Happy Birthday to me.

 

Nope movie review

 Watching Nope, I got the feeling that Jordan Peele was reacting to some of the criticism of Us being pretentious or having too much heavy-handed symbolism. The film now in theaters is much more focused on being a science-fiction thriller, and the themes present are a lot more broad and less at the forefront. I should be disappointed by this, since Us was one of my favorite films of 2019. But the saving grace of Nope is it's scope and pure entertainment value. I can see Peele using it to prove himself capable at helming larger genre films, given his effective handling of big effects and IMAX camerawork.

  The main attraction to me is the characters. Keke Palmer revels in the work she gets to do as an overeager sister, and plays a great foil to her brother OJ. Meanwhile, Steven Yeun has a lot of fun as a former child star named Jupe and Michael Wincott gets one of the films biggest laughs as cinematographer Antlers Holst.

 But the standout is Daniel Kaluuya, who has the hardest job of the ensemble. He needs to communicate a lot of information to the audience about his character without being direct. Watching the scenes where he's silent, I immediately understand why he acts the way he does and why he connects so much to his horses. It really is an incredible performance that I hope he gets proper recognition for.

 While Nope isn't a perfect film (there are some fakeout jumpscares I could've done without), it's still bound to be one of the highlights of my summer movie season, and I can't wait to see it again, mainly because I love these characters.

*** (out of 4)

Happy 35th Anniversary Sign "☮︎" the Times

 Thirty-five years ago today, my favourite Prince album was released.

 

Joker (2019) review

Authors note: Aside from the addition of the first three paragraphs and some minor revisions, this is the review of Joker that I posted on Facebook in October of 2019. Now that the film is one year old, I have decided to post it onto my blog.

On the night of October 3rd, 2019, I saw the second evening screening of Joker at the beautiful Oriental Theater. I had just gotten out of my Film Genres class, so I still had my backpack. Because of this, I had to have a security guard check it on my way in. I was mildly annoyed by this. I had heard stories about Warner Bros. barring press from the films premiere and had read their disclaimer put on most ticketing websites, and the whole thing felt very manufactured to me. A studio manipulating the news cycle to make their film seem more interesting. So at first, I wasn't buying it.

However, about half-an-hour into the 35mm screening, something strange happened. The sound cut out. This went one for about thirty seconds before I heard a voice behind me go "It's okay everybody. It's under control". Of course, it was just an employee informing us about the status of the projector, but I couldn't help looking over my shoulder like, "Wait, is something going to happen?". Luckily, nothing did. The problem was resolved and we started again from where the sound had cut out.

With Joker, Warner Bros. has successfully blurred the lines between real life and marketing. Is this a good or bad thing? Probably bad, but I can't deny its made for an interesting experience. Anyway...

If nothing else, I appreciate what Joker stands for in the context of a Hollywood comic-book movie. I like the idea that a filmmaker in the MCU era can take one of the most popular characters in fandom, strip that character to their basic roots, and reinvent them for a new genre. I know the "gritty reboot" aesthetic is basically a joke now (hell, there's an entire YouTube channel dedicated to parodying it), but "Taxi Driver starring the Joker with sprinklings of The King of Comedy" isn't the worst movie pitch I've heard. Granted, even in the most unforgiving circles of fans, the Joker has more leniency in adaptation changes because there is no set backstory for the mysterious clown.

At a glance, the film is agreeable enough. The seventies were one of the most visually rich times for cinema (yes, I know it takes place in '81) so the film, which prides itself on being inspired by that era of film, has a great attention to detail. It's always refreshing to see a superhero movie not set against the backdrop of a larger universe(or so we're told), and even though I would have been more excited if DiCaprio stayed on board (he would have been PERFECT), Joaquin Phoenix is a equally gifted and interesting actor worthy of taking up the mantle.

The appeal of the movie, both from what I got and why it's been such a success, is the throwback style. I love looking at this film. The lighting alternates between elegant and grungy, and the camera compositions are lovingly set-up. But the costume design, including a refreshing centerpiece costume not making use of the iconic green and purple color scheme, must not be overlooked, as well as an amazing soundtrack (score AND soundtrack).

But despite, or perhaps because of, the obvious technical competence on the stage, it never quite comes together. The film often falls victim to the bits where the film has to stop being it's own thing and has to remind us why we know who the Joker is at all, as if being a prequel was the only reason to justify its existence. At first it's handled well with the presence of Thomas Wayne, which is actually surprisingly clever, but an extended sequence featuring one of the most recognizable voices of the whole franchise tips it over.

I actually think I enjoyed the film more when I saw it at a digital screening at a Marcus theater instead of the 35 mm screenings now playing at select indie theaters, probably because it made the film seem less pretentious. Watching it at the Oriental made it seem like a gritty, Taxi Driver riff that never fully gets off the ground, but the digital screening makes it seem like a good example of a mainstream superhero movie.

