Classic Movie Themes: The Taking of Pelham One Two Three
The Taking of Pelham One Two Three, is possibly one of the best thrillers of the Seventies. Not only does this underground heist movie have a well-crafted screenplay filled with hard-boiled dialogue and dry quips, it also features a cast of quality character actors, such as Walther Matthau, Robert Shaw and Martin Balsam. It also boasts a superb score by composer David Shire. This embellishes the film, underpinning the key dramatic and action sequences. Over the years The Taking of Pelham One Two Three soundtrack has become very popular with collectors and fans.
The Taking of Pelham One Two Three, is possibly one of the best thrillers of the Seventies. Not only does this underground heist movie have a well-crafted screenplay filled with hard-boiled dialogue and dry quips, it also features a cast of quality character actors, such as Walther Matthau, Robert Shaw and Martin Balsam. It also boasts a superb score by composer David Shire. This embellishes the film, underpinning the key dramatic and action sequences. Over the years The Taking of Pelham One Two Three soundtrack has become very popular with collectors and fans.
Shire uses serial techniques and a funky multicultural rhythm section for the main theme. The twelve-tone composition method creates an unusual, somewhat dissonant melody. It is brass heavy with a healthy dose of electric piano. This was often the instrument of choice of that other great composer of the time, Lalo Schifrin. The overall style is intended to evoke the bustle and diversity of New York City, with it pounding rhythm. Shire received two Grammy nominations for his work on the film. Here are both the opening and closing variations of the central theme from the film, for your enjoyment.
Spooks: The Greater Good (2015)
I'm not the first to say it but there is a distinct John Buchanesque streak running through Spooks: The Greater Good. Despite all the high-tech trappings we have grown accustomed to in modern day thrillers, this is still at its heart a “hero on the run” movie with sinister unseen forces hot in pursuit. This modest production never feels cheap, although it does lack a degree of polish and panache that we see in its contemporary. Yet it's sub John le Carré narrative provides a pleasant counterbalance to the budget action set pieces.
I'm not the first to say it but there is a distinct John Buchanesque streak running through Spooks: The Greater Good. Despite all the high-tech trappings we have grown accustomed to in modern day thrillers, this is still at its heart a “hero on the run” movie with sinister unseen forces hot in pursuit. This modest production never feels cheap, although it does lack a degree of polish and panache that we see in its contemporary. Yet it's sub John le Carré narrative provides a pleasant counterbalance to the budget action set pieces.
Director, Bharat Nalluri, shows off the London locations extremely well with scenes set in such locations as Heathrow, Waterloo Bridge, the West End and the ubiquitous Whitehall. There are plenty of sweeping panoramic shots of the city, highlighting the sharp contrast between old and new architecture. This plays well into the unfolding storyline which pits the old guard of the intelligence service against those forces that seek a different role within the modern world. These may not be the most original of themes but they play out well within the context of this franchise.
Kit Harington plays Will Holloway, a former operative who left the services under dubious circumstances. When a high-value terrorist, Qasim (Elyes Gabel) escapes custody during a routine handover, Will must team with disgraced MI5 Intelligence Chief Harry Pearce (Peter Firth) to track him down before an imminent terrorist attack on London. Pearce hints that all is not be as it may seem and that the entire situation may be subject to external manipulation. A stream of double crosses soon implies that Pearce is indeed right.
What surprised me the most about Spooks: The Greater Good was the producers decision not to pander to the mainstream and create yet more generic PG-13 rated action fodder. Spooks: The Greater Good has some tightly edited action sequences, complete with bullet hits and bloodshed. It may not be a return to the gritty era of The 3 Days of the Condor but it's a lot more satisfying than the sanitised content that passes for the Thriller genre these days. Then again Spooks (AKA MI-5) the TV show was not known for being tame. The Deep Fat Fryer incident from the original series still looms large in fans memories.
As with most quality spy films, the ambiguity of the government forces and the undercurrent of constant duplicity that makes the story engaging. It is pleasing to see Peter Firth, who appeared in every episode of the series, return as spy master Sir Harry Pearce, who suspects that British intelligence may well have gone rogue. He has always been the most compelling asset of the original franchise. Spooks: The Greater Good may not be a A-list movie but is far from disappointment. It entertains, without re-inventing the wheel and provides an acceptable appendix to the original show. I can think of worse legacies to leave.
Star Trek Online: Life After the Balance Changes
There has been a great deal of discussion on the STO subreddit about the recent balance changes. The subject has also been explored on numerous Tube videos over the last four weeks. As with any game, there’s a lot of technical jargon associated with the various systems and mechanics. Players also use a lot of acronyms and bespoke phrases when referencing content. Subsequently, there can be a steep learning curve to min-maxing and pursuing DPS in STO. Despite having regularly played since the Delta Recruit Event of May 2015, I still struggle to absorb all the subtleties of this MMOs. Certainly, the minutiae of the balance change are lost on me. However, I understand the obvious alterations and have no doubt in my mind that Space combat “feels” different.
There has been a great deal of discussion on the STO subreddit about the recent balance changes. The subject has also been explored on numerous Tube videos over the last four weeks. As with any game, there’s a lot of technical jargon associated with the various systems and mechanics. Players also use a lot of acronyms and bespoke phrases when referencing content. Subsequently, there can be a steep learning curve to min-maxing and pursuing DPS in STO. Despite having regularly played since the Delta Recruit Event of May 2015, I still struggle to absorb all the subtleties of this MMOs. Certainly, the minutiae of the balance change are lost on me. However, I understand the obvious alterations and have no doubt in my mind that Space combat “feels” different.
Unlike some players who go to extremes to experiment, I have broadly taken the path of least resistance with my ship builds in STO. I followed the recommended skills point allocation by the DPS league for tactical officers after that system was revised last year. I also stuck to the prevailing meta of Antiproton Beam Arrays when it came to weapons choice. I ensured that I used the most commonly referenced, consoles, traits and Bridge Officer skills. Overall this has served me well and I managed to reach a DPS parse of 34K. However, the recent thirty percent reduction in power of “Fire at Will” and the obsolescence of Embassy Plasma consoles has reduced my DPS by nearly half. Combat takes longer now and forces the player to think more strategically. I can no longer just rely upon brute force and ignorance.
Furthermore, the balance changes have been universal so NPCs are now more robust. Red Alerts can be more challenging, especially the Tholian invasion. On several occasions, I’ve been in a low DPS PUG which has resulted in the countdown timer expiring before the team has cleared all enemy vessels. The current Mirror Invasion Event can also be a bit of a slog, especially if the portals aren’t closed quickly and there’s an excess of Terran ships to dispose of. Due to the drop in DPS, I’ve been swapping out consoles and ship sets to see if I can improve the situation. So far, tactical and Lobi consoles seem to have a positive impact. Basically, anything that can boost damage, critical chance and severity is beneficial. However, on a positive note Beam Overload and Energy Siphon have been boosted. Pets now feel like they’re pulling their weight. I may also return to a torpedo or cannon based build, although success with these is still very much dependent on piloting skills.
In all fairness, I can’t really complain about the balance changes that Cryptic have implemented. STO has endured a set of meta builds for too long, resulting in a substantially overpowered player base. Those with very high DPS records, pursuing minmax excellence, have not been handicapped by this rebalance but instead have been present with an opportunity to explore a wider variety of builds. PVE remains relatively easy, allowing casual players to advance through the story arcs. Furthermore, the rebalance has meant that previously side-lined gear and equipment may well prove viable again. For players such as myself, I can continue with my low-level experimentation or simply wait for some generic builds to become established.
The Goon Show (1951-60)
The Goon Show is one of a handful of comedy shows that had a profound and unique impact upon the UK comedy scene, both at the time of its broadcast and over the preceding two decades. The creative and comic genius of its three main stars, Spike Milligan, Peter Sellers and Harry Secombe re-invented radio comedy and introduced a new form of audio slapstick through its surreal imagery. This concept was then taken further by the Monty Python team and The Goons legacy is still apparent today in artists such as Eddie Izzard and Tim Vine. Despite some aspects of the show that are a little dated, such as the musical interludes and cultural references, there is still much that is fresh and pertinent.
