by Daniel Mallock

Let the Right One In is the finest vampire film. After viewing it, you may have a different opinion, and if you do I’d like to hear it. I don’t think that you will.

This Swedish film from last year is suspenseful, artistic, edgy, and beautifully made. All the boundaries of the genre are now broken and all the stupid cliches so common in vampire films, shattered by this film.

The film is directed with subtlety. The actors downplay all their roles, playing everything straight as daggers. The vampire in this film is a lovely, distraught, lonely 12-year old girl. She meets her neighbor, a 12-year old boy out in the playground in the courtyard of their apartment complex in the middle of the night. Snow is everywhere. It’s clearly freezing, but it’s beautiful, too. The boy has a rubick’s cube, his new friend doesn’t know what it is. She seems outside of existence, not involved in daily life, the commonalities of existence – things that most 12-year olds should know. She clearly does not belong, anywhere.

The  boy a quiet, thin, lonely, bright blond fellow named Oscar says, “Here, I’ll show you how to do this.” He gives her a rudimentary lesson on the rubick’s cube, and he gives it to her. The next day he goes into the courtyard to look for his new mysterious dark friend and there is the rubick’s cube, entirely solved.

He says, “I can’t understand how you could do this.”
She replies, “I just did it.”

What follows is a very deeply felt building friendship between the two 12-year olds. The little girl, Ellie, is clearly not well. She is pale and wan, and cannot keep down any food. There are murders (not graphic), and bizarre events in the town involving attacks on people who are savagely bitten at the neck. The violence is not excessive and is understated. One scene where a woman who was bitten by Ellie arrives at a friend’s house is amazing. The friend has 20 cats in his apartment. All of them attack the woman in one of the more bizarre scenes in recent film.

The growing friendship and love between the two young people are at the center of this film, which makes it something special. This is a beautifully shot movie, it’s a treat for the eyes. The dialogue is clipped, minimalist, almost like a Mammet play but much more realistic. There is a confusion of morality in this movie which adds to its complexity.

Ellie is a killer, but she is also very sick. The viewer starts to see her as a tragic hero, and the two of them in a tragic friendship. We keep saying, “how can she live?” But the success of the film is in the fact that the reply must be, “She must live! There must be a way that she can overcome this nightmare life.” And perhaps there is, but we will never know it. Ellie is not evil, she is actually quite good.

Oscar slowly begins to realize that there is something very strange and not-quite-right about Ellie. He asks her, “Are you a vampire?” She says yes. Later, he repeats his earlier question, “How old are you?” She says, “12, but I’ve been 12 for a long long time.” Ellie is trapped at 12. There is something deeply attractive about her character and her love of life while she destroys others so that she can survive.

The starkness of the Swedish scenery and the snow covered fields lend a clear, cold realism to her plight.

“Let the Right One In” is not flighty chick flick vampire fare, nor does it owe anything to any previous vampire or horror movie. This film seems to stand on its own outside of the ongoing fascination with vampires in the film world. This is a beautiful movie that happens to be about a gory vampire. The center of this film is a relationship between two very lonely children who find each other when they both so desparately need a friend.

This is a brilliant film. “Let the Right One In” will not affect your feelings, if you have any, on vampire movies. This film is outside the genre just skirting its edges though one of the main characters is a vampire. This is not a vampire movie, it is something special something so unusual that I sat to watch it though I despise the genre entirely.

I cannot say that I loved this movie, but I respect it deeply. I think it very successful on many levels.

While I cannot say I loved the movie, I can say that I loved the main characters, and that is something that I rarely can or do say.

Advertising seems to work best when it’s not really advertising at all.

The idea that a thing is at its best when it is not the thing that it is purported to be is a challenging one. The following video proves the point, I think.

A mixture of superb timing and superb artistry this amazing romp for TMobile never mentions the product it is advertising. Rather, it creates a stunning euphoric mood that is difficult to resist.

During this time of economic collapse, political uncertainty, ongoing global jihad, and rising doubts about the foundations of core economic and social structures people need something to lift them up a bit. This advert is just the ticket.

I have been in many train stations, many airports, places where people by the thousands are in transit moving from place to place. These “in between places” are loaded with almost always unspoken emotions – they are places that are loaded to the brim with kinetic energy. The creators of this advertisement know this and use this truth to great effect.

