I don't recall if I've mentioned it here before (I probably have), but THE ANDY GRIFFITH SHOW (1960-1968) is my all-time favorite television series. I have many GRIFFITH items in the ol' man cave to reflect. Tin signs. Signed and framed b&w stills. A table tent card for a show at Caesars Palace starring Andy Griffith, Don Knotts, and Jerry Van Dyke. I've taught Sunday School lessons based on episodes of the show. I have Seasons 2-5 on DVD. I still need to get Season 1. There's an ANDY GRIFFITH SHOW TRIVIA GAME on the shelf beneath my television. I have THE INCREDIBLE MR. LIMPET, GHOST AND MR. CHICKEN, RELUCTANT ASTRONAUT, SHAKIEST GUN IN THE WEST, THE LOVE GOD? and A FACE IN THE CROWD on DVD. Heck, I even had a bonafide 1963 Ford Galaxie 500 customized to look like the Mayberry Sheriff's car once. But that's another story. A long one.
And of course I have books.
Lots of books.
Here's what's currently on the Mayberry shelf in my library: BOUND FOR THE PROMISED LAND by Andy Griffith, I'M PROUD TO CALL YOU MY FRIEND: A COLLECTION OF SPECIAL MOMENTS OF FRIENDSHIP FROM THE ANDY GRIFFITH SHOW by Ken Beck and Jim Clark, ACT LIKE SOMEBODY: SPECIAL MOMENTS OF PARENTING FROM THE ANDY GRIFFITH SHOW by Ken Beck and Jim Clark, AUNT BEE'S MEALTIME IN MAYBERRY: RECIPES AND MEMORIES FROM AMERICA'S FRIENDLIEST TOWN by Ken Beck and Jim Clark, BARNEY FIFE'S GUIDE TO LIFE, LOVE AND SELF-DEFENSE by Len and John Oszustowicz, THE ANDY GRIFFITH SHOW by Richard Kelly, THE WAY BACK TO MAYBERRY: LESSONS FROM A SIMPLER TIME by Joey Fann, MAYBERRY 101: BEHIND THE SCENES OF A TV CLASSIC by Neal Brower, BARNEY FIFE AND OTHER CHARACTERS I HAVE KNOWN by Don Knotts, THE ANDY GRIFFITH SHOW BOOK by Ken Beck and Jim Clark, THE DEFINITIVE ANDY GRIFFITH SHOW REFERENCE: EPISODE-BY-EPISODE, WITH CAST AND PRODUCTION BIOGRAPHIES AND A GUIDE TO COLLECTIBLES by Dale Robinson and David Frenandes, MAYBERRY MEMORIES: THE ANDY GRIFFITH SHOW PHOTO ALBUM by Ken Beck and Jim Clark, THE INCREDIBLE MR. DON KNOTTS: AN EYE-POPPING LOOK AT HIS MOVIES by Stephen Cox and Kevin Marhanka, and THE OFFICIAL ANDY GRIFFITH SHOW SCRAPBOOK by Lee Pfeiffer.
That's a lot of information on the show and the two men who made it a classic, Andy Griffith and Don Knotts. I'm proud to add another volume to the Mayberry shelf, ANDY AND DON: THE MAKING OF A FRIENDSHIP AND A CLASSIC AMERICAN TV SHOW by Daniel de Vise. My beloved wife Judy (who loves the show as much as I do), gave me this terrific book this past Christmas. I recently finished reading it and I'm here to tell you, I thoroughly enjoyed it.
It's a dual biography of both Griffith and Knotts, covering their entire lives and careers. The men were truly best friends and while each did outstanding work on their own, they were both at their absolute best when they were working together. They had many things in common off screen. Both came from small towns in the East. Both had unique obstacles to overcome in their childhoods. Knotts suffered from a variety of ailments both real and imagined his entire life while Griffith was prone to sometimes violent outbursts of temper. Both men had extra-marital affairs. Griffith had an off screen fling with co-star Aneta Corseaut (Helen Crump). Both were married three times with both marrying much younger women as their third and final wives. Knotts had a lucrative film career post THE ANDY GRIFFITH SHOW while Griffith could never get traction, starring in a series of failed television series and one-shot movies of the week. But he came into his own with MATLOCK, a series that enabled him to hire many of his old Mayberry co-stars, including Knotts.