The Goon Show is one of a handful of comedy shows that had a profound and unique impact upon the UK comedy scene, both at the time of its broadcast and over the preceding two decades. The creative and comic genius of its three main stars, Spike Milligan, Peter Sellers and Harry Secombe re-invented radio comedy and introduced a new form of audio slapstick through its surreal imagery. This concept was then taken further by the Monty Python team and The Goons legacy is still apparent today in artists such as Eddie Izzard and Tim Vine. Despite some aspects of the show that are a little dated, such as the musical interludes and cultural references, there is still much that is fresh and pertinent.
There are many reasons why these radio shows are so enduring. Take for example, the timeless characters such as the drunken, lecherous, money grabbing Major Dennis Bloodnok. Then there’s the duplicitous, ex-public school, closet homosexual, Hercules Grytpype-Thynne. The immense range of voices and vocal gymnastics, particularly those provided by the great Peter Sellers are outstanding, often fooling the listener into thinking this was a much bigger production with a larger cast. For me, perhaps the most important aspect of the show is the surreal universe that it created. A world where a saxophone could cure a life-threatening illness, or a room in a country estate could vanish and reappear in a Parisian hotel. This was so innovative and radical for the times, pushing radio to its limits.
The Goons also smuggled a great deal of adult humour and political satire past the BBC censors of the time. Gay characters, drunken politicians and sexual dalliances where often cunningly alluded to. Spike Milligan often padded his scripts with obviously diversionary material that he knew would be cut, taking the focus away from the very material he wanted left in. The shows also offer an interesting window upon post war Britain and a nation coming to terms with the end of its empire. As usual the self-deprecating nature that permeates so much of UK humour was ever present. In some respects, The Goon Show was an act of national catharsis.
There is an arc to the lifespan of The Goon Show which becomes quite noticeable when listening to them chronologically. At the height of their popularity during the mid-fifties, the shows are clearly structured and have a semblance of coherency. This seems most apparent when Milligan was writing with Eric Sykes and the scripts edited by other noted writers within the BBC. By the end of the decade the shows had become too self-indulgent and sprawling in nature. The cast seem a little too enamoured of their own esoteric catch phrases and Milligan particularly had to be reined in. Sellers would often provide verbal cues such as pronouncing a character’s name slightly differently, as an indicator for Milligan to show restraint.
One particular episode that I am fond of is "Lurgi Strikes Britain". This was seventh episode of the fifth Series, first broadcast on November 9th, 1954 and it was also my first introduction to the show. It is a tale of a strange epidemic, Doctor's in dustbins, the state of the drains in Hackney and the airlift of thousands of wind instruments. It is a good example of the show when it was at its height, has a clear narrative and broad representation of many of the best characters. Comedy can be a very interesting litmus test of each generations popular culture. The Goon Show is a great example of this as well as being just bizarre, idiotic and crazy fun.
LOTRO: Going Off Map
One of the greatest attractions of LOTRO is the opportunity to explore Middle-Earth. Standing Stone Games have done a very good job of interpreting Tolkien's world, offering a rich and diverse environment. I often like to cross reference the in-game environment against such books as Journeys of Frodo by Barbara Strachey and The Atlas of Middle-Earth by Karen Wynn Fonstad. Whenever a new region becomes available, I always like to see what lore based references I can find there. Overall the Middle-earth featured in LOTRO is remarkably faithful to the source text, given the practical compromises regarding scale that have to be made.
One of the greatest attractions of LOTRO is the opportunity to explore Middle-Earth. Standing Stone Games have done a very good job of interpreting Tolkien's world, offering a rich and diverse environment. I often like to cross reference the in-game environment against such books as Journeys of Frodo by Barbara Strachey and The Atlas of Middle-Earth by Karen Wynn Fonstad. Whenever a new region becomes available, I always like to see what lore based references I can find there. Overall the Middle-earth featured in LOTRO is remarkably faithful to the source text, given the practical compromises regarding scale that have to be made.
Exploring is an integral part of LOTRO. The game itself offers a wealth of deeds rewarding the finding specific locations. In many respects exploration is a sub-game in its own right. Therefore, we should not be surprised that this particular aspect of LOTRO has its enthusiasts, who take their curiosity to the next level. The invisible walls, rivers and mountains ranges that the developers use to enclose regions and zone that are under development, are seen purely as challenges. Nothing more than obstacles to be overcome by some players, so they can access these obscure and off map places. There is always the hope that a secret will be discovered therein.
I wrote a recently about the abandoned graveyard near Bree and how it’s an example of a storyline that was dropped from the final release of Shadows of Angmar. Over its ten-year lifespan, LOTRO has gained several test areas as well as locations for quest lines that have been omitted from the game. Often these are behind obstacles or hidden from direct line of sight. I'm sure many of you may be familiar with the infamous (and now totally inaccessible) hidden hobbit village, west of the Ered Luin gate. There was a time when such places could be reached quite easily but over the years the Devs have taken steps to put them out of reach. Posts on the official forums, referencing going "off map" are closed promptly and such activities are discouraged.
Initially, back in the day of the Isengard test program, participants were encouraged by Turbine to test the maps boundaries and log any faults. This policy was never formally extended to the live servers. However, players being the curious bunch that they are, have naturally continued to do so and a sub culture has built up around it. Thus, there are players who will try and go anywhere, if it is possible, regardless of the complexity. I’ve heard of complex sequences of jumping that can take hours. Yet, the practice of going "off map" is not without consequence. Characters straying into these areas can become permanently stuck. There have also been instances of such incursions affecting the servers and localised roll backs having to be carried out.
Despite the dangers and the risk of incurring the wrath of Standing Stone Games, players still continue to explore the game environment to the full. Irrespective of the rights and wrongs of such activities, it certainly makes for some very interesting screen captures and provides a new insight into the games development. I have collated a small collection of “off map” images. None of these screen captures were taken by myself and due to the controversial nature of such activities, I will not credit the sources. I am simply referencing information that is publicly available on the internet and am not endorsing one way or the other, the practice of going "off map".
Roger Moore (1927 – 2017)
Being a child of the seventies, Roger Moore was the James Bond that I grew up with. I was acutely aware of my parent’s generations antipathy towards him, as well as the endless and possibly unjust comparisons with Sean Connery. However, the younger fans embraced him so over the course of seven movies, Moore’s Bond broke all previous box office records. Furthermore, as each successive film in the franchise got bigger and became more of a caricature of itself, Moore tempered this with his self-deprecating humour and quips. His trademark cocksure performances and easy going charm was exactly what UK audiences needed. At a time when the country was losing its way in the world, both politically and economically, Roger Moore still effortlessly maintained the image of the suave, cool and droll English gentleman.
Being a child of the seventies, Roger Moore was the James Bond that I grew up with. I was acutely aware of my parent’s generations antipathy towards him, as well as the endless and possibly unjust comparisons with Sean Connery. However, the younger fans embraced him so over the course of seven movies, Moore’s Bond broke all previous box office records. Furthermore, as each successive film in the franchise got bigger and became more of a caricature of itself, Moore tempered this with his self-deprecating humour and quips. His trademark cocksure performances and easy going charm was exactly what UK audiences needed. At a time when the country was losing its way in the world, both politically and economically, Roger Moore still effortlessly maintained the image of the suave, cool and droll English gentleman.
Beyond the role of Bond, Roger Moore often found himself playing similar composite characters in big budget action dramas. Rather than complaining about such type casting he embraced it and always delivered what audiences expected. Movies such as Shout at the Devil, The Wild Geese and The Sea Wolves all have classic Moore performances. Yet in giving the public what they wanted, Moore was subsequently accused of lacking dramatic range. Moore even went so far as to exploit this misconception, as part of his signature self-effacing humour. “My acting range has always been something between the two extremes of raises left eyebrow and raises right eyebrow” as he famously said. Yet Moore definitely did have hidden depths and could deliver more than expected. In The Man Who Haunted Himself (1970) he gave possibly his best performance. North Sea Hijack AKA ffolkes (1980) also saw him play the opposite of Bond. He even showed a flair for comedy, satirising himself and 007 in The Cannonball Run (1981).
