Sonny Boy Williamson
Not to be confused with Sonny Boy Williamson II, Sonny Boy was a harmonica blues player. His most well known cut is "Good Morning, School Girl." It has become a blues standard that has been covered by dozens of bands. The artists include Stevie Ray Vaughan, Taj Mahal, Jonny Lang, Chuck Berry, Muddy Waters, Buddy Guy and Junior Wells. The song was inducted into the Blues Foundation's Hall of Fame back in 1990. Another band that covered the song was The Yardbirds, when Eric Clapton was their lead guitarist.
Eric Clapton
A name which most people recognize. What isn't quite as exact is what most people consider to be his most fruitful period. From The Yardbirds, the Bluesbreakers, Cream, Derek and the Dominos, and as a solo artist, Eric Clapton has done it all. The only three time inductee into the Rock and Roll Hall of Fame. His playing, from at least one of his periods, is sure to speak to you. He's an artist that is constantly refining the way he plays the guitar - keeping the focus more on the average listener than on impressing fellow ax wielders. His mission has been to spread knowledge about the roots of music. The history of music is very important to him. In this respect, I'd have to say he's succeeded. He's definitely steered 'younger folk' like myself towards the likes of Robert Johnson, Bo Diddley, and Muddy Waters.
Norah Jones
Another musician who holds a deep respect for the past. I didn't really pay much attention to Norah Jones until her latest album "The Fall" was released. I did a little research after seeing her perform "I Shall Be Released" with Bob Dylan at the Amazon anniversary concert. Didn't grab me until "The Fall" though. It's a great album, and I regret not being able to see her perform it last year when she was in town. Her cover version of Johnny Cash's "Cry, Cry, Cry" is excellent, and I didn't know she could play guitar. My favorites remain when she's behind a piano on tracks like "December" and "Back to Manhattan." She's also done a little acting. She starred with Jude Law and Natalie Portman in My Blueberry Nights.
Warren Beatty
Norah was great in the role she played, but the Warren Beatty is the one guy I really wish would be involved in more acting projects. He's been awfully quiet when it comes to films. It's been a over a decade, man. As I mentioned in my previous post, it appears that Beatty has successfully secured his rights over the character of Dick Tracy, and hopefully this means it won't be too long before he's on the silver screen again. Bonnie & Clyde is a powerful film. This grabbed my interest as it's about the kind of character that Dick Tracy would be chasing. As Clyde Barrow, Beatty delivers an incredible performance that is sympathetic, but the hints of cruelness aren't buried too deeply.
Robbie Coltrane
Another sympathetic and cruel character is Valentin Dmitrovich Zukovsky from the James Bond films, portrayed marvelously by Robbie Coltrane. Goldeneye was really my first exposure to James Bond, and I loved every moment that was given to Robbie. I was thrilled to see him reappear a few years later in The World Is Not Enough. The story his character goes through is a mini-roller coaster of emotions. For those wanting more non-Hagrid performances, you can check out the series Cracker. Robbie plays a detective of sorts, and his character is given quite a memorable entrance into the series.
Jason Dohring
Logan Echolls is also given quite an entrance on the television show Veronica Mars. He's introduced by the series' protagonist as the school's "obligatory psychotic jackass." Veronica Mars is one of the shows that follows in the vein of the noir detective stories. Just how I like 'em. Jason Dohring elicits a lot of emotion from the audience. His character experiences a tremendous lot throughout the series, shifting from antagonist to love interest for the protagonist. His commanding physical presence and clever sense of humor make him a memorable character and he fits perfectly in a high school noir mystery.
Vincent Van Gogh
It's a safe bet that you've heard the name of Vincent Van Gogh during your schooling. His painting of "Starry Night" is ubiquitous. His works are indeed a thing of beauty. Tragically, he only sold one painting during his lifetime. He had hoped to spread joy through his work, but after shooting himself, he left the world saying that sadness would last forever. Martin Scorsese portrayed Van Gogh in one of Akira Kurosawa's sequences in Dreams. Van Gogh's work lives today, and does provide joy to those you have the pleasure of witnessing them.
