I have to admit, I love this film. Yes, it’s a twisted cinematic love letter to crime and guns. But it’s so very well shot (boom-boom!), well acted, and well directed. And I just really enjoyed watching it.
A real showbiz gangster.
There’s an amazing scene where Dillinger goes on a family/home visit. To see his parents/siblings. Can this be real? In the movie he does this right after a taunting telephone call to (?), the G-Man hunting him. Surely the cops’d be watching all his family/connections?
Whatever the truth, it makes for a terrific scene. ‘Welcome home, son.’
Set in the Depression era, 1933, which it also beautifully depicts/evokes…
John Milius, left, inspiration for Walter (right).Milius and Oates.
Whilst trying to find online versions of several movies – The Stone Killer, Truck Turner – I stumbled upon an iconic scene from Superfly, featuring Priest (Ron O’Neal) and Eddie (Carl Lee).
Looking into Carl Lee’s life (and death; drug-related, alas), lead to his father ‘Canada’ Lee, pictured above. And that in turn lead to Orson Welles…
Orson Welles.
The above portrait is just, er, well… Awesome! It kind of puts me in mind of this early Picasso self-portrait:
Picasso, Self-Portait, 1901.
I wonder if Welles’ photographer knew of and was referencing the Picasso painting? The photo is actually the better or more dramatically framed composition.
Studio miming to a full multi-track studio production? … it’s fun to see and hear, whatever.
Calling Occupants…, Carpenters, 19??
Properly bonkers later Carpenters , covering Klaatu. Utterly mad! But somehow quite charming… Unfortunately I have visions of Mars Attacks type alien dudes laying waste to our furry friendly MOR emissaries of cosmic peace…
And here’s Klaatu’s 1976 original:
I have a fairly uninteresting anecdote about this track, which is this… whilst hitchhiking around France with a pal, Ben, aged about 18-19 years old (poss’ c. 1990?), we got a lift from an off-duty French Foreign Legionnaire officer, in a flashy car, (full of fishing gear), who was listening to this track. I don’t know whose version. For some reason it freaked me out a bit, at the time!
I got another Airfix 1/76 Panther Tank model, either for Xmas or – I think the latter – my birthday. I was looking at wrecked Panther photos, thinking I might do a wee diorama.
Maybe something like this?
That lead me to the story of Klaus-Dieter Flick’s actual Panther, which was the cause of a political kerfuffle some years back. And that in turn lead me to Arno Breker…
Breker sculpts Speer as The Mekon.
As well as collecting weaponry, Flick also owned originals or copies of Nazi-era Breker sculptures. I find all this kind of thing quite interesting. For example, I really like the TV series Selling Hitler, about the faked Hitler diaries…
Ha! I’m listening to this in the car driving to work and what should come on as track number three? ‘Superstar’, which I listened to only yesterday, on the Carpenters 1971 album.
This is actually surprisingly good. I came to know of Midler’s musical side – having vaguely been of aware of it all along – thanks to a collaboration with Tom Waits:
And whilst that’s a wonderful song, and a terrifically fun slice of musical theatre, it didn’t make me rush out and explore Midler’s music. In fact I much prefer Waits’ work with Crystal Gayle, on the OST album that accompanies Francis Ford Coppola’s bizarre movie, This One’s From The Heart.
But here we find Midler in the company of all sorts of folk, from a pre-solo career Barry Manilow, to Miles’ alumni, Ron Carter, on bass. I found out, via Facebook, that Carter was actually depping for Milt Holland.
The material is pretty varied, and mostly very good. The first real bump in the road, and what I’d feared the whole thing might be like, is The Leader Of The Pack…
Bette at The Continental, ‘72.
I found this on rhino.com:
It was in the early 1970s when Midler began to cement her legend with a gig at the Continental Baths, a notorious gay bath house where her piano accompanist was none less that [sic] future fellow legend, Barry Manilow. He would go on to produce Midler’s first solo album, The Divine Miss M, released in December 1972. The rest truly is history.
The Carpenters are a funny ol’ proposition. Essentially a wet dream of a family talent show duo, gone platinum, and then gone wrong.
Richard and Karen Carpenter.
Both immensely talented on their primary instruments, piano and drums. Both good singers. Well, one good, the other exceptional.
I’m not that enamoured of Richard’s songwriting, to be honest. He’s kind of goofy, rather square. Like that haircut. And, most notably on his own compositions, always showing off his accomplishments.
They’re best when they let Karen take the vocal lead, and play very strong material. So doing Bacharach and David is clearly going to work. And there are lots of other great individual songwriters and teams – Nichols and Williams, for example – that help them really shine.
Superstar and Druscilla Penny, which come in that order, are an interesting pair, and make an intriguing counterpoint: Superstar is the more earnest Karen lead number. Druscilla is Richard showing off and coming off rather naff. Both ostensibly deal with groupies. Karen sings from the perspective of the groupie, as sad sophisticate, whereas in Druscilla Penny Richard mocks the silly or unfortunate Pop Chick.
Neither are the albums best. But Superstar is nearer the better end. Druscilla Penny, like Saturday, is more of a ‘hey, don’t forget I’m here’ period piece, Richard grinning and waving from behind his keyboards.
On track right, The Dick Carpenter/Bettis team turn in the much better ‘One Love’. Which is also much more in keeping with the vibe of the best of the album.
Rainy Days And Mondays and Let Me Be The One are two of the real standout cuts. Both are from the Nichols/Williams team. Makes me wonder, ought I perhaps check this out:
Might be worth checking this out?
The Bacharach/David medley is good. Very good, in parts. But it’s got the feel of something they’d do live; a crowd-pleaser. On the more home-based and personal/reflective album format, it feels a bit rushed. I’d rather have heard them spend a bit longer on each piece. A suite, perhaps, rather than a patchwork medley?
Other great tracks include For All We Know, and Sometimes… tender and melancholy. For me that’s what the Carpenters do best. Some folk call it cheesy. I think it’s utterly gorgeous. Truly beautiful.
A little bit of under-body plastic trim – protecting some cables (brakes?) – had come loose. It was flopping about. Attracting unwanted attention, and causing worries.
I’ve tried to find proper clips. But neither Wilco nor Euro Car Parts do ‘em. Halfords do. But they’re not stocked locally.
The sole remaining point of attachment.Cable-tie, as temporary fix.
I just hope the cable/tie holds until it can be fixed properly?
After: plastic guard back in its proper place.
I found this, which is a Halfords product I might need…
I kind of like Aaron Eckhart, aesthetically. I recall enjoying seeing him as Doolittle in Midway. I saw this, Chief of Station, on Amazon Prime, and thought ‘why not?’
That’s a good face.
Unfortunately the story is layer upon of layer of nonsense. As is the general rule for this kind of cloak n’ dagger stuff. At least the ol’ James Bond stuff had a bit of style. This, alas, is really just too basic/formulaic.
Sexy assassin…
It is, I suppose… aargh, shoot… rather like the by the numbers team that put this together, I can’t be bothered!
Branca, he’s English. Inevitably, the villain.
Truth be told, this is perfunctory. It’s watchable. Just. I made it through. But only just. Fortunately there’s just enough action to make it watchable. But no, I wouldn’t recommend it.