Outside of the world of cinema, Moore was a great raconteur and the embodiment of the English gentleman he so often played. He was introduced to the good work of UNICEF through his friendship with Audrey Hepburn and over the course of two decades lent his fame and lobbying power to numerous good causes, raising millions for charity. He was also a good and loyal friend to those that he knew and worked with. When stuntman Martin Grace and long-time double for Roger Moore was seriously injured while filming Octopussy, the actor regularly visited him in Hospital over the course of his recovery, despite still being tied up with ongoing post production for the film. Then of course, there are the anecdotes from fans that reiterate how accessible and considerate Moore was. One has understandably gone viral in the last twenty-four hours and has now reached the mainstream press. Quite rightly so. It is a lovely reminiscence as well as a fitting tribute to an iconic actor and tireless humanitarian. Thank you Roger Moore. For “keeping the British end up”.
Tweaks and Changes
Every now and then, I like to make changes to Contains Moderate Peril. Occasionally these will be cosmetic but most of the time they’re functional. For example, I recently stopped subscribing to Soundcloud and moved to a free account. This meant that most of the back catalogue of podcasts in the RSS feed were no longer available to play. I therefore removed the respective links from the podcast page as it’s not very professional to present readers with material that is inaccessible. As this had a knock-on effect on several posts I had written about specific podcasts, such as Brian’s Mordor or Bust Retrospective, I uploaded a few of the shows locally and embedded a suitable player.
Every now and then, I like to make changes to Contains Moderate Peril. Occasionally these will be cosmetic but most of the time they’re functional. For example, I recently stopped subscribing to Soundcloud and moved to a free account. This meant that most of the back catalogue of podcasts in the RSS feed were no longer available to play. I therefore removed the respective links from the podcast page as it’s not very professional to present readers with material that is inaccessible. As this had a knock-on effect on several posts I had written about specific podcasts, such as Brian’s Mordor or Bust Retrospective, I uploaded a few of the shows locally and embedded a suitable player.
While I’m on the subject of podcasting, I wrote recently about how I was sunsetting the Burton & Scrooge show and reinstating the Contains Moderate Peril podcast. Sadly, real life has conspired against me and I’ve had to put this project on the back burner for a while. It’s a shame as I still have ninety minutes of material recorded from 28th March but due to technical problems with Zencastr, the recordings are out of sync. My recent foray on Fiverr to have new logos designed for the show also ended badly. The graphic designer gave me his initial ideas then went walkabout and refused to answer my messages. I got my money back but the work remains incomplete and the project still outstanding.
Despite being a Squarespace customer since August 2015, I’ve only really scratched the surface of the functionality that is on offer. Although I like the template I use for the site, it doesn’t easily allow readers to search and access older material. Hence a few months back I added the related posts footer to each post with four thumbnails of similar content. Unfortunately, there is no global way to do this so I have to manually trawl through the blog and amend every post individually. However, adding this functionality has had a serious impact upon traffic and stats. It would appear that readers will look at related material and find value in it. Therefore, as of today I’ve added a link to a blog archive page at the top of the site. This page features a monthly calendar to check back through all previously published posts.
Finally, May has come round once again but sadly no one has decided to take onboard the Newbie Blogger Initiative, so it would appear that this event has come to an end. I guess there’s no point crying over spilt milk, so it’s time to move on. I still intend to write every day this year and take a great deal of pleasure from doing so. My ambitions to increase the audience for Contains Moderate Peril appear to be working. Monthly viewing stats are up and the readership is growing. Apart from the tweaks and changes discussed, the overall strategy is to keep publishing posts and letting the existing body of work do the rest of the work. Over half the site’s traffic comes from Google searches that find older articles. If that isn’t sufficient motivation to keep writing, then I don’t know what is.
Becoming Bond (2017)
Becoming Bond is a curious documentary in so far as it’s totally dependent on whether the viewer believes the story that George Lazenby tells. Because George is obviously a well-practised raconteur one gets the impression that many of the anecdotes and vignettes he recounts have been embellished for artistic effect. He has that easy going, informal Australian charm and frequently smiles ironically, as director Josh Greenbaum, quizzes him off camera over the voracity of his tale. Mr. Lazenby also treads that fine line between being a likeable rogue and a bit of a dick, especially when he focuses on his youth. Yet he broadly keeps to the right side of this and maintains the audiences’ good will.
Becoming Bond is a curious documentary in so far as it’s totally dependent on whether the viewer believes the story that George Lazenby tells. Because George is obviously a well-practised raconteur one gets the impression that many of the anecdotes and vignettes he recounts have been embellished for artistic effect. He has that easy going, informal Australian charm and frequently smiles ironically, as director Josh Greenbaum, quizzes him off camera over the voracity of his tale. Mr. Lazenby also treads that fine line between being a likeable rogue and a bit of a dick, especially when he focuses on his youth. Yet he broadly keeps to the right side of this and maintains the audiences’ good will.
As he recounts his life story from his impoverished youth in Australia, to his days as a car salesman then a male model, the vignettes play out as an episodic drama. Josh Lawson (Superstore, House of Lies) plays Lazenby and there are several high-profile cameos from the likes of Jeff Garlin as Bond movie producer Harry Saltzman, former Bond Girl Jane Seymour as George's agent. These scenes usually have a comic tone, which at times come dangerously close to undermining the credibility of George’s story. Yet as soon as the narrative approaches such a tipping point, it’s reined in with a smile and a nod from Mr. Lazenby. There’s also a curiously melancholic streak in the proceeding with a reoccurring tale of a love lost.
George Lazenby is certainly not afraid of sharing his faults, making no attempt to dodge some of the less edifying aspects of his life and personality. He is also candid about his perceived arrogance which may be more of a failure by others to understand and appreciate Australian cultural foibles. When the story finally arrives at 1968 when Eon Productions were recasting the role of Bond, things become a lot clearer. Lazenby simply didn’t fully appreciate the consequences of taking onboard the most prodigious movie role of the time. He approached it in good faith and seemed to have fun making the actual film, yet he couldn’t cope with the requirements of stardom both leading up to and after the shoot. Certainly, the slave contract he was offered by Saltzman and Broccoli was iniquitous and would have driven any sane actor mad.
By the end of Becoming Bond, although I cannot say that I was fully conversant with the exact reasons why this man walked away from a six-movie contract and a million pounds in cash, I had a good idea. George Lazenby just wanted to be himself and not forever in the shadow of James Bond. Curiously enough, the late Roger Moore felt quite the opposite but that’s folk for you. No two are exactly alike. I genuinely felt sorry for the way that Lazenby was effectively hounded out of the movie industry, never having been a fan of closed shops or those with a strangle holds over certain businesses. Yet he found contentment in real estate, subsequently raised a family and seems to have come to terms with it all. Whether it all played out the way he tells it is debatable but he certainly offers viewers an entertaining autobiography to consider.
Valkyrie (2008)
In terms of its production values, Valkyrie is a throwback to the big budget war films of the sixties and seventies. However, that is where the similarities end. This is not a stylised action movie with the Nazis simply as a dramatic foil. Valkyrie focuses on facts, narrative and performances. Director Bryan Singer ensures that the true story that the film depicts is driven by the central characters. Overall Valkyrie is a very laudable production and although not an outstanding feature film, it is competently made, broadly historically accurate whilst and entertaining.
In terms of its production values, Valkyrie is a throwback to the big budget war films of the sixties and seventies. However, that is where the similarities end. This is not a stylised action movie with the Nazis simply as a dramatic foil. Valkyrie focuses on facts, narrative and performances. Director Bryan Singer ensures that the true story that the film depicts is driven by the central characters. Overall Valkyrie is a very laudable production and although not an outstanding feature film, it is competently made, broadly historically accurate whilst and entertaining.