Wednesday, March 30, 2011
Tuesday, March 29, 2011
Dick Tracy
One of the first films I ever saw was Snow White and the Seven Dwarfs. It still remains a favorite. Hollywood now sees fit to remake Snow White, and by 2012 it appears there will be three new versions of this classic tale. I don't see any reason why we need another adaptation. There is, however, one franchise I've been aching to see continued. After seeing Dick Tracy in 1990 my mother assured me that there would be sequel. It was a success, of course, there would be a sequel. Over twenty years have come and gone and no new Dick Tracy. Warren Beatty seems to have retained the rights to the character after spending a few years in court battling Tribune Co. Beatty will be celebrating a birthday on the 30th of March, which would make this a wonderful gift for the actor, and hopefully for me too.
Dick Tracy, thankfully, isn't solely a film character. There are comics, cartoons, games, tv serials, and radio programs to enjoy. Chester Gould was the creator of Dick Tracy. The character first appeared as a comic back in 1931. Gould had been quoted saying, "I decided that if the police couldn't catch the gangsters, I'd create a fellow who could." A reference to the organized crime invading Chicago at the time. Tracy was a character obsessed with catching the bad guys and making sure they received punishment for their crimes. The character often pushed the bounds of what was legal. The evil is conspicuous in Tracy's world and he occasionally saw the law as a hinderance. This gave the character a Western-type feel. A character that would function better as a marshal in an old Western town, than a detective in a metropolitan city. Tracy was seriously dedicated to the cause, and having a pinch of rogue mixed into his personality certainly added to his appeal.
Apart from the square cut jaw and the two-way wrist radios, the one thing identified with Dick Tracy is the grotesque villain. The central villain in Beatty's version is portrayed by Al Pacino - one my all-time favorite performances from an actor. I find it quite amazing that he could play the role of Big Boy Caprice, who is full of life, energy, and zeal, while also reprising the role of Michael Corleone right around the same time. Dick Tracy and The Godfather Pt. III were released in the same year. Pacino moves from wild, crazy, and exuberant to stoic and subtle with apparent ease. The performance Pacino delivers makes Big Boy just as appealing a character, actually much more interesting, than Tracy himself. Tracy is the strong silent type with commitment issues. Big Boy is a true leader who demands your constant attention. Regardless of their personalities, the sense of justice that Tracy required made for a very suitable hero figure.
The moral code I picked up from Tracy was seared into me, particularly from the radio broadcast in which Bing Crosby is Tracy, and Bob Hope was the villain Flattop. I received the original broadcast CD as a gift, and can recite many of its passages today. I can see now, that Dick Tracy did indeed impact my view on many things, and including personal preferences on style and taste. I do have a strict moral code that was cultivated from the Tracy character. I have also developed quite a fondness for detective, noir, and gangster material. Taking interest especially in the things from the time period of the 30s through the 50s.
Two films that came after filled a little part of the void I felt after Dick Tracy. The Rocketeer and The Shadow are also two characters from that era who shared a few similarities in trajectory. Sadly, none of the three seemed to have more than a slight resurgence in pop culture. Tracy was my childhood hero, and he remains my favorite fictitious hero. I don't see many of these types of heroes today, these unique and strong personalities. I wish there were more like him; moreover, I wish that Beatty gets to deliver on that promise for a sequel.
These are my thoughts on Dick Tracy.
Dick Tracy, thankfully, isn't solely a film character. There are comics, cartoons, games, tv serials, and radio programs to enjoy. Chester Gould was the creator of Dick Tracy. The character first appeared as a comic back in 1931. Gould had been quoted saying, "I decided that if the police couldn't catch the gangsters, I'd create a fellow who could." A reference to the organized crime invading Chicago at the time. Tracy was a character obsessed with catching the bad guys and making sure they received punishment for their crimes. The character often pushed the bounds of what was legal. The evil is conspicuous in Tracy's world and he occasionally saw the law as a hinderance. This gave the character a Western-type feel. A character that would function better as a marshal in an old Western town, than a detective in a metropolitan city. Tracy was seriously dedicated to the cause, and having a pinch of rogue mixed into his personality certainly added to his appeal.