The images in the video are comfortably non sequitor, and so perfectly juxtaposed with time and place. The faces of those not “in the know” are perfect.

Enjoy.

The Greatest Civil War Western – The Outlaw Josie Wales

by Daniel Mallock

The Outlaw Josie Wales is my favorite western. It’s considered by some folks to be the greatest western. I agree.

A great western should have a collection of strong key elements, and Josie Wales has them all. The setting is the savage Civil War in Missouri and Kansas where atrocities and outrages were perpetrated by irregulars of both sides. Folks at the time called these criminals and guerrillas “bushwackers”. The fighting in this theater of the Civil War is not commonly known by non-students and historians and was particularly ugly and violent. Most actions were small unit affairs, with people who were well known to one another before the war fighting under opposing flags. Violence and crimes against civilians was common as both legitimate armies used irregulars to terrorize the civilian population. The massacre at Centralia, Missouri , September 27, 1864 was perpetrated by Bloody Bill Anderson and his men. There is no mention of this event in the film, of course, as there could be no sympathy for anyone who had had a part in that abomination.

Josie Wales captures the ugliness and horror of those times and provides a motivator to the title character when his family is murdered by Kansas Union irregulars. Wales is enraged and joins Bloody Bill Anderson’s Confederate guerrilla outfit. When the War ends, they are one of the last organized Confederate units to surrender (at least according to the film). Wales’ comrades surrender themselves at a Union camp, but Josie refuses. But everything is not as it seems and as the men surrender their arms and take the Oath of Allegiance to the Union, they are viciously murdered in cold blood. It turns out that the same unit that has just killed his fellow Confederates is the very same that had killed his family several years before. And so the chase begins… Wales is now the “Outlaw Josie Wales” running from bounty hunters and every male in the territory with a gun not to mention the Union army.

Josie Wales is played by Clint Eastwood in one his best performances. The character is very much like the “Man with no name” from his Spaghetti Western days. Closer to “Blondie” in The Good, The Bad, and The Ugly than the silent gunslinger of “Pale Rider” Wales is essentially a good man driven to revenge and violence by circumstances. He is the everyman of the Civil War dragged into the maelstrom of events. As he runs from his pursuers he picks up a ragtag crew of fascinating characters who ride with him, eventually heading for southern Texas. Along the way there are gunfights, suspense, and lots of action.

A great western should have certain components including:

• beautiful desert scenery
• a good story line
• small ramshackle frontier towns
• a hero or anti-hero with strong and understandable motivations
• guns, ideally pistols
• cool hats
• indians
• lots of horses
• rotten villains

Outlaw Josie Wales (1976) was directed by Eastwood as well as starring himself. Sandra Locke, later his common law wife, Chief Dan George, and John Vernon co-star.

Wales is an avenger as he rides across deserts and through broken down frontier towns. He has no options, but to find a place to hide, or just keep on riding forever. Every shooting that involve him is self-defense or in the defense of others who cannot defend themselves. He is a hero, an unsurrendered Confederate partisan, haunted by the senseless murder of his family.

Josie Wales has beautiful scenery, lots of horses and pistols, rotten villains who deserve to get shot (and generally do), suffering innocents who need protection, and one of the coolest hats in American cinema history.

Josie Wales’ hat is stained with sweat, it’s a deep Confederate Gray with a wide and slightly upturned brim. Eastwood hides his eyes under the brim of this hat, and when he slightly lifts his head to look at someone – they know quickly that Wales is not a man to be trifled with. He has a sense of honor and obligation to others, but has no compunction in shooting those who are hunting him or are fixin’ to hurt his friends.

There is a funny moment after Eastwood and his friends have arrived at their Texas destination. Sondra Locke dressed in a fine white dress talks about how beautiful the clouds look. She represents the stability, and happiness of his pre-war life and the look of sadness and dissociation that Eastwood delivers is a fine and sad one. After all of his war-fighting, his losses, and the personal toll that the War has taken, Josie Wales must try very hard to find a place for himself in a peaceful and stable post-war environment. Killing is easy now for him, it’s the living without violence that will be so challenging. One of the more powerful aspects of his character is that he so wants to try.

