Tag: movies

My Problem

I’m naming names today: Jenn Moss and Alan Sorrentino.

Alan Sorrentino is in the news about his letter to the editor decrying women wearing yoga pants in public. I know what Alan is talking about. His yoga pants were my muffin tops.

A muffin top is the fleshy overspill above a waist band, developing and exposed when one is wearing a tight lower garment – pants, shorts, skirt – and a cropped top. They were most prevalent among girls and young women. Probably still are. I haven’t seen one for a while.

Muffin tops caused me problems. How could someone wear something so tight and not be appalled by the flesh spilling out? Do they know how they appear? That developed my second problem. I’ve always been irritated by America’s ideals of beauty and perfection, and how humans should look. And here I was, sucked right into it. Damn America.

So I wanted to praise these people for being indifferent about my problem and showing their body as it is, and without embarrassment. But, sigh, I was also disturbed, because these people looked obese and overweight. Shouldn’t they be taking better care of themselves? That led directly to self-confrontation: is that what you think about NFL players with their big bellies? 

No, Michael, it usually isn’t. I was all about the player and what they brought to the table.

Alan, of course, was writing about his problem in what the yoga pants revealed to him about his opinion of female curves. Just like me and my muffin tops, the yoga pants were not about the people wearing them: the problem is him and his perceptions.

Now let’s move on to Jenn Moss. She’s a writer who posts on roughandreadyfiction.com. On Meta Monday, she posted about seeing Richard III at STNJ. Dwelling on Derek Wilson and his awesome guns, she wrote about how this buff actor compared to people’s usual perception of Richard III. In her final paragraphs, she wrote:

Meanwhile, this whole muscle thing got me thinking: what kind of assumptions do we bring to a play or book that we know well? Have you ever rejected a portrayal of a beloved character because it just didn’t match the vision you had in your head? Did a remake or reboot ever leave you cold? I love the Star Trek reboot, for example. But the 2005 film version of Pride & Prejudice just doesn’t do it for me.

I’m going to keep asking myself this question whenever I see a revival or any other remake: How open am I to a different look or fresh interpretation of a favorite character?

Why yes, Jenn, I have thought about these questions. I mutter and rant quite often about what so many – like you, Guy Ritchie – do to Sherlock Holmes. I grimaced at the treatment endured when the television show, ‘Wild, Wild West’ was made into a movie. And then someone did it – gasp – to the ‘Man From U.N.C.L.E.’. Look what’s going on in the Marvels Universe movies. And ‘Star Trek’…grrr…. “What is the world coming to?” I bitterly huffed in best BitterBen fashion.

Of course, I was always talking about my problem. I didn’t realize it until I grasped that I do the same thing to the fiction I write. I take original ideas and torture them into something else. In my science fiction, I discard the intelligent scientific foundations from the likes of Asimov and Clarke. The science and technology just are, a big leap from here and now. Sure, internal logic to the novels is solid, but I make no effort to explain how we made advances in space travel, FTL, teleporters, compilers, terraforming, and colonizing other planets: they just are as part of the setting, much like televisions, cars, cell phones, malls and aircraft travel just are as part of a modern setting.

Reluctantly I concluded, it’s a good thing when a television show, movie, novel, song or idea is re-interpreted and presented in a new light. It is how art, science technology, and government in all their forms have worked since just about the first time a story was done, a ruler proclaimed, a tool was created, or a drawing was made on a wall. Someone saw it and thought, “Wouldn’t it be better this way?” Then they offered their interpretation – thesis, antithesis, synthesis.

We’re always doing this, imagining, re-imagining and re-interpreting all the art, technology, history and events of time.

Now leave me alone. Time to write like crazy, at least one more time. After all, that’s what all this is really about.

And that’s my problem.

 

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Twelfth Night

A friend gave us tickets to Oregon Shakespeare Festival’s ‘Twelfth Night’ as a thank you gift.

We attended the play last Sunday night. It was updated to take place in 1930s Hollywood. That premise seemed a little thin at times, as characters were still called the count and the jester, and the studio was referred to as a land. Overall, it was well acted and enjoyable…for as much as I paid attention. For as the lights dimmed and the play began, I thought, “What does Handley’s imagination look like?”