Apart from the square cut jaw and the two-way wrist radios, the one thing identified with Dick Tracy is the grotesque villain. The central villain in Beatty's version is portrayed by Al Pacino - one my all-time favorite performances from an actor. I find it quite amazing that he could play the role of Big Boy Caprice, who is full of life, energy, and zeal, while also reprising the role of Michael Corleone right around the same time. Dick Tracy and The Godfather Pt. III were released in the same year. Pacino moves from wild, crazy, and exuberant to stoic and subtle with apparent ease. The performance Pacino delivers makes Big Boy just as appealing a character, actually much more interesting, than Tracy himself. Tracy is the strong silent type with commitment issues. Big Boy is a true leader who demands your constant attention. Regardless of their personalities, the sense of justice that Tracy required made for a very suitable hero figure.
The moral code I picked up from Tracy was seared into me, particularly from the radio broadcast in which Bing Crosby is Tracy, and Bob Hope was the villain Flattop. I received the original broadcast CD as a gift, and can recite many of its passages today. I can see now, that Dick Tracy did indeed impact my view on many things, and including personal preferences on style and taste. I do have a strict moral code that was cultivated from the Tracy character. I have also developed quite a fondness for detective, noir, and gangster material. Taking interest especially in the things from the time period of the 30s through the 50s.
Two films that came after filled a little part of the void I felt after Dick Tracy. The Rocketeer and The Shadow are also two characters from that era who shared a few similarities in trajectory. Sadly, none of the three seemed to have more than a slight resurgence in pop culture. Tracy was my childhood hero, and he remains my favorite fictitious hero. I don't see many of these types of heroes today, these unique and strong personalities. I wish there were more like him; moreover, I wish that Beatty gets to deliver on that promise for a sequel.
These are my thoughts on Dick Tracy.
Tuesday, March 22, 2011
Akira Kurosawa
March 23 marks the date Akira Kurosawa was born. He made just over thirty films during his life, and is considered a true Master of his craft. His films hold more power than any other director's, a power that will shock you when it's experienced.
Drunken Angel's opening scene with Takashi Shimura and Toshiro Mifune is a scene that I never tire of viewing. The two actors immediately personify their characters, and just by the way they move, the viewer gains insight into their characters. The scene sets up the story, the goals of the characters, the themes which Kurosawa wants to explore, and Kurosawa also reveals himself. It is extraordinary work by all involved. Kurosawa considered, as told by Donald Richie on the the film's commentary, that Drunken Angel is his first true film. This is a clue that Kurosawa would go on to have a remarkable career.
It was a career filled with awards and nominations starting with his 1951 film Rashomon, all the way through his final film, 1993's Madadayo. Criterion has thirty-five Kurosawa releases, by far the most of any director. Ingmar Bergman has the second highest total with twenty-six releases. Kurosawa has had immense impact on filmmakers and their work. If you've watched any television, odds are you've seen the story structure of Rashomon. You have heard of that space fantasy Star Wars, and George Lucas credits Hidden Fortress as a major influence. When you think of Japanese filmmakers, Kurosawa is sure to be right around the top of the list, but he is considered to be a Western director. The great American director John Ford was one of Kurosawa's biggest influences.
It is that ferocious power in the films that sustains Kurosawa. It may take a little while to adjust to some of the cultural differences when watching the films, but the truths presented are universal. The paparazzi story in The Scandal probably holds just as much, if not more relevancy today than when it was first released. That is the key to Kurosawa. The stories and the characters are based in the truths of life itself. Kurosawa would skillfully adapt stories from authors into his screenplays. A few of the stories are straight from Shakespeare, though they are retooled and placed in a Japanese setting. Ran is the story of King Lear, Throne of Blood is the story of Macbeth, and The Bad Sleep Well contains a lot of Hamlet. In turn, Kurosawa's screenplays were made into Hollywood films, like The Magnificent Seven. Sergio Leone's Fistful of Dollars is a remaking of Yojimbo.
