Tonight I saw The Wizard of Oz, starring Judy Garland and Margaret Hamilton.
I've seen this film countless times, of course, growing up with it on TV once a year, then owning a VHS copy, then a DVD version and attending multiple anniversary showings. Tonight's occasion was a Throwback Thursday presentation at a local indie theater. That was reason enough for me to attend.
Though made in the late '30s, the film's themes and sentiments continue to have relevance in present day. For example, when the Scarecrow (Ray Bolger) mutters that "... some people without brains do a lot of talking" the audience clapped and cheered.
The story is simple: a young Kansas farm girl, Dorothy (Garland), gets caught in a tornado and passes out. While she's unconscious she travels to the land of Oz, a magical place where she's joined by three new friends, along with her dog Toto, on a journey to see the Wizard, who they hope can help them all in one way or another and send her safely home. A wicked witch (Hamilton) tries to stop them each step of the way, coveting Dorothy's new ruby slippers, which possess magical qualities.
Though the effects are of their time, the colors and sets still look beautiful all these years later and the heart of the film rings true: Courage, belief in self and goodwill toward others will lead you to your ultimate goal no matter what lies in your path. You just have to find the strength to overcome it.
~~~
Thursday, July 18, 2019
Monday, July 15, 2019
Pavarotti
On Saturday, I saw Pavarotti, a documentary about the life of the legendary tenor.
Some people have a presence. It’s an intangible x factor that only a select amount of individuals possess, but those who do are unforgettable—Luciano Pavarotti was one of them.
The story of the Italian opera great is told here in a linear way by director Ron Howard, who conducted over 50 interviews to arrive at the finished work. From his childhood in Italy to his profound success as perhaps the greatest tenor of all time, Pavarotti’s life is recounted in a beautiful narrative by the people who knew him best.
He was a family man, a mentor, a friend and a humanitarian. He was also a philanderer, a diva and a man plagued with self-doubt. I’m grateful Howard chose to show both sides. Sometimes when we get to know someone larger than life, it’s only their persona that’s noticed; here we get to explore the human for all of his flaws, and we’re better for it.
Aside from his technical talent, his charisma is remembered through scenes from his friendship with Princess Diana and hilarious stories told by Bono. Pavarotti seemed to love life—his women, his friends, his children, his colleagues, his fans, his food. This was reflected in the way he lived his life, to the fullest of course, and that made it all the more heartbreaking to reach the end of the film where the last months of his life, as he suffered from pancreatic cancer, are remembered.
Though not much of an opera fan, because of his undeniable popularity and yes, because of the U2 song “Miss Sarajevo,” I knew about Pavarotti before seeing the film, but never did I think I’d enjoy such an intimate look at him.
I only wish I’d seen him perform when I had the chance.
~~~
Saturday, July 13, 2019
E.T.
On Wednesday, I saw E.T. in Concert with the Seattle Symphony.
My memory of seeing E.T. in the theater when I was 6 years old is vivid. My sister and my cousin took me. We sat closer than we normally would because the theater was full. It was crowded and hot and I didn't take my eyes off the screen for the duration.
I developed an instant crush on Elliot (Henry Thomas) and even though we're the same age, found Gertie (Drew Barrymore) to be adorable. I was scared of E.T. at first, but once they showed how gentle he was, and the scenes with the beer drinking and costumes surfaced, I was completely on-board with this new alien friend.
My other remembrance is how hard I sobbed when Elliott and E.T. suffered in the makeshift treatment facility that the government sets up in Elliott's house. Scarred me for life.
That said, the iconic bike scene and the legendary score by John Williams never left me, and I went on to consume many Reese's Pieces and buy E.T.-related memorabilia in the years that followed (I still have a pair of socks and earrings).
I was delighted when I saw this would return to the theater and be accompanied live by the Seattle Symphony last winter and quickly bought tickets. Unfortunately, our snow storm postponed the performance and we just now got to see it. I can safely say it was worth the wait.
The sweet tale of a family struggling with parental separation in the 1980s focuses on the bond between Elliott (the boy who finds the alien) and E.T. the Extraterrestrial. Instead of siblings that are always at each other's throats, the brothers and sister in this family look out for each other (and successfully hide E.T. for a period of time).