Author de Vise has a unique perspective on one of his subjects. His wife's sister is Don Knotts' third wife, making him Knotts' brother-in-law. Unfortunately, de Vise didn't begin this project until both Griffith and Knotts had passed but he does a remarkable job of assembling their stories using previously published material and sources.
What comes across in ANDY AND DON is the deep and abiding love these two men had for each other. And that affection clearly shows in everything they ever did together. Andy Griffith and Don Knotts were only human. They had their faults and foibles like all of us. They weren't perfect.
But they created two characters that embody our better selves. Sheriff Andy Taylor and Deputy Barney Fife are immortals thanks to the love, talent and devotion of these two men. Thanks to Daniel de Vise for telling this story so well.
And thanks to Andy and Don.
I love you guys.
Here's a cool idea for a mid '70s action flick. Take an innocent American man, frame him for murder and toss him into a Mexican prison with no hope of escape. The only way to get him out is via a helicopter landing in the prison yard. Cool, huh? You know what's even cooler? Having Charles Bronson fly the helicopter.
That's the sum-it-up-in-one synopsis of BREAKOUT (1975), a Charles Bronson action movie that I watched again yesterday for the first time in forty years. I remember seeing this one at the old Aquarius Theaters 4 on Pleasant Valley Road in Austin when I was in college. Heck, back in the '70s, if there was a new Chuck Bronson movie playing at any theater in town, I was usually there on opening night. Bronson ranks second (behind Clint Eastwood), as my favorite action film star of the 1970s (although his career started in the '50s and ran into the '80s). Bronson was in his box office prime in the 1970s. Previously, he had distinguished himself in several classic ensemble cast films: THE MAGNIFICENT SEVEN (1960), THE GREAT ESCAPE (1963) and THE DIRTY DOZEN (1967) and he had a star making performance in Sergio Leone's masterpiece ONCE UPON A TIME IN THE WEST(1968).
But the thing about BREAKOUT is that, appearances to the contrary, it's not a typical Bronson action film. The action is minimal, there's an almost comedic air in some scenes and Bronson, though the hero of the piece through and through, isn't some invincible, bad-ass superman. Instead, he's a good ol'boy Texas bush pilot who undertakes the dicey proposition of busting Robert Duvall out of a Mexican prison for one reason alone: money. Oh, and let's not forget that Duvall's wife, the beautiful Jill Ireland (who was Mrs. Charles Bronson at the time) adds a little something to the deal. But, the screenplay by Eliot Asinof and Elliott Baker, constantly subverts our expectations. You keep expecting Bronson and Ireland to get it on while hubby's behind bars, but they never so much as kiss.
BREAKOUT is what you see, what you get. There's no subtext here. It's just straight narrative and it's a pretty thin one at that. For instance, Duvall is framed for murder by his business man grandfather (John Huston) at the beginning of the film but damned if I could ever figure out why it was so important to throw his ass into a Mexican prison. Oh and John Huston? He's in a total of three scenes (none of them with Bronson). It's apparent he shot all of his stuff in one day, tops. I wonder if the producers (Robert Chartoff and Irwin Winkler) couldn't afford him for a longer period of time or if Huston's health or other projects limited his availability.
Bronson attempts to free Duvall several times, all to no avail, before hitting on the helicopter scheme. One botched plan involves his partner, Hawk (a very young and skinny Randy Quaid), in drag. Quaid gets beaten up by jailers for his troubles. Bronson eventually persuades his old girlfriend, Myrna (Sheree North), to help with the helicopter caper. As part of this plan, we're treated to a scene in a Mexican motel room with Bronson and North wherein North strips down to a black lace bra, black lace panties, black garter belt and black stockings. This doesn't exactly advance the plot but it's sure fun to watch the lovely Ms. North disrobe. The trouble with the helicopter rescue is that Bronson, while adept with an airplane, can barely fly a chopper, which adds to the suspense and excitement of the rescue.
The most memorable scene in the film, which I vividly recall from forty years ago, is bad guy Paul (ROBINSON CRUSOE ON MARS (1964)) Mantee getting cut in half by the propellers of a plane during a nighttime fist fight with Bronson on a runway. It's quick and effective and elicited quite a response from the audience back in '75.
