of-disbelief, even in movies which have long traded on literalism for the most part.  If I see a giant fake bat on a string, I guess I just buy that that's supposed to not just be a bat, but Dracula travelling incognito.  If there are armadillos in Castle Dracula, then, by gum, Transylvania must be overrun with cousins of my fellow Texans.  I dunno.  As long as I'm enjoying the film, I've always been willing to forgive a lot.**

October Watch! Creature from the Black Lagoon (1954)

If you've never seen Creature from the Black Lagoon (1954), it's an absolute blast of a movie and pretty much sets the tone for every succeeding creature feature to follow - but it also leans a bit on the set-up of movies like King Kong.  Intrepid explorers/ scientists have some vital but benign evidence, return to the spot  far from civilization where it was found, and modern man can't deal with the havoc that ensues when an unexpected monster appears (and makes off with the stunningly attractive woman along for the ride).

Creature is fun partially because of the raw science-adventure tone that movies like Prometheus try to capture, of lantern jawed scientists throwing themselves into the path of danger in the name of discovery - along with a scrubby but affable crew along for the adventure who know their protocols are there for a reason.  As well as knowing natives may be superstitious, but they're also not crazy, so sometimes you just avoid their "Black Lagoons" if they suggest that's not a good place to bring your boat.  But: SCIENCE.

Signal Reads: Solaris (1961)

There is nothing like a beloved Polish sci-fi novel written in 1961 to make you feel like a complete idiot.

That was a better book than I was a listener.

I once saw the Russian film of Solaris circa 1994, but I'll be honest.  I'd had a lot to drink, and I don't remember anything about it at all, but when people would ask, I'd say:  Yeah, I've seen Solaris.  It wasn't exactly a lie, but it wasn't exactly true that I remembered seeing Solaris.  It's like saying you've been to San Diego, but you've only been to the airport.

So, on Jason's fiance's dad's suggestion, (I could have actually sat down and read the book, but that isn't going to happen, so) I purchased and listened to the audiobook of Solaris by Stanislaw Lem.  It's no lie that Greg is a much smarter man than myself (and you, too.  Seriously, meet Greg some time), and while I am sure Greg got more out of it than me, the book didn't disappoint.

It was also the rare book that I finished with the absolute certainty that I was going to read it again, because while I had grasped much of the book, I also knew that, thanks to the linear format of the audiobook, what I would have done to re-read certain parts, to flip back and forth in the book to piece it together when new information presented itself - I was just caught up in the flow of the story being told as it unspooled on my iPod.

October Watch: Frankenweenie (2012)

I had actually planned to go see Hotel Transylvania this weekend, but then I looked at Rottentomatoes and had second thoughts.  That movie had scored a 43%, but I noticed Frankenweenie was cruising at around 86%.

The trick is that I like Halloween movies, and Jamie will not watch anything scary.  I've had The Thing on BluRay forever, and one day she'll watch it, but that day has not yet come.  But we can do movies where all the monsters are silly, etc...  My biggest issue is that I haven't really cared much for Tim Burton's work since the golden age of Ed Wood and Mars Attacks.*  I know he has his devoted following, and good for you.  I am not to be counted among your number.

Anyone who's marginally aware of Burton's history knew he was working at Disney when he made Vincent and the original short of Frankenweenie, which, in the post-Batman brouhaha, used to be available on VHS for rent, but for some reason I never did.

Signal Watch Watches: Test Pilot (1938)

This was a pretty great movie.

Clark Gable, Spencer Tracy and Myrna Loy star in Test Pilot (1938), a movie that sets the tone for a lot of future films, right up to and including one of my favorite movies of all time, The Right Stuff.*  Gable plays the titular test pilot, Jim Lane, in the post-barn-storming days as aviation was really hitting its stride and the technology and engineering in airplanes was revving up for the incredible feats of technology that came with WWII.  Tracy plays his side-kick/ mechanic/ nanny who is all too keenly aware of the endgame that comes with taking a job that's all about going out and cheating death.

Clark Gable will haunt your dreams...