Drew Barrymore is the standout as young Gertie—an exceptional actress even then, she's alternately funny, vulnerable and sad.
I enjoyed seeing this Spielberg classic on the screen again and feel privileged I got to hear the amazing live music that accompanied it.
The narrative is simple: find alien, hide alien, attempt to reunite alien with his family before the government captures him to experiment on him, but the story is told with such heart that it's remained in our consciousness for over 40 years. It should—and most likely will—hold that legacy forever.
~~~
My memory of seeing E.T. in the theater when I was 6 years old is vivid. My sister and my cousin took me. We sat closer than we normally would because the theater was full. It was crowded and hot and I didn't take my eyes off the screen for the duration.
I developed an instant crush on Elliot (Henry Thomas) and even though we're the same age, found Gertie (Drew Barrymore) to be adorable. I was scared of E.T. at first, but once they showed how gentle he was, and the scenes with the beer drinking and costumes surfaced, I was completely on-board with this new alien friend.
My other remembrance is how hard I sobbed when Elliott and E.T. suffered in the makeshift treatment facility that the government sets up in Elliott's house. Scarred me for life.
That said, the iconic bike scene and the legendary score by John Williams never left me, and I went on to consume many Reese's Pieces and buy E.T.-related memorabilia in the years that followed (I still have a pair of socks and earrings).
I was delighted when I saw this would return to the theater and be accompanied live by the Seattle Symphony last winter and quickly bought tickets. Unfortunately, our snow storm postponed the performance and we just now got to see it. I can safely say it was worth the wait.
The sweet tale of a family struggling with parental separation in the 1980s focuses on the bond between Elliott (the boy who finds the alien) and E.T. the Extraterrestrial. Instead of siblings that are always at each other's throats, the brothers and sister in this family look out for each other (and successfully hide E.T. for a period of time).
Drew Barrymore is the standout as young Gertie—an exceptional actress even then, she's alternately funny, vulnerable and sad.
I enjoyed seeing this Spielberg classic on the screen again and feel privileged I got to hear the amazing live music that accompanied it.
The narrative is simple: find alien, hide alien, attempt to reunite alien with his family before the government captures him to experiment on him, but the story is told with such heart that it's remained in our consciousness for over 40 years. It should—and most likely will—hold that legacy forever.
~~~
Friday, July 05, 2019
The Biggest Little Farm
Yesterday I saw The Biggest Little Farm, starring John and Molly Chester.
John and Molly are married, living a pleasant life in the city. Molly is a personal chef; John is a documentarian. On one of his assignments, he films a home with an animal hoarder and falls in love with one of the dogs. He and Molly end up adopting said dog, Todd, and soon run into trouble because he won't stop barking. After many unsuccessful attempts to correct the dog's behavior, they're evicted from their apartment and decide to build a completely new life.
The couple buy a farm an hour north of Los Angeles and with the help of a dedicated mentor, commit themselves to reviving the land by farming using old-school methods that are kinder to the environment. This documentary chronicles their first seven years on the farm and all of the tragedy and victory that came with it. From pigs that won't eat to coyotes that murder their ducks and chickens, there's never a dull moment
Throughout the story, thankfully told chronologically, we recognize how idealistic and naive the couple were to start this venture with no previous farming experience, but also root for them because they refuse to give up regardless of the challenges they face. There is never a direct reference to climate change, but I sat there silently thanking them each time they "won" a bit of nature back (i.e. area bees returning and thriving). What they're doing all farmers should be doing.
The animals become family members, the lush landscapes provide both a peaceful retreat and an endless supply of headaches (some more dangerous than you may think) and every moment is entertaining whether you've ever had the desire to live on a farm yourself (I personally, have not).
At one point when their pig, Emma, is giving birth to what seems like an endless amount of piglets, Molly smiles with delight and says "I love our life!"
I, for one, loved watching their life.