Almost everyone (future studies estimate over ninety percent of people) in the future have an augmented memory. The augmented memory has a variety of options available. One of them includes creating an avatar of your external memory. This presents you with the opportunity to talk to your memory about your memories and life. Your memory can also be a memorable companion, so you’re never alone. You always have your memory, which is useful in space.

Madison Handley, however, went a little further than the norm. Although she embodied her memory as an avatar, she also embodied her imagination as an avatar. Thus, she and her memory played with her imagination as well as her friends when she was young. But, as her mother warned, “Someday your imagination is going to get you into trouble,” her imagination caused trouble and Handley took the fall. (It is her imagination.) After that day arrived, Handley banished it. Now her memory is requesting an audience for her imagination on its behalf because her imagination has some suggestions to help Handley out of her current situation.

All of this led to the standard use questions about the character. As I developed the background to this while at the play, I thought of other imaginary characters and the troubles they caused. A movie was semi-recalled. It seemed like it was in the 80s or 90s. The imaginary character was green and male. They had disappeared, but now they were back.

That’s all I could remember. I thought I would google it sometime but didn’t get around to it. Then, today, while thinking about the imagination and shaving, I remembered, ‘Drop Dead, Fred’, Phoebe Cates, Tim Matheson, Marsha Mason, 1991. Then, remembering those sudden details, I searched for confirmation on the net. Yea, verily, I was correct. The movie only received 9% on Rotten Tomatoes, so I wondered, why do I remember it so well?

All of this cogitation, delays and results – the process – amused me. Took a while of circling but the memory finally landed.

Now back to my novel. I still don’t know her imagination’s appearance but I believe that will come. Time to write like crazy, at least one more time.

 

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Today’s Theme Music

‘The Full Monty’, starring Robert Carlyle, Tom Wilkinson, Mark Addy, Leslie Sharp and others, was released in 1997. I enjoyed the movie, and it has acquired that special status for me as a movie I watch again and again, and still enjoy. From one of my favorite scenes, here is Joe Cocker and ‘You Can Leave Your Hat On’.

Let the music carry you through the day.

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‘Phooon Party

Okay, first for the schmaltz alert. This post will get schmaltzy.

Like many, Gene Wilder’s demise dredged up memories. I associate specific music, movies, actors and events with epochal life moments. Gene Wilder is a large swatch of the moments because his rising fame coincided with VCRs rising and my long term assignment to Kadena Air Base, Okinawa, Japan.

Arriving in May of 1981, base housing wasn’t immediately available. We put ourselves on the wait list and then found an off-base residence in Kadena City. The apartment building was a fort-like three story cement structure with minimal windows and external doors. The owner/managers lived in a bottom residence, and American service personnel and their dependents occupied the ten apartments spread throughout the rest. Keeping with the local way, none of these domiciles were large, but they were well built. A water cistern was on the roof. With it and the stout walls, the building was great for enduring earthquakes, typhoons and droughts.

Typhoon watching was almost a sport. Armed Forces Radio and Television Services provided us with our news and entertainment, and we tracked the storms across the Pacific and through the various seas. Which base was it going to hit? Hickam in Hawaii, Anderson on Guam, Clark in the PI? Or was it heading our way in Japan, or north to Korea?

Whichever place it struck was a cause for intense business on the base. If it was heading for us, we scrambled to launch the aircraft out of the typhoon’s path while securing the base. If you were on duty when the typhoon struck, you were on for the duration. Otherwise, you stocked up on food, water and things to do, and settled in at home.

This all took planning. Lines grew everywhere, but especially at the Commissary where we bought our food, and the USO where we rented our movies.