Set in Texas and Mexico, BREAKOUT was actually filmed in Spain and France. Lucien Ballard's cinematography is crisp and sharp and the score by Jerry Goldsmith is serviceable. In the opening scene, I swear Goldsmith uses a little clacking castanet riff that he would later recycle as part of the Klingon war bird motif in STAR TREK: THE MOTION PICTURE (1979).
BREAKDOWN is far from a great movie. It's also far from Bronson's best film but I don't care. I like Bronson and I enjoyed spending 96 minutes with him again.
Any new work by Harlan Ellison is cause for joy here in the ol' man cave. Ellison is not only my all-time favorite science fiction writer (a pigeon-holing he detests), but one of my all-time favorite writers, period. I must confess that it was through his science fiction writing that I first discovered his work (and there's a longer piece coming about that experience) so that's how I thought of him at first. He is, of course, much, much more than a mere sf writer.
That said, his latest project, HARLAN ELLISON'S 7 AGAINST CHAOS (DC Comics, 2013) is an original graphic novel (beautifully illustrated by Paul Chadwick) that is pure, mind-bending science fiction. I was aware of this book back when it was first published but it never crossed my path. I knew it was out there but I didn't make an attempt to seek it out. Too many other things to read, doncha know? When I stumbled across a brand new condition copy recently at Half Price Books, I snatched it up immediately.
I sat down and read it today and boy, it's a doozy. To call this a science fiction version of THE MAGNIFICENT SEVEN, is to not do justice to either this magnificent work or the legendary film. Yes, there are seven heroes at work here but their personalities, milieu and mission are vastly different than anything I've ever encountered in film or fiction before.
A mysterious robed man seeks out various individuals during the first part of the story. These include Urr, the renegade robot, Mourna, the seven-foot Amazon with claws for hands, Tantalus, the insect-man, Ayleen, Venusian noblewoman whose fire power threatens to consume her, Hoorn, the cat burglar with no face and Kenrus, the disgraced technologist who's as paranoid as he is brilliant.
Once all of these players have been assembled, the robed man reveals himself to be Roark, a military leader thought to be dead. Roark tells his team of a dire threat to reality itself, a threat that only these seven can hope to overcome. Doing so involves traveling through a black hole back to a primordial earth where they confront Erissa, a lizard king with plans to reset the timeline so that reptiles become the dominant species rather than mammals. But the possibility exists to create two timelines, one for reptiles, one for mammals. I won't spoil the ending except to say that it's a classic "lady or the tiger?" situation.
There's more here, much more but I'll leave it to you to discover the various quotidian pleasures to be enjoyed within these pages. Ellison does a good job with both believable, sympathetic characters and high concepts involving space, time and reality. Chadwick's art is uniformly good throughout and there are some pages in which he appears to be channeling the spirit of the great Jack Kirby.
Ellison name drops "Kersh" at one point, perhaps a reference to the late Gerald Kersh, a writer Ellison in known to hold in high esteem. And there's a nifty little shout out to something called the "Carlson's jangle paradox", a sly reference to George Carlson's golden age comic book series JINGLE JANGLE COMICS, which Ellison has sung the praises of many times.
If you want an original graphic novel by one of the greatest American writers of both the 20th and 21st centuries, if you want terrific artwork and storytelling, if you want a science fiction adventure on a grand scale, do yourself a favor and get a copy of HARLAN ELLISON'S 7 AGAINST CHAOS. Oh, and set aside a pretty good chunk of time to read it. You'll want to savor this one.
The Battle of Stalingrad, in which the German army besieged the vital Russian river port city lasted from August, 1942 to February 1943. It is widely regarded as the single longest and bloodiest battle in the history of not just WWII, but all warfare. The battle took an enormous casualty count. The Germans lost 850,000 (killed, wounded or captured) while the Russians suffered over one million killed, wounded or missing. The fighting was incredibly fierce with most of it taking place within the city of Stalingrad itself. Almost every able bodied young Russian man was pressed into military service along with some Russian women. Russian soldiers, only half of them armed, were commanded to charge German lines under deadly fire. If any Russians retreated, they were shot by their own men. Commanding officers who led these failed charges were shot, either by firing squad or their own hand. It was literally hell on earth. But as costly as the fight was for both sides, the Russians eventually won, a victory which turned the tide of the war in Europe.