“Enchanted” – Walt Disney’s Apocalypse Now
-Helicopters and Dragons-

by Daniel Mallock, BookFolks

Sometimes a movie hits just the right notes (espcecially a musical), and is released at just the right time – that it is on its way to massive box office returns by the first day of release. Disney’s “Enchanted” is such a movie. The last time a movie was so perfectly timed, and of such high quality, might have been Francis Ford Coppolla’s “Apocalypse Now”. This is not to say in any way, of course, that “Enchanted” has anything in common with “Apocalypse Now”… wait. Hold on. Now that I think about it – they have so much in common.

Apocalypse Now documents the shattering of a country and the two male leads (Brando and Emelio Estevez’s dad) through the Vietnam War, a complete upheaval that sucks up everything in its path and spits it out again all broken and battered, or just plain dead. Lots of folks end up waking up dead in “Apocalypse Now”. Enchanted is a kind of apocalypse, too- a potentially life shattering event for a cartoon princess in which the heroine could well find herself waking up dead! Great stories are about watching interesting characters go through changes. The more intense and cinematic the change, the better! Few films have come close to the shattering images in Apocalypse Now, for example the image of Marlon Brando making a million dollars a minute for his fairly average performance is hard to forget. Much like the disturbing and artsy images from Coppolla’s violence-fest, Disney’s “Enchanted” has equal number of bright, happy, and sometimes “ewwwww!” inspiring moments to match.

While helicopters thump and whirr overhead and shriek across village’s blowing them to bits in Coppola’s helo homage, Amy Adams twitters and flits and bobs and dances and smiles her way into almost every viewer’s heart in “Enchanted”. Met with almost universal affection from viewers and pointy headed critics alike, There are exceptions, of course. These folks can find help easily. Some folks just haven’t got any joy. One unhappy reviewer even suggests that “…the movie becomes pedantic and predictable, proceeding from fanciful to boring in about ten minutes flat.” So wrong. So sad. So many people scratch their heads and wonder aloud about critics – how they can appear in print when they are so often utterly mistaken or deluded in their grasp of art and the artists who perpetrate it!? The value of critics and criticism is outside the purview of this particular post; needless to say, most critics have little merit. A by-line doesn’t make one insightful. However, even the most clueless of critics can have moments of accuracy. Roger Ebert, for example, so notorious for being so wrong, so often, is favorable to the movie. So, where critics are concerned, fantasies can come true! [For a great illustration of how deeply confused most critics are take a look at their utterly pathetic wrong misinterpretations of "Running With Scissors". A superb and disturbing movie almost completely misunderstood by critics.]

“Apocalypse Now” has Emiolio Estevez’ dad, while “Enchanted” has the by far more talented and lovely Amy Adams. Both films were just right for the times in which they were released, both were box office hits and critically acclaimed (not that that matters). It was the right time in 1979 for Coppolla’s movie. It was right for him-he needed money for his vineyard and winery, and he got it. It was right for the movie-going public-folks were ready for a serious artistic review of the Vietnam War. Apocalypse Now was there when it was needed and wanted. In a sense it provided a service. Now, folks are ready for a more whimsical tour de force. “Enchanted” is perfectly timed, and has just the right mix of charm, humor, drama, action, music, and romance. This is the combination that America needs now. And boy do we need it bad!

Some will say, including me, that “Enchanted” may be the best Disney movie since Julie Andrews’ stole America’s hearts in with her attitude heavy portrayal of Mary Poppins. The country is ready for “Enchanted” – America now has more than enough real apocalyptic activity going on right about now what with the vanquishing of evil, mysogonist, reactionary, cruel and heartless, self-aggrandizing Islamo-Fascists over in Iraq and Afghanistan and on our own shores currently underway. “Enchanted” is a much deserved break from the harsh realities of our lives. And its timing couldn’t be better.