The story manages to be genuinely suspenseful and conveys the magnitude of the plotter’s intentions. It efficiently follows the facts and is not side-tracked by superfluous sub plots or needless human drama. It clearly shows the real threat to families of the protagonists and conveys the paranoia of the German High command. Valkyrie assumes that the audience has an adequate knowledge of wartime events and does not make the mistake of trying to show why Hitler should be killed. Nor does it make the traditional Hollywood mistake of trying to render the complexities of wartime politics, down to “good Germans versus Bad Nazi”.
With regard to Tom Cruise, I’m not at all interested in his star status, his personal life or his religious beliefs. I have enjoyed his performances in several films in the past and he does not disappoint as Klaus von Stauffenberg. The rest of the ensemble cast works very well. Bill Nighy, Tom Wilkinson and the dignified Terence Stamp are all on top form, although a little underused. Eddie Izzard further demonstrates his acting talents. It should be noted that the mainly British cast do not attempt any stereotypical German accent but rather opt for neutral dialogue delivery.
Technically, the production design is accurate and authentic. The film manages to convey an atmosphere of a nation losing a war and an “ideology” that has become tarnished. The dilemma of whether to hedge your bets or endeavour to change an impossible situation, is explored efficiently and in a thought provoking way. Valkyrie remains as politically neutral as it can and strives to show career soldiers unhappy with the regime they see as betraying their country. They wish to prove that Germany and Hitler are not the same thing.
It is interesting to see a studio tackle a story that, despite its inherent drama, has an outcome that is a forgone conclusion. Like Ron Howard’s Apollo 13, the need to engage the audience with the fate of the characters is the key to the film’s success. I must admit that I was engrossed in Valkyrie and managed to disconnect my mind from the inevitable ending. However, due to the lack of historical knowledge among so many of today’s viewing public, perhaps this isn’t such an issue. May due to the march of time, the events depicted in Valkyrie may well have less impact. None the less Valkyrie is a competent and polished movie as well as a welcome change from standard multiplex fodder.
The Silmarillion Movie
When Peter Jackson finished filming The Hobbit trilogy, there was some idle speculation by fans as to the possibility of a movie adaptation of The Silmarillion. It was meant mainly as a talking point, rather than a serious proposition and there certainly was an enthusiastic response from some quarters. Three years on, the fantasy genre is still a commercially successful genre both at Cinemas and on TV. Furthermore, production studios are regularly looking to existing literary properties that they can convert into viable long term franchises. Bearing all this in mind, is it possible that Tolkien’s complex mythopoeic work could be adapted for either the big or little screen?
When Peter Jackson finished filming The Hobbit trilogy, there was some idle speculation by fans as to the possibility of a movie adaptation of The Silmarillion. It was meant mainly as a talking point, rather than a serious proposition and there certainly was an enthusiastic response from some quarters. Three years on, the fantasy genre is still a commercially successful genre both at Cinemas and on TV. Furthermore, production studios are regularly looking to existing literary properties that they can convert into viable long term franchises. Bearing all this in mind, is it possible that Tolkien’s complex mythopoeic work could be adapted for either the big or little screen?
Although it is theoretically possible to make either a movie of TV show from the source material, the likelihood of such a project coming to pass is very remote. Hollywood studios are very risk averse, especially towards material that cannot be easily defined and pitched at the broadest demographic. Even if The Silmarillion were to be championed by a major director, there is no guarantee that such a project would be immediately green lit. Hollywood heavy weights such as Steven Spielberg and Martin Scorsese have fallen foul of this policy recently. However, if a Silmarillion adaptation could secure financing, let us consider some of the other potential obstacles that would have to be addressed before the project could move forward.
First, there is the fundamental issue of the rights to The Silmarillion, which are not included in those currently held by Middle-earth Enterprises. I think the Tolkien estate would move heaven and earth to block such a project from progressing, as Christopher Tolkien has made his views very clear on the existing movie adaptations of his father's work. He abhors what he sees as the Disneyfication of the source material. Therefore, this is an issue that cannot be addressed during his lifetime. Whether the heirs to the estate would think differently remains to be seen.
Then there is the source text of The Silmarillion itself, which would be would be extremely difficult to adapt and market to a mainstream audience. It would require considerable restructuring and frankly a lot of dumbing down to make an accessible narrative. It is episodic by nature with an excess of characters and explores a great deal of abstract concepts. There are certainly passages of the text that would make epic set pieces but overall the narrative does not support the traditional three act story arc that cinema prefers.
This then raises the question, rather than a series of movies, would a high budget cable show such as Game of Thrones, be a more suitable medium to showcase The Silmarillion. Either way, a live action adaptation would require a prodigious budget. Considering the philosophical and theological elements to the text, perhaps live action is not the best approach to adapting the work. Would the medium of animation be more appropriate? By this I do not mean mainstream CGI but something more traditional such as cel animation or perhaps some experimental stop motion method?
Then there is the risk that any adaptation may be usurped and extrapolated into something very different from Tolkien’s vision. Tolkien was a devout Catholic although this is not immediately obvious in his works. He also deplored the use of allegory as a literary device. There is a chance that whoever adapts The Silmarillion could colour it with their own personal religious, moral and philosophical baggage and make it into something that it is not. I would hate to see something as cerebral as this book, distilled into a clumsy and misplaced metaphor to be championed by the wrong sort of Christian institutions. The Silmarillion deserves better than that.
If we still consider such a project in movie terms, then it would require director of immense cinematic skill and vision. Peter Jackson, although visually talented, is not the film maker he was a decade or two ago. He is too big a name, too commercial and now appears to exhibit a degree of self-indulgence that often comes when directors become celebrities. Personally, I think his better work is now behind him. A true visionary would be required for The Silmarillion movie but these are a scarce commodity these days. Kubrick, Kurosawa and their like are long dead, so who exactly does that leave? Guillermo del Toro, Bong Joon-ho or Alfonso Cuarón?
As you can see, these are just a few potential problems that would plague such a project. Furthermore, it can be cogently argued that just because you can do something, it doesn't mean that you should. The Silmarillion may well be unfilmable in any meaningful way and to attempt to do so may well be disrespectful to the source text. Unfortunately, film makers and especially their financiers seldom understand such concepts and often end up debasing great literary works in pursuit of the lowest common denominator and box office gold. The Silmarillion was intended by its author to be a book and nothing more. Does it really need to exist in any other way?
Classic Movie Themes: The Bride of Frankenstein
Franz Waxman's score for James Whale's The Bride of Frankenstein is as iconic as the movie itself. It has a weird and haunting quality to it with its three distinctive themes: one for the Monster; one for the Bride; and another for Pretorius. With only a modest twenty two piece orchestra , the score was recorded in a single nine hour session. Universal recycled many elements of the music in other productions over the years, most notably in Flash Gordon's Trip to Mars. This has led to it becoming an accepted part of popular culture and synonymous with spooky castles and baroque electrical equipment. It has aged remarkably well over the years and is still very evocative.
Franz Waxman's score for James Whale's The Bride of Frankenstein is as iconic as the movie itself. It has a weird and haunting quality to it with its three distinctive themes: one for the Monster; one for the Bride; and another for Pretorius. With only a modest twenty two piece orchestra , the score was recorded in a single nine hour session. Universal recycled many elements of the music in other productions over the years, most notably in Flash Gordon's Trip to Mars. This has led to it becoming an accepted part of popular culture and synonymous with spooky castles and baroque electrical equipment. It has aged remarkably well over the years and is still very evocative.
Filled with strange, sweeping yet disquieting melodies and unusual timbres, it was an extremely ambitious soundtrack for a movie at the time. Waxman's music for The Bride of Frankenstein provided the movie with the impact and sweep of a Wagnerian opera, although the finale recalls the Mahler "Symphony No. 2". The "crucifixion" of the monster, the homunculii of Doctor Pretorius and the "birth" of the Bride are magnificently embellished by the subtleties of the score. Seldom has a movie score been so integral to the overall success of the film. Franz Waxman's score remains the epitome of atmosphere and craftmanship.