Animated Watch: Dark Knight Returns (Part 1)

When I was in 6th grade, I walked into Austin Books and Comics and had some birthday or Christmas money to spend.  I don't remember much about my early days of comics collecting, or chronological order of events, but I most certainly remember standing in ABC, flipping through the pages of a collection of Dark Knight Returns and not buying it.  I've always regretted the decision.

Because it was a whole 3-6 months later that I bought a trade paperback of the comic that changed everything for me.  And I could have read that comic much, much earlier.

Today that copy of Dark Knight Returns is in a sealed bag with a board.  It's worn from wear from the literally dozens of times its been read cover to cover, not counting the hundreds of times it was simply picked up and leafed through, nor the times it was handed off to friends (even as they were told: do not lose this, do not tear the pages, do not read it while eating, do not in any way harm this book) and, when I was making some early decisions about Jamie, she took it with her as assigned reading.

Flat out, I have most of the book memorized.  Like some people spent their middle-school years memorizing baseball stats or all the words to their favorite sci-fi movie, I (and a lot of you, I'd guess) were memorizing every caption and thought bubble in Miller's comic attributed to Batman.  I was a Batman nut.

Signal Watch Watches: Looper (2012)

Like all non-comedies about time travel, this movie becomes primarily about the mechanics of the plot devices and which corner our characters will get painted into to make the plot make any sense.

Like all time travel movies, this one basically falls apart if you think too hard about the mechanics of what they're saying and doing - and once the movie concludes and you have time to think on it - no, it won't make sense, but that doesn't mean I didn't like the movie.  Also, no, I haven't seen Primer (I expect the comment section to get filled with Nag Troll Comments), but I basically expect for time travel movies to not really work as well as one might hope.  In fact, the last one I thought did work pretty well was 12 Monkeys, which also sent Bruce Willis cartwheeling through time and space.

So what did I like?

October Watch: Lake Mungo (2008)

Remember when I said "hey, give me some ideas for spooky movies to watch during October?"  Well, some of you humans did so.

One of those humans was Nathaniel Capp, who recommended the 2008 documentary Lake Mungo to me.  I knew it was Australian and creepy, and that's all he'd told me.  "Go in without knowing anything" he said, and so I did.  To discuss the movie is to spoil the movie, so...  anything you read below is your problem.

But I will say, it is definitely some decent October Halloween viewing.

Okay.  SPOILERS NOW.

Sci-Fi Watch: The Time Machine (1960)

Credit to Jason, he alerted me to the showing of the The Time Machine (1960) as part of The Alamo's Kids Club series of movies.  It's safe to say I have never sat down and watched this movie end-to-end.  What I did not know was that I had seen probably 90% of this movie in bits and pieces over the years.

Seen as a whole, it's an absolutely fantastic bit of cinema, and earns its place among the pantheon of pre-Star Wars classics, with one foot in the 19th Century HG Wells-penned source material and another in the atomic-age sci-fi boom, but landing squarely with a relentlessly tough view of humanity in something that looks like a family adventure film.  I'd also argue that, as a huge Planet of the Apes fan, I can definitely see parallels in what Serling was doing with his adaptation of the French novel of Planet of the Apes in order to tell his own Time Machine-line story.

Signal Reads: The Spy Who Came in from the Cold

I was born into the Cold War, and I often wonder if The Kids whose sense of awareness crested after 1992 really understand what it was like.  As far back as 2001, I was taking a martial arts class where the "adult" class meant high school and up.  After class we were putting on our shoes and chatting and somehow I managed to ask one of the kids if they even knew what The Cold War was.  Long story short, he knew it had something to do with Russia, but he didn't know why we may have been in conflict with The Russkies.

It's now been more than 20 years since I sat in class and watched video of Germans dancing on the wall, and I still don't really understand how one day we had An Evil Empire with whom we were locked in the world's worst staring contest, and the next, we had Eastern-block countries cut loose from Mother Russia and spiraling into fresh, new problems (see: Sarajevo) and Russia deciding that a government based on something that looks an awful lot like gangsterism should take the place of the death-mask Stalinist taskmasters.*

Signal Watch Watches: Last of the Mohicans (1992)

If you've seen this movie, what you'll primarily remember is Daniel Day-Lewis running around the woods outside of Asheville, North Carolina with a musket in one hand and a hatchet in the other.  That's because this is the movie about the toughest long distance runner to ever cross the screen.