The foundation of good drama, good art is watching folks change. The more change, the more real the change, the better! What could be more traumatic to watch (other than repeated viewings of Rocky Horror Picture Show) than a lovely cartoon princess being thrown into the real-life (at least from her perspective) bizarre, shocking, and dirty world of current day Times Square? Not much! That is exactly the predicament sweet Princess Giselle finds herself in. But she handles this existential change not by being shattered or violently blowing things up, but by handling herself with panache, positivity, music, and meeting new animal friends! Princess Giselle then has to fight Susan Sarandon, of all the horrors the film makers could throw at the young lass, did they have to be so cruel as that? Well, yes. And despite Ms. Sarandon’s lack of “clue”, the ensuing conflict works. Princess Giselle grows into a perfectly decent, always stunning and talented New York gal of the current day. Patrick Dempsey of Grey’s Anatomy is lucky enough to find her wandering in the rain in Times Square and takes her home so that his five year old girl can explain how life really works to him. Male leads in Disney films are often incredibly daft. And over time, we see Dempsey change and grow and learn that his cynical approach to life can be quickly overturned when the right princess is dropped in his life to muck up his very tight schedule, which doesn’t include cleaning his very expensive west side apartment. All the leads are quite good except for Sarandon whose obvious obsession with Frank N. Furter leads her far far astray.

While a critic (not me, of course) could readily blame the director for allowing Ms. Sarandon to so muck up her role, it’s more fun to directly heap criticism upon her. But it’s not all bad with Ms. Sarandon. Taking a much needed break from her seeming endless agitprop silliness Ms. Sarandon may well have put her most memorable role on celluloid with this movie. A small hint regarding her questionable performance can be found here in this interview in which she says that she never was really “into” the princess thing and doesn’t really understand why so many little girls are so intrigued by them. In answering the question “Why do you think the princesses still resonate with a new generation of girls today?” Ms. Sarandon uses the term “I don’t know” four times. Clearly, she is being honest. Looking a cross between Nora Desmond and Rocky Horror’s FrankNFurter Ms. Sarandon is so far over the top that the plummet to the bottom of the fountain for Giselle is but a quick dip compared to the endless millenia it will take for Sarandon’s Princess Narissa to fall her own distance to bottom.

“Apocalypse Now” had helicopters spitting fire from on high, “Enchanted” has a dragon doing the same. Both are scary in some primal way. But as our helicopters were silent during the release of “Apocalypse Now” – they are very much in action again today. Now is the time for “Enchanted” with it’s personal upheavals and battles and profound multiple apocalypses for a battle and war weary public.

This is not an anti-war film by any stretch, it recognizes as so many in our country do not, that there are times when force and evil must be met with an overwhelming force response so that the princess and the kingdom can be preserved. Believing that our enemies will desist in their evil because we request them to do so, or because we hope they will, or because we apologize to them is more a fantasy than anything in “Enchanted”.

    

Tragedy of Cleveland, Ohio Should Not Be Its Obituary – It Should be A Call for Renewal!

by Daniel Mallock, BookFolk

Recent headlines for Cleveland could hardly be worse, “Where Cleveland Went Wrong”, and School Shooting! are two of the most recent. This once proud “rust belt” city on Lake Erie is in eclipse. Long known for lake effect heavy snows and too many gray days per year Cleveland is now the horror that all American cities fear to become. With a completely diminished tax base, a failed economy, and little apparent hope for economic recovery in the near future Cleveland waits to figure out how to repeat the stunning recovery of similar cities like Pittsburgh. After the steel mills close, the inner city rots away, foreclosures suck the life out of low and middle class areas, and folks who can flee flee, where can Cleveland turn for growth and renewal?There are four fascinating aspects of Cleveland life that, if properly fostered, encourage, and leveraged, will be the foundation of its rebirth – diversity of population, superb civic culture and history, excellent health care, Lake Erie waterfront and port.

The excessive and horrible foreclosures currently sweeping the country, based upon shady and misleading mortgages sold to folks wanting a share in the American dream of home ownership – have hit Cleveland hardest. One section of Cleveland in particular now is littered with empty foreclosed homes looted by dirtbags and crooks (see link above).

This is now the time for urban renewal folks to make their plans. Giving up on Cleveland is for fools – Cleveland can now become a shining example of American ingenuity – a place where folks will want to move to and live. It’ll take time, but the effort should be made, and quickly.