That’s where Gene Wilder enters. As AFRTS didn’t offer exciting programming options and often went off the air during a ‘phoon, we bought a VHS player. A huge, toploading Magnavox unit, it cost a grand, weighed over fifty pounds and took up the top of our twenty-five inch console television. But with it, we could rent movies from the USO. Thus we could sign out ‘Blazing Saddles’, ‘The Producers’, ‘Young Frankenstein’, ‘Silverstreak’, and ‘Stir Crazy’, along with movies like ‘Blues Brothers’. ‘Absence of Malice’. ‘Body Heat’. ‘Pennies from Heaven’. ‘Eye of the Needle’. The offerings were not broad, and it was serving the entire base population stalking entertainment, so you grabbed what you could, and then traded with others in the building, watching movie after movie and trying to catch some sleep as rain deluged the island and the wind hurled items through the charcoal skies.

Back on base, working in the Command Post, it wasn’t so good. We were pretty limited to what was available to watch. Scrambling aircraft and dealing with the emergencies, nobody raced out to rent movies. Then once that was done, the phones and radios went still as our status changed to monitoring the passing storm and waiting for it to clear. We watched what was on hand. How many times did I see ‘Silverstreak’, ‘Young Frankenstein’, ‘Blazing Saddles’ and ‘Stir Crazy’? Enough that we would start going stir crazy. Enough that I remember the characters and who played them, and whole scenes of dialogue.

Yet, now, watching scenes from these movies as I remember Gene Wilder and Richard Pryor, and the others, I laugh and laugh, again. Remembering these things last night with my beer buddies, we just had to mention a character or a line from his movies to trigger laughter.

Thanks, Gene Wilder. It was a memorable stint with you through the many, many typhoons.

 

5

I’m All Right

Once upon a time, there was a movie, ‘Caddy Shack’. Starring Michael O’Keefe, Bill Murray, Chevy Chase, Ted Knight, Rodney Dangerfield and others, it was released in America in 1980. Not high brow, it had some memorable lines and scenes,  and was fun. Rotten Tomatoes gives it 75%, which seems right to me.

It’s noteworthy that Rotten Tomatoes didn’t start until eighteen years after ‘Caddy Shack’. I always wonder how the mood of an era supports a movie’s reception. The same goes for books, music, politics, and other aspects of pop cultures. Like, did you know American cars of the late 1950s and early 1960s sported huge fins, huge, tremendously useless, fins, as a styling gimmick. The fins were popular, reminding people of jets and flight. Can you imagine, though, those fins on cars now? My rambling’s point is, what would we have rated ‘Caddy Shack’ if we’d had Rotten Tomatoes back in the day? Wonder if that’s been studied?

My favorite part of the movie was about the gopher that Bill Murray is attempting to kill as one of the sub plots. The gopher survives, and begins dancing to a song by Kenny Loggins. Kenny Loggins was good at that kind of music movie, performing  ‘Footloose’ (the original) and ‘Danger Zone’ for the movie, ‘Top Gun’. The ‘Caddy Shack’ song is ‘I’m All Right’. The song gets you moving – or gets me moving. I don’t think Mom and Dad liked it, frowning and saying, “That’s not real music.” Today’s young listeners might be as amused by the song as I am by ‘A Bicycle Built for Two’.

So, talking with the baristas today, I asked these youngsters (ha – love utilizing that expression) if they knew the song or the movie. Both believed they’d heard of both but had never actually seen the movie and couldn’t place my rendition of the song. Not surprising, as both came out twelve years before the oldest barista present was born.

That’s amazing about our technology, that it exists and helps us create a present and past, by extension, influencing our future, and that these youngsters, if they want, can experience some of our collective past quite easily by watching that movie, just as I did when growing up and watching movies on TV.

There are differences. Today’s movies (and television shows) have made a move toward more realism. Two, it’s easier to select what we want to watch. Whatever was presented on one of three channels back in my youth was what we watched, which was beneficial. I saw movies and genres that I would have never otherwise watched. Some of them were terrible, and some of them were made again, like ‘The Fly’.  

Which, to complete this circle, had me wondering, are they planning on a ‘Caddy Shack’ remake? Well, of course. Numerous people have been associated with such a product and in blogs, some refer to it as ‘inevitable’. Which seems true. I mean, have you seen ‘Star Trek’?

Which one?

 

 

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Love Story

In retrospect, I’m recommending a movie that came out in 1970. I’m speaking with people born in 1990 or later, because, see, they’re less than 25 years old. It’s thought arresting for me, that thes…

Source: Love Story

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