That's a pretty large canvas on which to paint a major motion picture. Writer/director Jean-Jacques does a good job of narrowing the focus of the battle down to a mere handful of people in ENEMY AT THE GATES (2001), a very good war film that I watched for the first time the other day. It's always a treat to see a WWII film that focuses on some other aspect of the war rather than Americans or British against the Germans or Japanese. Other films in this category include Sam Peckinpah's CROSS OF IRON (1977) , Wolfgang Petersen's masterpiece DAS BOOT (1981) and Clint Eastwood's LETTERS FROM IWO JIMA (2006).
Vasily Zaytsev (Jude Law), is one of those young Russian men thrown into the maelstrom of Stalingrad. He's an expert marksman and distinguishes himself as a sniper by killing several German officers on his first day in combat. This feat is witnessed by Danilov (Joseph Fiennes), a propaganda officer who recognizes the value in promoting Vasily as a bonafide Russian hero.
Under the command of Nikita Khrushchev (Bob Hoskins), Vasily begins toting up an impressive number of kills, all of which are publicized by Danilov. The German high command wants none of this. They send in Major Erwin Konig (Ed Harris), their own master sniper, to take out Vasily.
Thus begins a tense game of cat and mouse enacted amid the total devastation of Stalingrad. There's a woman (of course), a plucky Russian named Tania Chernova (Rachel Weisz), whom both Danilov and Vasily are in love with. Tania only has eyes for Vasily though as does young Sasha (Gabriel Thomson), a resourceful Russian boy who appears to sell out to the Germans only to be revealed as a double agent.
Annaud begins his film much like Steven Spielberg did SAVING PRIVATE RYAN (1998), by throwing both characters and audience immediately into the swirling chaos of combat. The cinematography by Robert Fraisse paints everything in somber shades of gray. There's very little sunlight in this film, even in scenes set in daytime. The action scenes are well staged and the effects (both practical and CGI) are used to good effect. James Horner's score is good but I swear I heard echoes of his work on STAR TREK II: THE WRATH OF KHAN (1982) in the short trumpet trill heard throughout the movie.
Of course all of the actors speak English rather than Russian or German. Some of them even speak English with a British accent. That's a minor quibble but I always like it when other languages are spoken in WWII films and subtitles are utilized. ENEMY AT THE GATES is a sobering look at the price of heroism during a time when an entire city had no choice but to stand up and fight or be totally destroyed. Highly recommended.
I finished reading THE CURRENTS OF SPACE (1952) by Isaac Asimov the other day. As the cover blurb from the New York Times says it's "a merry tangle of interplanetary politics." Couldn't have said it better myself.
Asimov's tale is part spy novel, part mystery. Rik, a Spatio-Analyst, discovers something dire that spells doom for the planet Florinia. But before he can reveal his findings, he's captured and psycho-probed, erasing his memory. Cut to one year later. Rik, now a worker in the kyrt mill begins to slowly recover his memory. The more he remembers, the more of a threat he is to the powers that be. Thus begins an extended chase as Rik, his woman friend Lona and Townman Terens go on the run to remain one step ahead of the authorities while Rik's memories keep returning.
About that kyrt mill. Kyrt is a substance grown only on Florinia. It is used, like cotton, for clothing, but it has a variety of other uses. Since it's only grown on one planet, it has enormous value to the galaxy at large (ala spice in Frank Herbert's DUNE) and especially to the planet Sark which rules Florinia. The Squires of Sark want to maintain control over the planet and the kyrt trade but the galactic Trantor empire is aware of what's going on between the planets and becomes involved in diplomatic negotiations.
Everything comes to a somewhat rushed and abrupt end. We find out Rik's secret and the identity of the person who psycho-probed him but it's not an entirely satisfying ending as some characters are simply abandoned from the narrative and things are wrapped up rather too neatly.