I've tried to read the book of Last of the Mohicans at least twice and wasn't able to get past the period prose, so maybe it's time to try again.  The movie is a pretty interesting look into a corner of the seemingly interminable French Indian War that preceded the Revolutionary War by more than a decade, and lays the groundwork for why colonists would have bucked a bit at the yolk of their British lords.

he's running at you before you even start the movie

Signal Watch Watches: A Very Harold & Kumar 3D Christmas

I watch a lot of stuff I don't really care about when I'm on the elliptical at home, and this is a pretty good example.  It's not Christmas, I didn't even watch it in HD, let alone 3D, but after having intentionally watched the first two Harold & Kumar movies, I made a conscious decision to watch this one, too.  It's on HBO right now.

A Very Harold & Kumar 3D Christmas would probably have benefited from both 3D and an intoxicant, and I don't think the makers of the movie really thought you'd be sitting through this one sober as a judge.  Released last year well in advance of Christmas, I didn't see it in the theater because, honestly, it's really hard for me to make it out to the movies during what Hollywood considers to be a huge movie going season.

Noir Watch: FBI Girl (1951)

I'm going to spoil the ending, but there are two great things in this movie.

• Lots of Audrey Totter
• Raymond Burr in a moving speedboat shooting at Cesar Romero who is shooting back from a helicopter.  Heck.  Yes.

Oddly, the movie doesn't really live up to either (a) containing Audrey Totter nor (b) the exciting Burr/Romero sequence I've described.

In the post WWII-era FBI director J. Edgar Hoover did a fine job of getting Hollywood in line and making sure movies about the FBI almost invariably celebrated the DOJ as a machine so powerful that even when infiltrated or somehow compromised, the power of righteousness would prevail.  And, if you were a red-blooded movie exec looking to stay away from HUAC, you could do worse than promoting J. Edgar's little club.

nothing like what you see of Audrey Totter here ever happens in the movie

FBI Girl (1951) spends no small amount of energy establishing the flawless nature of the FBI's fingerprint department - something criminals and lawmen alike in mid-century crime fiction seemed to worry about.  I've never understood how the whole fingerprint mechanism worked before computers, and this movie does nothing to shed light on why it was even an issue for criminals (I mean, with a million prints on record, and requests coming in all the time, how do you even know where to start with a comparison?).

Signal Watch Reads: The Underwater Welder

Jeff Lemire is currently doing a tremendous amount of work at DC Comics, and not just his series Sweettooth.  Prior to the New 52 he took on Superboy, and was doing a great job - certainly telling less headache-inducing stories than what we saw starting last September.

But many of us came to know him from his work on the Essex County trilogy, meditative, ethereal stories of past colliding with the present.  His latest book, The Underwater Welder feels a bit like a fourth installment in the Essex books, but in a new location (the hard cut coast of Nova Scotia), with water and diving a significant and ongoing theme rather than the wide open prairie/ near tundra of Essex County.

Jack Joseph is 33 years old and has made his living as a welder on the oil rigs that can be seen from the shore of his hometown.  His wife is very, very pregnant as he heads out for one last stretch of work before the baby is born - all in the week around Halloween, a day that resonates with Jack back through the years.

Lemire recognizes that past informs the present, and unlike the previous books in the Essex trilogy, the anxiety of the coming of fatherhood informs the future.  Despite the 224 pages of book, the comic feels much more like a particularly dense short story, in part because of Lemire's elaborate sense of pacing through visuals.  While far from an illustrative approach, Lemire's work stays on model in its' scratchy/ sketchy style, but paced brilliantly over the page count as each panel holds significance to the forward motion of the story - panels breaking up time, changing from one object to another, or otherwise manipulating the reader's point of view.

I hesitate to give up too much about the book, but it feels like Lemire is moving onward and upward with his work, instead of continuing to repeat himself - especially in the denouement of the book.  Rightly so, TV writer Damon Lindelhoff intros the book as an episode of The Twilight Zone, which featured tight vignettes that took characters through a strange or supernatural occurrence that provided some greater relevance in their life or gave the audience a moment to think a bit about what it meant for the character (I am still haunted by the idea of the man who wanted time to read, and in the wake of nuclear holocaust had all the time in the world.  Until he broke his glasses.  I probably think about that at least once a week.).