Death Sentence Unrated (2007)
Urban vigilantes have always been a mainstay of exploitation cinema. Then in 1974, the commercial success of Death Wish brought the revenge thriller sub-genre in to the mainstream. It succinctly tapped into the public's fear of urban decay, escalating crime rates and an impotent justice system. However, in recent years the tide of lawlessness has broadly turned and the public's views on crime and punishment have been tempered. Subsequently the appeal and relevance of vigilante genre has waned. However, a decade ago there was brief resurgence of movies that tackled this thorny issue, although they did so in different ways. Neil Jordan's The Brave One (2007) pursued a more cerebral approach to the genre, attempting to intellectually or philosophically justify its themes of revenge. Then in 2009, Law Abiding Citizen, took the theme of retribution to extreme levels, with a farfetched plot and outrageously contrived death scenes. Sitting in-between these two movies was James Wan’s Death Sentence, which put a contemporary spin on what was essentially a very eighties style of movie. Sadly, the film did not garner much attention at the time, with the press quick to dismiss it as exploitation fodder dressed up in studio trappings. Yet the film is more than that mainly due to the lead performance by Kevin Bacon.
Urban vigilantes have always been a mainstay of exploitation cinema. Then in 1974, the commercial success of Death Wish brought the revenge thriller sub-genre in to the mainstream. It succinctly tapped into the public's fear of urban decay, escalating crime rates and an impotent justice system. However, in recent years the tide of lawlessness has broadly turned and the public's views on crime and punishment have been tempered. Subsequently the appeal and relevance of vigilante genre has waned. However, a decade ago there was brief resurgence of movies that tackled this thorny issue, although they did so in different ways. Neil Jordan's The Brave One (2007) pursued a more cerebral approach to the genre, attempting to intellectually or philosophically justify its themes of revenge. Then in 2009, Law Abiding Citizen, took the theme of retribution to extreme levels, with a farfetched plot and outrageously contrived death scenes. Sitting in-between these two movies was James Wan’s Death Sentence, which put a contemporary spin on what was essentially a very eighties style of movie. Sadly, the film did not garner much attention at the time, with the press quick to dismiss it as exploitation fodder dressed up in studio trappings. Yet the film is more than that mainly due to the lead performance by Kevin Bacon.
Loosely based on the Brian Garfield novel, Death Sentence starts with successful risk analyst Nick Hume (Kevin Bacon) taking his eldest son to his Hockey match. A chance stop at a Gas Station on the wrong side of town, ends with his son being murdered by a gang. The impact upon the Hume family is immediate and as the parents grieve for their eldest, they seem to overlook the needs of their youngest son. When the perpetrator is arrested, the DA feels that he cannot secure a life time conviction and aims to plea bargain for a shorter sentence. Furthermore, it becomes apparent that robbery was incidental and the murder of Hume’s son was a gang initiation ritual. At the pre-trial hearing, Hume deliberately implies uncertainty in his own evidence, securing a dismissal for the prime suspect. Hume then rashly plots and hastily carries out his revenge, only to make matters far worse for himself and his family.
Although Death Sentence is a thriller with strong action scenes, it does not totally capitulate to the baser needs of the genre and tries to explore the subject matter with a degree of rigour. Kevin Bacon is credible as a man whose job is based around numbers, risk and statistical balance. Although he may not know how to fight, his intelligence makes him a dangerous wild card. Yet, where other movies would simply have him glibly triumphing over his foes, director James Wan shows that there are consequences to his actions. Hume makes several errors that allow the gang to identify him. Tragedy begets tragedy and retributions comes with little satisfaction. It is here that Bacon excels, delivering a credible and sympathetic performance as a man out of his depth, driven purely by his convictions.
Technically, Death Sentence is well constructed. There is a notable chase scene that takes the audience through litter strewn alley ways, a restaurant kitchen, ending in a multi-storey carpark. There is a superb three-minute tracking shot by cinematographer John R. Leonetti, that really places the viewer in to the middle of the action. The set pieces are also well conceived and gritty. Nick Hume is an academic, not a fighter, yet he’s smart enough to use what is available as make shift weapons. In one scene, he literally pulls the rug out from under a gang member pointing a gun at him. The violence is relatively realistic and grim, which is appropriate given the subject matter. There is a particularly nasty shotgun amputation, which trumps a similar scene in Steven Seagal's Out for Justice. An obvious homage to Taxi Driver is also crow barred into the proceedings. One particular aside amused me, where our Hume familiarises himself with the firearms he bought by reading the manual. It not as preposterous as it initially seems.
Death Sentence also benefits from an interesting supporting performance from John Goodman, playing against established preconceptions, as a sleazy gun dealer. His slow and measured delivery of his lines is entertaining and he has an amusing soliloquy about the death, revenge and cash paying customers. Garrett Hedlund has less to do as the story’s main antagonists, Billy Darley. The complex relationship he has with John Goodman is only hinted at and would have been an interesting angle to explore further. Too often, genres such as this coast somewhat when defining their villains. It is easy and convenient to establish a character’s evil intent simply by them committing an act of violence. Similarly, most of the gang are merely cannon fodder. Also, Detective Jessica Wallis (Aisha Tyler), who is investigating the Hume case, is more of a expositionary device than a fully rounded character.
However, despite some rough edges and lazy trappings from the exploitation genre, Death Sentence still manages to do something sufficiently different. It certainly is not meant to be a serious social or political study of crime and punishment. Conversely, it’s not a tacit endorsement of personal justice, like Michael winner’s movies. It offers a contemporary entry point into the vigilante genre for a whole generation of viewers who are unfamiliar with movies such as Death Wish or The Exterminator. It also showcases a change of direction for James Wan, who is usually associated with horror movies. Out of the two cuts of the film that are available, I would suggest that the unrated version is better than the theatrical cut. In this instance, there is no extra action or violence. Just five minutes of additional scenes that bolster the narrative. A nominal change made to the final scene also offers a definitive and sombre ending.
City of Vice (2008)
After recently catching up with Ripper Street, I felt the need for more period set crime drama so decided to revisit City of Vice. This Channel 4 series from 2008 explores the true story of Henry and Sir John Fielding, the crime-fighting magistrate brothers who created Britain’s first police force. Eighteenth century London was a violent den of brothels, murderers and street gangs. The city endured crime rates of epidemic proportion. It fell to Henry Fielding, the author of the novel Tom Jones and his half-brother Sir John, a leading social reformer, to bring order to the streets. In 1749 Parliament permitted the magistrate brothers to put together a small constabulary to clean up London.
After recently catching up with Ripper Street, I felt the need for more period set crime drama so decided to revisit City of Vice. This Channel 4 series from 2008 explores the true story of Henry and Sir John Fielding, the crime-fighting magistrate brothers who created Britain’s first police force. Eighteenth century London was a violent den of brothels, murderers and street gangs. The city endured crime rates of epidemic proportion. It fell to Henry Fielding, the author of the novel Tom Jones and his half-brother Sir John, a leading social reformer, to bring order to the streets. In 1749 Parliament permitted the magistrate brothers to put together a small constabulary to clean up London.
City of Vice luridly shows that the criminal activity of contemporary London is nothing compared to the 18th century. Gangs of cut throats roam the streets, robbing, raping and murdering with impunity. Home invasions are common place. Prostitution and pedophilia are rife. The inequalities between the rich and the poor are starkly shown and crime was an unpleasant reality that many just accepted. Based on Henry Fielding’s diaries and contemporary sources such as the Old Bailey Sessions Papers, City of Vice is designed to provide a lurid counterpoint to rival period dramas. The world of Jane Austen is violently contrasted.
The lead performances by Ian McDiarmid and Iain Glen are strong and carry the stories well. The five episodes are suitably grim and have a very dour tone to them but given the subject matter there's no other viable way to portray them. Yet despite the nature of the series, it found favour with both critics and the UK audience, achieving nearly three million viewers. The Times described it as "an antidote to the current spate of twee costume dramas" and "more likely to resonate with cynical modern audiences". However, the exploration of certain subjects did not find praise from all quarters leading to complaints from Mediawatch-UK.