~~~
John and Molly are married, living a pleasant life in the city. Molly is a personal chef; John is a documentarian. On one of his assignments, he films a home with an animal hoarder and falls in love with one of the dogs. He and Molly end up adopting said dog, Todd, and soon run into trouble because he won't stop barking. After many unsuccessful attempts to correct the dog's behavior, they're evicted from their apartment and decide to build a completely new life.
The couple buy a farm an hour north of Los Angeles and with the help of a dedicated mentor, commit themselves to reviving the land by farming using old-school methods that are kinder to the environment. This documentary chronicles their first seven years on the farm and all of the tragedy and victory that came with it. From pigs that won't eat to coyotes that murder their ducks and chickens, there's never a dull moment
Throughout the story, thankfully told chronologically, we recognize how idealistic and naive the couple were to start this venture with no previous farming experience, but also root for them because they refuse to give up regardless of the challenges they face. There is never a direct reference to climate change, but I sat there silently thanking them each time they "won" a bit of nature back (i.e. area bees returning and thriving). What they're doing all farmers should be doing.
The animals become family members, the lush landscapes provide both a peaceful retreat and an endless supply of headaches (some more dangerous than you may think) and every moment is entertaining whether you've ever had the desire to live on a farm yourself (I personally, have not).
At one point when their pig, Emma, is giving birth to what seems like an endless amount of piglets, Molly smiles with delight and says "I love our life!"
I, for one, loved watching their life.
~~~
Wednesday, July 03, 2019
Toy Story 4
Tonight I saw Toy Story 4, starring the voices of Tom Hanks and Annie Potts.
Woody (Hanks) and the gang of toys who used to belong to Andy (John Morris) have settled in nicely with young Bonnie (Madeline McGraw) and her family. Bonnie is hesitant about starting Kindergarten, so Woody tags along for her orientation. That's where she creates a new toy, Forky, (Tony Hale) from a utensil that was thrown into the trash.
Forky helps Bonnie adjust to her new school and becomes immediately beloved, but Forky doesn't really want to be a toy and attempts to return to the trash every chance he gets. This keeps Woody on his toes, chasing after him at every turn to ensure he stays put. But Woody isn't always successful and Forky successfully escapes during a road trip. Woody goes after him and they both end up at an antique store where they encounter a doll named Gabby (Christina Hendricks) who has a broken voice box and is desperate to replace it with Woody's.
Meanwhile, Bonnie is devastated that Forky is missing and that sends the family road trip into chaos, with all of the remaining toys in the vehicle worried for Woody and Forky.
All of the usual wit and clever blink-or-you'll-miss-them funnies are as present here as they were in the first three films, as is the charm and heart. It's lovely spending time with characters like Woody and Little Bo Peep (Potts) who we've seen before and the addition of several supporting characters only add delight—Keanu Reeves is a standout as the always-posing stuntman, Duke.
Of course there's a huge action sequence at the climax of the plot, a little creepiness, some genuine sadness and even a budding romance. Really, for a film that's fourth in a franchise, it's incredibly satisfying.
Go see it. You'll still be smiling when you get home.
~~~
Woody (Hanks) and the gang of toys who used to belong to Andy (John Morris) have settled in nicely with young Bonnie (Madeline McGraw) and her family. Bonnie is hesitant about starting Kindergarten, so Woody tags along for her orientation. That's where she creates a new toy, Forky, (Tony Hale) from a utensil that was thrown into the trash.
Forky helps Bonnie adjust to her new school and becomes immediately beloved, but Forky doesn't really want to be a toy and attempts to return to the trash every chance he gets. This keeps Woody on his toes, chasing after him at every turn to ensure he stays put. But Woody isn't always successful and Forky successfully escapes during a road trip. Woody goes after him and they both end up at an antique store where they encounter a doll named Gabby (Christina Hendricks) who has a broken voice box and is desperate to replace it with Woody's.
Meanwhile, Bonnie is devastated that Forky is missing and that sends the family road trip into chaos, with all of the remaining toys in the vehicle worried for Woody and Forky.
All of the usual wit and clever blink-or-you'll-miss-them funnies are as present here as they were in the first three films, as is the charm and heart. It's lovely spending time with characters like Woody and Little Bo Peep (Potts) who we've seen before and the addition of several supporting characters only add delight—Keanu Reeves is a standout as the always-posing stuntman, Duke.