The story reads like fable or myth, and that's to its strength.

I did wonder how rushed Lemire felt to finish the book with his other assignments in queue.  The ending, while entirely satisfactory, lacked the pacing of the preceding set ups.  But perhaps I read the book too quickly.

Anyway, recommended.

And now I have to finally read The Nobody.

Noir Watch: Women's Prison (1955)

I think we're all friends here, and so it's in that spirit that I confess to a great love of the film Reform School Girls (1986).  It's high 80's cheese, completely self-aware, and has one of the most satisfying conclusions in cinema history.  If you haven't seen it, you likely believe it's some sort of pay cable late night hoo-hah, but it's a pretty straight up prison movie played for camp and some (intentionally) cheap thrills.

Man, someone was trying to sell a much racier movie than the one delivered.

Neither prison movies nor women's prison movies are something I seek out, and I was surprised that Eddie Muller had included a whole section on prison flicks in his book, Dark City.  I'm not going to argue with Muller over how or why prison films are considered part of the genre, so there you are.  And as this film was included in a set of "Bad Girls of Film Noir", I'm just going to deal.

Signal Watch Watches: Lady In The Lake (1947)

Released about 3 months after 1947's Dark Passage*, this movie also employs the first-person-perspective camera-work that somebody must have been wanting to play with at the time.  Where Dark Passage abandons the conceit fairly early in the movie, Lady in the Lake (1947) uses the trick more or less for the duration of the film except during a few, brief framing sequences during which Robert Montgomery, as Philip Marlowe, addresses the audience before merging with them in a spot of cinematic magic during which the audience is given a sort of thrill-ride like experience of seeing the film from Marlowe's perspective.

It's an oddball stunt, one easier to pull that the matinee jazz of 3D pictures or smell-o-vision, but Montgomery's direction definitely gives the effort a sort of "check this out!" quality, drawing attention to itself with awkward use of mirror shots that don't accomplish much but remind the audience that we're all watching a movie here - and, boy, isn't THAT cool...?

We read more Parker: "The Seventh" and the graphic novel of "The Score"

The Seventh

The Seventh is, probably not-coincidentally, the seventh book in the Richard Stark (pen name of Donald Westlake) series of books about Parker, the tough guy master criminal who first appeared in The Hunter.

In this volume, following a particularly well-planned and executed heist that should have landed him a nice chunk of change (something sorely needed after the disastrous conclusion of The Jugger), Parker is hiding out and playing it cool when he comes back from a quick trip out for cigarettes and beer to find the girl he's been shacking up with stone cold dead in an apartment that's still locked and shows no signs of forced entry. And, of course, not just Parker's take (his seventh) is gone, but the whole take from the heist.

Stark never explains Parker, never spends time on much other than notes about characterization, and there's never a why.  All we see is Parker on the job, and it's not some writerly oversight.  Nobody gets insight into what makes Parker tic - be it his partners, the people he goes up against, or the reader.  We know he doesn't like small talk not just because the limited omniscience narrator tells us, but because Parker tells people rattling on at him to shut up, and he seems to appreciate the slain girl not just for her bedroom acrobatics, but for her agreement that they can sit in silence for hours if they've nothing to say.  But we never see a young Parker becoming Parker (at least by this seventh book).  Heck, we never even know his first name.

This book follows what happens not when a heist goes wrong, or a run in with the Outfit, but the unexpected occurring, and throwing Parker off his game.  We always get to see little pieces of Parker, and this book gives us an opportunity to see Parker wrestling a bit with making the smart move versus doing what he wants to do from a gut level once he's been shown up.

Signal Watch Reads: Batman - Earth One

Let me get this out of the way:  I've always enjoyed the artwork of Gary Frank that's come through my buy pile, and here I felt like he somehow trumped his previous efforts and delivered the Gary Frankiest artwork that ever Gary Franked.  That's a compliment, y'all.  Beautiful illustrative linework, an ability to capture expressions that's somewhere approaching Maguire, a great sense of panel layout and page management...  In my book, this is just gorgeous work, including the inking and colorist work.  This level of quality is the sort of thing that can give a casual buyer at the book store a chance to seriously consider buying a comic even if that's not their usual thing.