The reason for this influence is found in the emotional power of the films. Technically they are perfectly executed, but as I watch these films, they seem to cut through everything and strike a serious blow. There are many lessons of life you can learn, many lessons you can learn about yourself. Kurosawa's most well known work, Seven Samurai, tells about the power of a group. The year previous, Ikiru tells about the power of the individual, and how one should conduct the matters of his life.
Bob Dylan once mentioned on his radio show that there used to be a time when a song could change a man's life. To say that Kurosawa has changed my life would seem an overstatement, but he has instructed the way I think about certain things. It is rare today to find a film that really evokes a powerful and genuine emotional reaction. It is this reason I feel compelled to share a little about Akira Kurosawa. Like him, I believe in the power of film. To not be distracted and be completely engaged in one of his films is a feeling I wish for others to experience. In a sense this is true, all of Kurosawa's films hold a singular question - why can't people just treat each other better?
These are my thoughts on Akira Kurosawa.
Drunken Angel's opening scene with Takashi Shimura and Toshiro Mifune is a scene that I never tire of viewing. The two actors immediately personify their characters, and just by the way they move, the viewer gains insight into their characters. The scene sets up the story, the goals of the characters, the themes which Kurosawa wants to explore, and Kurosawa also reveals himself. It is extraordinary work by all involved. Kurosawa considered, as told by Donald Richie on the the film's commentary, that Drunken Angel is his first true film. This is a clue that Kurosawa would go on to have a remarkable career.
It was a career filled with awards and nominations starting with his 1951 film Rashomon, all the way through his final film, 1993's Madadayo. Criterion has thirty-five Kurosawa releases, by far the most of any director. Ingmar Bergman has the second highest total with twenty-six releases. Kurosawa has had immense impact on filmmakers and their work. If you've watched any television, odds are you've seen the story structure of Rashomon. You have heard of that space fantasy Star Wars, and George Lucas credits Hidden Fortress as a major influence. When you think of Japanese filmmakers, Kurosawa is sure to be right around the top of the list, but he is considered to be a Western director. The great American director John Ford was one of Kurosawa's biggest influences.
It is that ferocious power in the films that sustains Kurosawa. It may take a little while to adjust to some of the cultural differences when watching the films, but the truths presented are universal. The paparazzi story in The Scandal probably holds just as much, if not more relevancy today than when it was first released. That is the key to Kurosawa. The stories and the characters are based in the truths of life itself. Kurosawa would skillfully adapt stories from authors into his screenplays. A few of the stories are straight from Shakespeare, though they are retooled and placed in a Japanese setting. Ran is the story of King Lear, Throne of Blood is the story of Macbeth, and The Bad Sleep Well contains a lot of Hamlet. In turn, Kurosawa's screenplays were made into Hollywood films, like The Magnificent Seven. Sergio Leone's Fistful of Dollars is a remaking of Yojimbo.
The reason for this influence is found in the emotional power of the films. Technically they are perfectly executed, but as I watch these films, they seem to cut through everything and strike a serious blow. There are many lessons of life you can learn, many lessons you can learn about yourself. Kurosawa's most well known work, Seven Samurai, tells about the power of a group. The year previous, Ikiru tells about the power of the individual, and how one should conduct the matters of his life.
Bob Dylan once mentioned on his radio show that there used to be a time when a song could change a man's life. To say that Kurosawa has changed my life would seem an overstatement, but he has instructed the way I think about certain things. It is rare today to find a film that really evokes a powerful and genuine emotional reaction. It is this reason I feel compelled to share a little about Akira Kurosawa. Like him, I believe in the power of film. To not be distracted and be completely engaged in one of his films is a feeling I wish for others to experience. In a sense this is true, all of Kurosawa's films hold a singular question - why can't people just treat each other better?
These are my thoughts on Akira Kurosawa.
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