Cleveland is blessed with one of the finest orchestra’s in the world, the Cleveland Orchestra. Long recognized as one of the finest symphonies in the world it is a testimony to Cleveland’s importance that so many in the area continue to support this great institution as the city that hosts it continues its long crumble into decay. There is enough money in the area, enough people loyal to the area – living outside the city limits – who continue to support the superb cultural and educational offerings of the city. In addition to the Orchestra, Case Western Reserve University and the Cleveland Museum of Art are available for all to enjoy. Cleveland has a proud history. Ohio was one of the largest contributors of soldiers to the Union during the Civil War. The monument to Civil War veterans in downtown Cleveland is a little known national treasure that all who appreciate American heritage and history should visit. Folks are not leaving the region en masse, only the inner city itself (with folks who can’t leave, staying). Cleveland can be saved. If Cleveland is not revitalized and rehabilitated it will become a sister city Detroit. While the proponents for Cleveland and Detroit may challenge the studies that proclaim the failure of these cities and speak of the irresponsibility and cruelty of suggesting such things – the problems remain. These problems must be resolved, and quickly. Hopefully, for both Cleveland and Detroit the hour is not too late to make a change. And don’t forget, the Rock and Roll Hall of Fame is in Cleveland, too! Cleveland rocks, remember?

The failure of American steel and the closure of most of Cleveland’s factories, steel mills, and economic infrastructure shattered the economy of the city in the 70s and 80s – but… businesses remain and are growing – albeit in completely different sectors. Now, healthcare and technology are the economic hopes for Cleveland’s future growth and prosperity. Cleveland Clinic is a nationally ranked hospital system serving folks from all across the planet. Imagine – Cleveland as a destination city just for health care! Well, that’s the truth.

The true natural resource of Cleveland and the foundation of its recovery is the waterfront. Some folks in Cleveland are actively working to build up the waterfront, attract investment and bring folks back to Cleveland. The Port Authority is leading the way. Why can’t Cleveland have a bustling port and waterfront anchored with the Rock Hall and the Science Museum just like Boston’s or Baltimore’s or San Francisco’s. Build a destination for folks – a beautiful place with great hotels and parks and condos and apartments and restaurants and homes – and folks will come!

So, how does a city recover after being the hardest hit in the nation by foreclosures with school shootings and serious inner city decay? All the great urban planners, investment gurus, historians, restaurateurs, and government officials – city, regional, and federal – should build a commission now to reclaim Cleveland.

It is a national sin to let our cities fall and die while our pathetic neanderthal pseudo allies grow rich on our consumption of their oil. Our cities should be a shining light, a beacon, to everyone in the world – a testament to our ingenuity, our skills at planning, organization, and creativity. Shame on the government of Cleveland and the federal government for allowing Cleveland to rust and die a slow wretched death.

Bring Cleveland back to life and bring Detroit back to life, too. America is built on hard work and business and caring for our fellow citizens. Let Cleveland be a beacon to those creative folks who want to show their stuff, their organizational and leadership skills, and their patriotism. Rebuild Cleveland. Do it now.

by Daniel Mallock, BookFolk

Jeremy Brett vs. Basil Rathbone:

The Best Sherlock Holmes on Film

vs.

The Truth is Always a Simple Matter Once Explained!

Most fans of Sherlock Holmes will attest that Jeremy Brett is the very embodiment of Sherlock Holmes on any television or movie screen anywhere, ever, period. However, there are those who retain some affection for Basil Rathbone the Sherlock Holmes of previous generations. Both actors are superb, and model the height of acting skill for their generations. But Brett is clearly the superior actor, and the superior Holmes. The game is afoot!

Different Generations, Different Film Technology Demand a Different Holmes

Basil Rathbone’s Holmes fits perfectly into the 1940s era in which his films were made. In the midst of WW2 England and the U.S. needed heroes on the screen. Sherlock Holmes through Rathbone helped the Allies find and destroy Nazi goons within their midsts. A patriotic Brit and hater of fascism Rathbone’s Holmes is the perfect addition to Air Force, Marines, and Navy power. The intellect used as a weapon of war is rarely shown so effectively as in Rathbone’s portrayal of Holmes! One of the major problems with the Rathbone Holmes stories is that 95% of them are originals, that is, they are not adaptations of Conan Doyle’s Holmes stories. Granada Television did every episode as a spectacular and deeply faithful adaptation of the Doyle originals with Jeremy Brett. Most every episode included one or more scenes taken directly from the original drawings by Sydney Paget from the Strand Magazine – that is faithful adaption if ever there was!