I appreciate that DC seems to have tried very hard to up their game in the art department.  When you're putting a package together like this for a book store audience, and you need yet another take on the Batman origin story to sell inside comic shops, you might as well go crazy putting out terrific looking superhero art.

Unfortunately, the book isn't just about the art, and at some point you have to also tell a story.

Signal Re-Watch: Dark Knight Rises (2012)

Author's Note:  Spoiler's ahoy.  Proceed at your own risk.

So, today I teamed up with Jason, AmyD, The Admiral and Jamie and re-watched what appears to be the final installment in the Nolan-helmed Batman trilogy.

The first look at the movie was posted last week after I'd seen the movie with a different crew.

As has been the pattern with Nolan's movies since Memento (and what I tend to think is true of movies I don't just enjoy, but enjoy re-watching), once you know how it ends, it's a pleasure to re-watch the film and see how the moving pieces work together, and not just from a plotting perspective, as in a particular good espionage movie or thriller.  I've harped a lot on how Nolan has more or less used the Bat-movies as a chance to explore ideas of fear, justice, security & liberty - and it was worthwhile to take in a second viewing and watch the movie in a frame of mind more conducive to regarding what Nolan was doing and trying to say, and not just hanging on as a summer thriller unspooled and I did my best to keep up.

Of course, I don't have a score sheet that enables me to check Nolan's ideas off, and what you read here is based on nothing, really, but my own reading of the movies as a whole, so you'll have to bear with me.

Signal Watch Watches: Gentlemen Prefer Blondes (1953)

Good God, y'all.

Gentlemen Prefer Blondes (1953) is basically one long exercise in "Jane Russell or Marilyn Monroe?", and no one can answer that question honestly without risking a trip into madness.

Just when the answer seems "well, clearly Monroe" (she is, after all, Monroe), you kind of have to take a moment to pause and reconsider.  Because, well, Jane Russell.  Just when Monroe seals it up with "Diamonds are a Girl's Best Friend"...  Russell does her own version.

I suspect the pitch meeting went like this:

Producer:  It's two singing and dancing girls!  Leggy!  One is a gold-digger, the other doesn't care about money!  They get on a boat!  There's singing!  There's dancing! There's showgirl outfits! It ends with a wedding!
Studio Head:  Meh.
Producer:   We cast Monroe and Jane Russell!
Studio Head:  Can we see either of them soaking wet?
Producer:  We're throwing Russell in a pool RIGHT NOW!
Studio Head:  You've got yourself a picture!

Sure, it's a throwback.  But it's a movie that knows exactly what it's got on it's hands and doesn't make any bones about it - made in an era where women could be portrayed as knowing what they had without having to pretend to be unaware or be cast as the villain, and do it all with a wink.  It's a movie about a diamond-digging Monroe and her pal for whom money doesn't mean much on a cross-the-pond trip to France surrounded by men.  Hi-jinx ensue and a number of pretty good musical numbers.

The movie never equates beautiful with brainless.  Perhaps Monroe's Lorelei is a bit clueless or off in dreamland, but she has a certain brand of whimsical genius that's the ying to yang of the streetwise, smart girl who sees all the angles, played by Russell.  Both are great and really, really funny.  As is a lot of the supporting cast.

I hadn't seen the movie since high school, which means I hadn't seen it since I taped it off AMC back when the network was American Movie Classics.  Seeing the movie in HD on a TV screen that begins to do it justice really does show what color film was doing during the era and what Hollywood was bringing to the big screen with design and smart use of palette.  Of course the film is the work of the great Howard Hawks showing an eye for comedy and getting the hell out of the way when it comes to the musical numbers.

It's a fluffy, fun comedy and a classic for a reason.  Maybe not as quirky as you might hope for, but the dialog is refined to a razor's edge.  Good stuff.

And, of course, our leads.

Do I know why gentlemen supposedly prefer blondes?  No sir, I do not.  The movie never actually explains the title.