City of Vice has taken certain historical liberties for the sake of drama, as so many TV shows do but the basic historical premise is sound. It is interesting to see that human vice is universal and that it’s not just the product of the modern world. Furthermore, it is paradoxical that the judicial system of the time is seen to be equally as cruel as the criminal element that it seeks to eradicate. Overall this was a very good show, yet despite both critical acclaim and good ratings, there has not been a second series to date. The production costs were more than likely a contributing factor. Unlike other costume drama's there are no suitable Georgian slums that can be used for filming. So, for those who did not see City of Vice first time round, the DVD is recommended.
Contracting Out Work in LOTRO
I recently decided to focus upon crafting on my new Hunter. I’ve opted for the explorer professions on this character as refining raw material is always a good way of making in-game gold. However, over recent weeks I’ve focused on levelling and have not processed any wood or ore from the various zones that I worked through. Thus, last week I found myself in Eregion and I couldn’t mine any of the ore nodes or gather timber. If I wanted to progress, I had to consider the following options. I could return to the starter zones and farm the resources I needed then process them, unlocking the next levels. Or I could buy what stocks of wood and ore that I required from the auction house and again work through the crafting tiers. The first option didn’t really appeal to me and the second was dependent on stock levels of various resources on Auction House. So, after some thought I decided the best alternative was to contract out the gathering work.
I recently decided to focus upon crafting on my new Hunter. I’ve opted for the explorer professions on this character as refining raw material is always a good way of making in-game gold. However, over recent weeks I’ve focused on levelling and have not processed any wood or ore from the various zones that I worked through. Thus, last week I found myself in Eregion and I couldn’t mine any of the ore nodes or gather timber. If I wanted to progress, I had to consider the following options. I could return to the starter zones and farm the resources I needed then process them, unlocking the next levels. Or I could buy what stocks of wood and ore that I required from the auction house and again work through the crafting tiers. The first option didn’t really appeal to me and the second was dependent on stock levels of various resources on Auction House. So, after some thought I decided the best alternative was to contract out the gathering work.
Laurelin is a busy role-play server with a lot of new players. Many of whom are time rich and gold poor. The hyperinflation you’ll find in a decade old MMO, put’s new players at a disadvantage. As a longtime LOTRO player the one thing I do have is substantial gold reserves. Let it suffice to say that after a quick conversation in the trade channel, I secure three eager players who were happy to go to the various zones and farm ore, wood and hides for me. Within an evening, I had sufficient materials to unlock all processing tiers I required. The cost was 300 gold and a few class specific items that I had been stock piling for exactly such an occasion. The players I contracted went away content as they felt that they had been adequately rewarded and had gained XP while farming for me. All round, it was a “win, win” situation.
Having played LOTRO for years, although I still find a lot of the game’s arbitrary tasks enjoyable, some can be a little tedious. However, I must admit I had a lot of fun arranging this recent outsourcing of work. It reminded me of the halcyon days of LOTRO when raiding was still a big thing. I used to buy morale and power potions when they were cheap and then sell them high over the weekend when people would play through group content. I always found auction house speculation an amusing mini game and suspect that regular contracting out of gathering tasks may serve a similar purpose. Furthermore, isn’t this a classic example of so-called “emergent content” that stems from player interaction in MMOs? Although there may be a few purists who frown on such activities, I think you have to take your pleasures, where you find them, be it in LOTRO or any other MMO.
Tape 407 (2012)
I really won't be sad to see the back of the found footage sub-genre because it really is becoming an over saturated market at present. For example, at the last count there were six Paranormal Activity movies, with their respective quality inversely proportional to their number in the franchise. Yes, there are the occasional good ones, such as the recent Operation Avalanche, which tackled conspiracy theories and the Moon Landing. But broadly speaking, this genre has become a dumping ground for cheap and uninspired movies, by mediocre film makers, out to make a fast buck. Take for example Tape 407 (AKA Area 407). It’s chosen twist on the genre is the inclusion of included dinosaurs. I was hoping that this would make the film sufficiently different to others and offers something new. Predictably it did not.
I really won't be sad to see the back of the found footage sub-genre because it really is becoming an over saturated market at present. For example, at the last count there were six Paranormal Activity movies, with their respective quality inversely proportional to their number in the franchise. Yes, there are the occasional good ones, such as the recent Operation Avalanche, which tackled conspiracy theories and the Moon Landing. But broadly speaking, this genre has become a dumping ground for cheap and uninspired movies, by mediocre film makers, out to make a fast buck. Take for example Tape 407 (AKA Area 407). It’s chosen twist on the genre is the inclusion of included dinosaurs. I was hoping that this would make the film sufficiently different to others and offers something new. Predictably it did not.
Tape 407 starts aboard a plane with a motley collection of passengers travelling from New York back to Los Angeles. We meet film student Jessie (Samantha Lester) and her annoying younger sister Trish (Abigail Schrader), Journalist Jimmy (James Lyons) and irritable passenger from hell Charlie (Brendan Patrick Connor). After some rather pedestrian back story and character exposition the plane crashes in a somewhat remote desert region along its route. The survivors bicker and squabble and continuously talk across each other as they try to thrash out a survival strategy. One passenger goes looking for the other half of the plane. Screams and animal noises are later heard in the night. It quickly becomes clear that there are multiple predators on the loose.
There are brief flashes of inspiration in Tape 407, as well as a great deal of shouting and strident arguments conducted in a very American manner. It’s annoying and grating on the ear but certainly has a note of realism about it. The survivors slowly put aside their differences as they finally realise the magnitude of their predicament and attempt to work collaboratively. However, this aspect of the storyline is under developed and further hampered by a cast of characters I didn't really care for. Futhermore, the shocks are somewhat obvious, surprisingly understated and tame. As for the dinosaurs, which appear to be the result of a government experiment, precious little is seen. You simply can't skimp on plot device like this if it’s the movies selling point.
There's a fine line between being ambiguous and letting the audience fill in the blanks as opposed to allowing gaping plot holes. By the time I reached the end of Tape 407, I was annoyed by the lack of information, disappointed by the absence of carnivorous reptiles and thoroughly pissed off with the protagonists. The only worthy character, Air Marshall Laura (Melanie Lyons), was dispatched in a very mean spirited way. Mercifully the director opted for an appropriately downbeat dénouement so the remaining cast where subsequently killed off, offering an unexpected highpoint to a formulaic and unremarkable ninety-minute pot boiler.
I don't know whether budgetary restraints or simply the notion that less is more, where the reason the production was so shy of showing the dinosaur antagonists. If it was, then directors (Dale Fabrigar and Everette Wallin) intention to sideline them so they could focus on the human dynamics, was a very poor decision. Overall the slow pacing, noisy performances and frustrating characters as well as lack of action, torpedoes Tape 407. Viewers are left with a rather dull, predictable and lacklustre movie. I'd like to say that this will be the last found footage I'll be watching for a while but I have a suspicion that due to the cost effective nature of the format, they’ll be churning them out for a while yet.
Register to Vote
A third of registered voters in the UK do not vote in either Local or General Elections. Out of an electorate of approximately 46,200,000 that is 15,700,000. Yet despite this substantial group not participating, it is seldom covered or discussed in the media. It is usually just written off as “voter apathy”, implying that those who did not cast their ballot are feckless, lazy or stupid. Not only is this patently untrue, not voting has major consequences. If this group of people were engaged and voted in the upcoming general election, then it would have a tangible impact upon the results. By not voting you are effectively giving the next UK government carte blanche to ignore your interests and pursue their own agenda. As Leonardo da Vinci famously said, "Nothing strengthens authority so much as silence".
A third of registered voters in the UK do not vote in either Local or General Elections. Out of an electorate of approximately 46,200,000 that is 15,700,000. Yet despite this substantial group not participating, it is seldom covered or discussed in the media. It is usually just written off as “voter apathy”, implying that those who did not cast their ballot are feckless, lazy or stupid. Not only is this patently untrue, not voting has major consequences. If this group of people were engaged and voted in the upcoming general election, then it would have a tangible impact upon the results. By not voting you are effectively giving the next UK government carte blanche to ignore your interests and pursue their own agenda. As Leonardo da Vinci famously said, "Nothing strengthens authority so much as silence".