• An episode list of Brett’s Holmes can be viewed here.
• You can see some of Paget’s Holmes illustrations for the Strand Magazine, here.

For the purest the Rathbone lack of faithfulness to Doyle is an almost unforgiveable problem. In fact, it’s something of an insoluble conundrum. In addition to the problematic stories themselves whose pacing and supporting actors are often of questionable quality and expertise the characterization of Watson by Sir Nigel Bruce is distracting, aggravating, and overly comedic.

The Problem of the Three Watsons

vs. vs.

The relationship between Holmes and Watson in the Rathbone series is supportive, considerate, gentlemanly, but with Holmes so far eclipsing Watson in intellectual acumen that one has to wonder why the two stay together. In addition, Rathbone’s Holmes is so markedly without those neuroses of character shown by Brett’s portrayal that the viewer must wonder why Rathbone’s Holmes is not married or at least involved with some stunning academic, classical pianist, opera starlet, or some brilliant Irene Adler-type lovely lady. But there is no explanation and no context in which Holmes should be alone, accompanied everywhere by Sir Nigel. Holmes as played by Rathbone should have girlfriends, a wife, some kind of vibrant emotional connection to some favored female(s)!

Brett covers Holmes in self-doubt, utterly driven by intellect. So much so, that he has sacrificed the better parts of his nature, those tender parts that would appeal to a woman and that would allow him to relax and trust enough to be loved by a woman and to love her in return. He has essentially “shut off” those parts of his soul that he believes might distract him from his work – or something has happened. Something dark and painful long ago that Brett occasionally hints at, but never reveals. The depth of Brett’s Holmes is astounding. Brett plays Holmes as a grand knight of deduction who has sacrificed the pleasures of love. As a lover Holmes would be a second-rate detective, and that would simply not do. But there is more to this than all that. Brett is haunted by his sacrifices and his lack of tenderness. This is seen most clearly perhaps in the Adventure of the Abbey Grange. (Pay special attention to the part when the lady attempts to thank Holmes. He does not handle the moment well.)

• You can get a nice plot summary of Abbey Grange right here.

Rathbone’s Watson (Sir Nigel Bruce) plays Watson as a bumbling oafish but utterly dedicated partner and friend exactly the companion that Holmes needs. Brett’s Watson(s) are much more formidable.

Menace, Mania, and Moroseness – Choosing Brett

While Rathbone is not to be faulted for acting in the 40s style, flat and somewhat affected – Brett’s Holmes is the very picture of a highly complex, brilliant, intellectual artiste – the great detective brought to life.

Granada television and PBS is to be complimented for airing such a beautifully written and lovingly adapted series such as the Brett Holmes set. Rarely in recent television history has such a finely made program been aired. The Hollywood writer’s strike of the current hour is little lamented here as nothing of this quality has been seen in so long on the small screen. The complexity and depth of Brett’s Holmes will long be held as the standard for this character. Brett’s early death was a serious loss to every Holmesian. Brett is the Johann Sebastian Bach of the Sherlock Holmes world.

Others have attempted Sherlock Holmes from Ian Richardson’s overly whimsical take to Rupert Everett’s quite passable go, but Brett is the master interpreter. Without a case to work he is difficult, petty, argumentative, morose, bored. His seven percent solution would see him through too many dry spells, but when the game was afoot Holmes’ intellect, brilliance and bravery the finer components of his character always quickly came to the fore.

Basil Rathbone a Fine Holmes – But No Match for Jeremy Brett

From the LoveBoat to Immortality

Having once appeared on the LoveBoat (see this incredible clip on YouTube) Brett rose to the very heights of the acting profession. Still mourned today by those who knew him and appreciated his brilliance as Sherlock Holmes, the same reverence cannot be claimed by Rathbone. Now known to but a few, and those mostly Holmes fans, Rathbone long ago set the stage for the appearance of someone like Brett – to finally bring a permanent record to a living Holmes on screen. Depth of characterization, complex line deliveries, hints of past events and unspoken secrets and pain – Jeremy Brett is an actor’s actor.

Jeremy Brett is the greatest Sherlock Holmes on screen, ever. Long may he solve cases! And never require the needle!