CURRENTS OF SPACE is the third Asimov novel I've read in the last couple of years along with THE END OF ETERNITY and THE NAKED SUN. I found all three books readable and enjoyable but I must be honest here and risk blasphemy, I don't think Asimov was that great a writer. He was far from incompetent and he does spin a good yarn but I have yet to come away from one of his books thinking "Wow! That was great!". Of course, CURRENTS was written more than 60 years ago, fairly early in Asimov's writing career. I know he's widely considered one of the greatest science fiction authors of all time but in my opinion he's good but not great. Still, CURRENTS OF SPACE is well worth reading if you're a science fiction fan. Hell, if you're reading this and you're a science fiction fan, you've probably already read it.
AN AMERICAN HAUNTING (2005) is an entirely forgettable low budget horror film that has the look and feel of an extended episode of one of the countless "true" paranormal encounter shows that are a staple on many cable television channels. Allegedly based on the "true" story of the Bell Witch case in 1800s Kentucky, HAUNTING finds Donald Sutherland and Sissy Spacek going through the motions, wondering what the hell they're doing in this turd and cursing their respective agents for not getting them better jobs.
They've both done infinitely better genre work in their careers. Spacek did a terrific star turn in Brian DePalma's CARRIE (1976) while Sutherland was solid in both DON'T LOOK NOW (1973) and INVASION OF THE BODY SNATCHERS (1978). Neither will want to put this turkey on their resume.
The film features a totally unnecessary framing sequence that takes place in the present day. The action then moves to the past where the family of John Bell (Sutherland) is put under a curse by a woman whose land the Sutherland's have "legally" stolen. The curse seems to center upon young Betsy (Rachel Hurd-Wood) as she seems to be only person in the Bell household who is experiencing the increasingly violent series of unexplained phenomenon. Is there really a ghost or is Betsy merely manifesting some deep psychological issues into physical form?
The cinematography by Adrian Biddle is murky and director Courtney Solomon uses a variety of special effects (practical and CGI) to depict the paranormal. But the script (also by Solomon) is utterly routine and by the numbers. There are no scares to be found here, just a dark, gloomy "true" ghost story that is a total waste of time.
Robert De Niro is one of my all time favorite actors. He's made some truly great American films: TAXI DRIVER, RAGING BULL, GOODFELLAS (among others with director Martin Scorsese), THE DEER HUNTER, ONCE UPON A TIME IN AMERICA and THE GODFATHER PART II to name a few. At some point in his career, De Niro turned to comedy with some terrific results. I'm looking at you MIDNIGHT RUN and ANALYZE THIS. But De Niro's presence alone isn't enough to elevate MEET THE PARENTS (2000) to the level of greatness.
It's not a bad little film at all. In fact, I got a few good laughs out of it when Judy and I recently watched it as part of our Friday Night Thrift Store Theater. We had seen it years ago, back when were dating and I thought it would be fun to revisit the film. Ben Stiller stars as a hapless young man named Gaylord Focker (and boy, does that set-up generate a lot of jokes) engaged to Pam (Teri Polo). They go home to meet her parents, Jack (De Niro) and Dina (Blythe Danner) for a long weekend in which everything that can go wrong does. Jack is a retired CIA counterintelligence officer and he treats Focker like he's an enemy agent subjecting him to constant surveillance and a lie detector test.
This is the kind of movie where you not only see the gags coming, you see them visibly slow down and signal for a turn. It's not bad overall but there are only a couple of really funny scenes. The rest is just constant humiliation for poor Focker.
The film, made on a budget of $55 million, went on to earn over $160 million in North America. That kind of money insured that two sequels followed, MEET THE FOCKERS (2004) and LITTLE FOCKERS (2010). I haven't seen either one and really have no desire to do so.
Here's an interesting bit of trivia. MEET THE PARENTS was originally made in 1992. Greg Glienna (who?) directed and starred in this version. The property was acquired by Universal for a big budget remake and at one time, Oscar winner Steven Spielberg was set to direct with Jim Carrey in the lead. That would have been an interesting movie. Instead, we get director Jay Roach and a screenplay by Jim Herzfel and John Hamburg based on the original material.
MEET THE PARENTS is worth seeing at least once. I enjoy watching De Niro play comedy. It isn't his best but you could do worse.