Of course there's a huge action sequence at the climax of the plot, a little creepiness, some genuine sadness and even a budding romance. Really, for a film that's fourth in a franchise, it's incredibly satisfying.
Go see it. You'll still be smiling when you get home.
~~~
Yesterday
Last night I saw Yesterday, starring Himesh Patel and Lily James.
A world without The Beatles or Coca-Cola isn't a world I'd ever want to live in, but it's the warped reality that struggling English musician, Jack (Patel), experiences when he wakes from an accident. Jack was hit by a bus during a freak, 12-second worldwide blackout and seems to be the only person who remembers the most famous band that ever existed and the iconic soda.
Of course he doesn't have the formula for Coke, but he does remember a fair amount of The Beatles catalog of songs, so he begins to "write" them one-by-one and pass them off as his own. Of course, the world (again) loves them.
Side note: For those of us who are die-hard Beatles fans who absolutely hate covers of their songs, listening to him play their sacred hits throughout the film is as excruciating as you'd imagine.
By his side on his rise to fame is Ellie (James) who has known him since childhood and acts as his manager until he's recruited by a bigger fish, who arrives in the form of Kate McKinnon as Debra. She is a very welcome distraction, as is Ed Sheeran who portrays himself.
Although the film is marketed as this philosophical "what if" regarding the cultural shift that would happen if the band who influenced nearly every major rock act that came after them never happened, it's really just a mediocre romantic comedy about two people who don't have much chemistry and struggle to get past the friend zone. In fact, the film should have been called The Friend Zone.
As someone who counts Love Actually among the greatest rom coms of all time, I hoped that writer Richard Curtis would sprinkle his fairy dust on this couple as well, but instead all we got were a series of groan-worthy jokes (re-naming "Hey Jude" to "Hey Dude") and an odd twist at the end that contemplates what John Lennon would be doing today if he hadn't been murdered (for what it's worth, I don't think they even came close).
A film exploring an alternate Back to the Future-ish reality about how music would suck had rock 'n' roll never been blessed with John, Paul, George and Ringo? Now that would have been compelling.
Unfortunately, the greatest part of this film was the very end—when the real Beatles sing "Hey Jude" over the credits.
~~~
A world without The Beatles or Coca-Cola isn't a world I'd ever want to live in, but it's the warped reality that struggling English musician, Jack (Patel), experiences when he wakes from an accident. Jack was hit by a bus during a freak, 12-second worldwide blackout and seems to be the only person who remembers the most famous band that ever existed and the iconic soda.
Of course he doesn't have the formula for Coke, but he does remember a fair amount of The Beatles catalog of songs, so he begins to "write" them one-by-one and pass them off as his own. Of course, the world (again) loves them.
Side note: For those of us who are die-hard Beatles fans who absolutely hate covers of their songs, listening to him play their sacred hits throughout the film is as excruciating as you'd imagine.
By his side on his rise to fame is Ellie (James) who has known him since childhood and acts as his manager until he's recruited by a bigger fish, who arrives in the form of Kate McKinnon as Debra. She is a very welcome distraction, as is Ed Sheeran who portrays himself.
Although the film is marketed as this philosophical "what if" regarding the cultural shift that would happen if the band who influenced nearly every major rock act that came after them never happened, it's really just a mediocre romantic comedy about two people who don't have much chemistry and struggle to get past the friend zone. In fact, the film should have been called The Friend Zone.
As someone who counts Love Actually among the greatest rom coms of all time, I hoped that writer Richard Curtis would sprinkle his fairy dust on this couple as well, but instead all we got were a series of groan-worthy jokes (re-naming "Hey Jude" to "Hey Dude") and an odd twist at the end that contemplates what John Lennon would be doing today if he hadn't been murdered (for what it's worth, I don't think they even came close).
A film exploring an alternate Back to the Future-ish reality about how music would suck had rock 'n' roll never been blessed with John, Paul, George and Ringo? Now that would have been compelling.
Unfortunately, the greatest part of this film was the very end—when the real Beatles sing "Hey Jude" over the credits.
~~~
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