I fully understand why people do not vote and are generally exhausted with the state of UK politics. Political discourse at present is devoid of any depth, substance or intellectual rigour. It is rife with spin and soundbites. False and spurious narratives are driven home by the tabloid press and the subtle complexities of domestic and foreign policy are distilled down to bogus binary choices. Furthermore, the major parties are all beyond their sell by dates and they know it. However, the archaic first past the post voting system favours them and not the electorate, so you’ll more than likely not see a change in electoral procedure for a while. Plus, we also have an ageing population that still cleave to outdated tribal allegiances which also skews matters further. Simply put, UK politics is a mess, especially if you wish to see change driven my intelligent discussion and an ethical consensus.
However, we are now facing a major crossroads in UK history, with Brexit. Whether you voted for it or not is now arbitrary. The realities of our countries exit from the EU needs to addressed calmly and by those who can genuinely obtain the best deal for the UK. Therefore, whatever government is in power after 8th June, needs to be scrutinised and held to account over every stage of Brexit. Therefore, it is extremely important that as many people turn out and vote on election day as possible. You can choose to vote for a specific party is you feel that they are best suited for the job, or vote tactically if you feel that will achieve a better outcome. If you feel that none of the candidates from the major parties suit your needs, then look to the smaller interest groups. If you find yourself in a serious moral quandary over who to vote for, then you can always spoil your ballot or write “none of the above”. The number of spoilt ballots is always noted and at the very least you have undertaken your duty as a UK citizen and turned up to vote. It’s not your fault that all the candidates are an utter shower.
So, if you are not currently registered to vote in the UK, then I would urge you to do so now. You have until 11:59 PM on Monday 22nd May. You can either contact your local borough council, or register online via the government website. The process is straight forward and takes about five minutes. The only details you need provide are you name, full address (including postcode), date of birth and National Insurance number. You can choose to either go to the polling station on election day or vote by post if you prefer. If you choose not to vote then you are effectively throwing away the only leverage you have as a citizen. Politicians primarily care about remaining in office, thus have an interest in registered voters. It can also be cogently argued that if you don’t vote and subsequently do not like the policies that are implemented because they impact upon you adversely, then you brought it upon yourself. Don’t give the next government a blank. Register to vote and have your say, even if your say is just “sod off”.
The A-Team Unrated Extended Cut (2010)
Despite an excess of CGI driven action scenes, Joe Carnahan's reboot of the iconic eighties TV show The A-Team, still manages to capture elements of the original. The plans are complex but come together and there are improvised devices and munitions made from sundry items. Due to the strong cast, there is also a good dynamic between the lead characters. It's all very loud, incredibly stupid, yet surprisingly entertaining. Don't get me wrong, this far from a hidden gem. Merely an enjoyable, bombastic exercise in cinematic self-indulgence,
Despite an excess of CGI driven action scenes, Joe Carnahan's reboot of the iconic eighties TV show The A-Team, still manages to capture elements of the original. The plans are complex but come together and there are improvised devices and munitions made from sundry items. Due to the strong cast, there is also a good dynamic between the lead characters. It's all very loud, incredibly stupid, yet surprisingly entertaining. Don't get me wrong, this far from a hidden gem. Merely an enjoyable, bombastic exercise in cinematic self-indulgence,
The A-Team are now Iraq War veterans but the essential traits of the main characters are still there. Bradley Cooper takes to the roll Templeton Peck like a duck to water. Liam Neeson is suitably gruff as Hannibal Smith. But I actually found Sharlto Copley and Quinton Jackson as Mad Murdock and Bosco B.A. Baracus, to be the most absorbing protagonists. Although the script is hardly a masterpiece its greatest strength is the interplay among the team itself. Copley performance is strong and more than just arbitrarily quirky. Jackson also had more to do than just be a bad ass and I warmed to his storyline and personal conflict.
Another aspect of The A-Team that I enjoyed was at how at times, it felt like a throwback to sixties caper movies and a variation on the heist sub-genre. The humourous undertone also did a lot to make the over the top nature of some of the set pieces a little more palatable. The plot regarding stolen plates for printing bank notes, inter-governmental department duplicity and international globetrotting is self-indulgent and at times clumsily telegraphed for those who may have been napping. But when one considers the original TV show, that to was hardly an exercise in subtlety and restraint. Overall The A-Team is sufficiently different enough not to be just straight forward PG-13 action fodder.
The Unrated Extended cut of the movie runs eighteen minutes longer than the theatrical version and mainly contains longer scenes of plot exposition and dialogue, rather than violence. One action sequence does feature some additional footage of contract soldiers being shot whilst in their car, but it happens at night and is light on detail. There are some a few more instance of stronger language, as well. Full details of the differences can be found over at Movie-Censorship.com along with screen captures. The longer running time does make The A-Team a more rounded picture and therefore this is the cut I would recommend.
What is Your Favourite Bond Title Song?
There are many subjects that when mentioned will quickly start an argument. Who’s the best Doctor Who? (and it isn’t David Tennant), do Balrogs have wings? (no, read the text again) and of course that old chestnut, “Data or Spock?”. Then there’s the thorny issue of Bond film title songs. We now have twenty-four to choose from. Obviously, your age group and musical preferences will shape your opinion. As well as when you started viewing the franchise. I personally have very particular views on the subject, hence this post. So here for your edification are five of my personal favourites, each with a few thoughts about why they are of merit. Feel free to leave comments with your own opinions. I’m sure we won’t fall out over the matter. Unless you like Sheryl Crow.
There are many subjects that when mentioned will quickly start an argument. Who’s the best Doctor Who? (and it isn’t David Tennant), do Balrogs have wings? (no, read the text again) and of course that old chestnut, “Data or Spock?”. Then there’s the thorny issue of Bond film title songs. We now have twenty-four to choose from. Obviously, your age group and musical preferences will shape your opinion. As well as when you started viewing the franchise. I personally have very particular views on the subject, hence this post. So here for your edification are five of my personal favourites, each with a few thoughts about why they are of merit. Feel free to leave comments with your own opinions. I’m sure we won’t fall out over the matter. Unless you like Sheryl Crow.
First and in no order of preference we have Goldfinger. Composed by John Barry and with lyrics by Leslie Bricusse and Anthony Newley, this iconic song was performed by Shirley Bassey (although it was originally intended that Newley would record it). Like the film, it was a huge commercial success in both UK and US music charts. What can be said about this song, other than the fact that it personified the emerging Bond franchise at the time. Well it’s brassy and ballsy, plus Bassey's delivery of the lyrics is superb. The whole song just oozes sixties cool and has subsequently become indelibly associated with the series. Curiously enough, despite the songs success, Barry and Bricusse only collaborated on one further Bond title song.
Next, we have my first of our controversial choices, because technically this is not a song from one of the film, but from an 007 game. However, before you all start spitting tacks and writing to your duly elected representative, I would point out that Bloodstone was an officially sanctioned product. Plus I really like this track and it is my blog, so there! Being editor has to have some benefits. I'll Take It All written by Dave Stewart and Joss Stone and performed by Joss Stone herself, is a solid Bond title song that understands the idiom and legacy of the franchise. It is yet another example of how the gaming industry equals the production values of the movie business. I'll Take It All is smart, powerfully delivered and could easily have graced the title credits in one of the more recent Bond films.
1977 saw the release of the biggest Bond film to date, namely The Spy Who Loved Me. Nobody Does It Better, a power ballad composed by Marvin Hamlisch with lyrics by Carole Bayer Sager, was performed by Carly Simon. It was the first Bond theme song to be titled differently from the name of the film, although the phrase "the spy who loved me" is included in the lyrics. In some ways, this song is the complete opposite of Goldfinger, representing what Bond had become in the seventies. It is a very sexual and self-assured composition, verging on self-parody. Therefore, is perfectly enshrines the Roger Moore years and is also a damn fine song in its own right.
Here is another wild card. The 1969 Geroge Lazenby Bond film, On Her Majesties Secret Service, differed from most others by having an instrumental theme song, played over the titles. Composer John Barry opted to use more electrical instruments and crafted a slick instrumental based around a Moog synthesizer and under pinned by his peerless use of brass. This musical piece is both clever and stylish and certainly imbued this particular Bond outing with a subtly different ambience. But On Her Majesties Secret Service was not a typical Bond film and has in recent years been re-evaluated. It is more thoughtful and experimental, which is exactly what Barry brought to the table with his core and main theme.
Finally, we have a personal favourite of mine, You Know My Name. This intelligent, strong and enigmatic song performed by ex Soundgarden frontman Chris Cornell, fits perfectly into the title of the 2006 Bond reboot Casino Royale. Written by David Arnold and Cornell himself, it has always amazed me that the film’s producers allowed such an experimental (by Bond standards) approach to the title song. The song itself is oblique and somewhat discordant, yet it encapsulates the new Bond of the twenty first century. Gone is the smug caricature. We now have a song that explores the social isolation and the uncertainty of carrying a license to kill. This track perfectly complements Daniel Kleinman's opening credits and sets a new standard for the franchise.
Stunt Masterclass with Vic Armstrong at the BFI (2009)
From time to time, I trawl through the various content that I've archived from all my previous blogs and websites. During one such search, I recently found a post I had written in 2009 after attending an event at the British Film Institute. Stunt Masterclass with Vic Armstrong, was held on Saturday May 2nd of that year and I remember it being an especially interesting interview with the UK's leading Stunt Co-ordinator and 2nd Unit Director. The event was chaired by the writer Mark Salisbury and consisted of an in-depth interview followed by an audience Q&A session. Here's how I originally summed up the evening:
From time to time, I trawl through the various content that I've archived from all my previous blogs and websites. During one such search, I recently found a post I had written in 2009 after attending an event at the British Film Institute. Stunt Masterclass with Vic Armstrong, was held on Saturday May 2nd of that year and I remember it being an especially interesting interview with the UK's leading Stunt Co-ordinator and 2nd Unit Director. The event was chaired by the writer Mark Salisbury and consisted of an in-depth interview followed by an audience Q&A session. Here's how I originally summed up the evening:
Yesterday I had the opportunity to see one of the great names in the British film industry; namely Vic Armstrong. Veteran Stuntman/double, Stunt Co-ordinator and now leading 2nd Unit Director. Mr. Armstrong's extensive CV speaks for itself. The event was held by the BFI at their Southbank venue, as part of their ongoing season dedicated to Bond producer, Cubby Broccoli. The lecture was moderated by journalist Mark Salisbury.
Vic was informative, witty, and very down to earth. Completely the opposite to the public perception of stuntmen, fashioned by such Hollywood films as Hooper. He talked on how he got his break within the industry and those who were influential on his career. He had a wealth of anecdotes but never once strayed into "luvvies, darling" territory.
The session ran for a generous 100 minutes, with a selection of film clips, ending with questions from the audience. These were mercifully free from "fanboys", although an opportunist Dutch stuntman did offer Vic his resume, which raised a wry smile. The lecture also benefited from good moderation by Mark Salisbury. He asked pertinent questions and allowed Vic to express his views clearly. All in all, a very good event from the BFI. It was a shame it wasn't better attended.
I attended a lot of these sort of events at the time and frequently went with a colleague who would surreptitiously make an audio recording with a digital recorder. To cut a long story short I've managed to track down the original audio file and have posted it below. Sadly, the sound quality is not particularly good, although I have done my best to remove some of the background noise. I have also edited out the movie clips that were shown, as they were deafeningly loud. After eight year’s I still consider this one of the best events I have ever attended at the BFI. The interview offers a great insight in to Vic Armstrong's body of work and the way the film industry works.
The Decline of the British Front Garden
My parents still live in the house they bought when they got married in 1960. It’s three bedrooms, end of terrace house in a leafy suburb, in South East London. Built in the 1930 as family homes, the street is still predominantly populated by owner occupiers; mainly couples raising families. Yet there is one change that has occurred in my life time that is very noticeable. Over the last forty years the front gardens have all but vanished to be replaced with drives and other kinds of off road parking. Out of approximately a hundred homes in the street, at present only three still have a front garden in the traditional sense. My parent’s house is one of these but this is soon to change.
My parents still live in the house they bought when they got married in 1960. It’s three bedrooms, end of terrace house in a leafy suburb, in South East London. Built in the 1930 as family homes, the street is still predominantly populated by owner occupiers; mainly couples raising families. Yet there is one change that has occurred in my life time that is very noticeable. Over the last forty years the front gardens have all but vanished to be replaced with drives and other kinds of off road parking. Out of approximately a hundred homes in the street, at present only three still have a front garden in the traditional sense. My parent’s house is one of these but this is soon to change.
My Father gave up driving soon after he retired in the late nineties. Up until then he was always content to park his car in the garage that is at the rear of his property, at the end of the back garden. There is a connecting alley way that runs parallel to the road where he lives. However, over the years, many resident found that the pre-war garages were too small to adequately accommodate contemporary vehicles and many also wished to get rid of them antiquated building materials. Thus, over time, more and more households have elected to give up their front gardens and park directly outside their front door. It should be noted that in my parent’s borough, before you build your drive, you must first apply to the local council to have the kerb dropped in the street and the pavement outside your home replaced with asphalt.
Both my parents are now in their late eighties and disabled. My Father had two strokes last year and is dependent on twice daily visits by the district nurse. Health visitors, dieticians and physiotherapists regularly call, so after a family discussion it was decided to finally make the change and after fifty-seven years give up the front garden. Furthermore, to accommodate the dropped kerb, a tree on the grass verge will have to be removed. Technically, the road in which my parents live is an Avenue so it is allegedly supposed to be lined with trees. However, over the years many trees have gone as well as front gardens. Both these situations do not sit well with me. I appreciate the realities of modern life and the nature of change but the decline of the British front garden has wider effects, other than just encouraging nostalgia.
My parent's road circa 1983
Over the past decade, the number of front gardens in the UK with gravel or paving instead of grass has tripled, now making up a quarter of all houses, a survey for the Royal Horticultural Society shows. This change is a contributory factor to the increase in flash flooding seen in urban areas. Furthermore, the loss of vegetation and grass from our streets also impacts upon city temperatures. The artificial surfaces absorb and retain or reflect the heat, contributing to the Urban Heat Island Effect. There is also a tangible impact upon wildlife and wider biodiversity. Certain species can no longer find a viable habitat with so many gardens gone.
Then of course there is the social and community aspect of this matter to consider. During the seventies, my Mother spent many an hour maintaining the front garden, mainly for pleasure, as she’s always been a keen amateur gardener. However, she also ensured that the lawn and flower beds were in good order due to the prevailing social conventions of the time. I won’t arbitrarily write these cultural habits off as bad things. The street was a lot more pleasing to the eye due to residents Rose bushes and fruit trees. It wasn’t unusual for passers-by to stop and exchange pleasantries regarding a well moved lawn. All these incidental conversations and good will were beneficial for the local community. It brought people together and forged bonds between neighbours.
However, time and tide waits for no one and the proliferation of cars over the last forty years has forced change. There are currently more than 38 million licensed vehicles on the UK's roads. Fifty years ago, there were only 11 million. Estate agents will often cite that off-street parking is a selling point to potential buyers. In areas where parking is at a premium, it can add substantial value to a property. Plus, people need a storage area for their waste and recycling bins. This is especially true in our Borough as we have two wheelie bins and three recycling boxes to accommodate. Gardening has also been side-lined as leisure activity for many household now, due to increased working hours and alternative, less arduous pastimes. So, we simply have to endure the decline of the British front garden because, there doesn’t seem to be any practical means to bring them back. It’s a shame in many respects because I think the suburbs have lost more than just character as a result.