Also, I know I'll get some flack for bringing this up, but elements of Joker's marketing build-up ended up seeping into how I interpreted the film, but not in the way you might expect. The week before it came out, director Todd Phillips (The Hangover trilogy, Due Date, War Dogs) gave an interview in which he blamed "woke culture" (sigh) on why he stopped making comedy movies. Now that's not a line of thinking I agree with, but on a more personal level, it's not a community I feel particularly welcome in. And later in the film when the Joker goes on a talk show (no spoilers) and rants that "...the system...decide(s) what's right or wrong the same way that you decide what's funny or not", it was impossible not to think of Phillips comments and roll my eyes.

Joker is well-made and endlessly interesting, but notably imperfect. The thing I like most about it that it opens the door for more unconventional comic book movies. Hopefully one that succeeds in being truly subversive.

My 22nd Birthday Playlist

I’m traveling home on my birthday this year, but I still wanted to do something. So, using a template that’s been trending on Twitter, I’ve made a playlist. Hopefully you will give it a shot.

Found at Nonesuch Records website.

1. “Raspberry Beret” by Prince & The Revolution

2. “One” by Aimee Mann

3. “Sometimes It Snows In April” by Prince

4. “(What’s So Funny ‘Bout) Peace, Love & Understanding” by Elvis Costello 

5. “Pictures of Matchstick Men” by Camper Van Beethoven

6. “Dancing with Myself” by Billy Idol

7. “Cowtown” by They Might Be Giants

8. “Mexican Wine” by Fountains of Wayne

9. “Sea and Sand” by The Who

10. “Please, Please, Please Let Me Get What I Want” by The Smiths

11. “Chicago” by Sufjan Stevens

12. “American Music” by Violent Femmes

13. “Movin’ On” by Bad Company

14. “Good Morning Good Morning” by The Beatles

15. “Baby, Now That I’ve Found You” by Alison Krauss 

16. “Dog Days Are Over” by Florence + The Machine

17. “January Hymn” by The Decemberists

18. “Dandelion” by The Rolling Stones

19. “Octopus’s  Garden” by The Beatles

20. “Macarena” by Los del Rio

21. “Coracao Vagabundo” by Caetano Veloso

22. “Buddy Holly” by Weezer

23. “Manic Monday” by The Bangles or Prince (take your pick!)

24. “Christmas Wrapping” by The Waitresses

25. “(I’ve Had) The Time of My Life” by Bill Medley and Jennifer Warnes

26. “Let’s Hear It for the Boy” by Deniece Williams

27. “James K. Polk” by They Might Be Giants

28. “The Tears of a Clown” by Smokey Robinson and The Miracles

29. “Short Skirt/Long Jacket” by Cake

30. “Both Sides Now” by Judy Collins

31. “June Hymn” by The Decemberists

Photography #1

A bloody lunatic, he'll even carry your bags. What "Bell Boy" actually says about Keith Moon

The album Quadrophenia is a favorite among fans of The Who, and for many, a highlight is "Bell Boy". The Pete Townshend penned song is partly sung by regular lead singer Roger Daltrey, while the other parts are sung by drummer Keith Moon.

Quadrophenia is a rock opera, and deals with themes of teen angst, disillusionment, and failing to know your place in the world. The title refers to a fictional version of schizophrenia, and four songs on the album represent four personalities. Each of the four band members are given their own theme. Keith Moon's theme is "Bell Boy".

We ca't talk about what the song means without talking about it's contents: a teenager named Jimmy, part of the mod scene, passes a hotel in Brighton. There he sees another mod, named Ace-Face from interviews with Townshend and the film adaptation.

Ace-Face in the 1979 film adaptation. Yes, that's Sting playing him.

This individual was a leader in the mod subculture, widely respected and looked up to. And here he is, working as a bell boy. He's taking orders instead of giving them and not talking back, and Jimmy is horrified by this. Ace still remembers the good ol days ("some nights I still sleep on the beach, remember when stars were in reach") but soon goes back to talking about his job ("I wander in early to work, spend the day licking boots for my perks"). He gives Jimmy some parting advice: "The secret to me, it ain't flown like a flag. I carry it behind this bleeding little badge, what says, Bell Boy". "Bell Boy!" is repeated four times in the chorus, being both a call to action by customers and an angry taunt by Jimmy.

Pete Townshend gives a more straightforward account of what happens in the song in Brian Cady's liner notes for the album.

"He meets an old Ace Face who's now a bellhop at the very hotel the Mods tore up. And he looks on Jimmy with a mixture of pity and contempt, really, and tells him, in effect, 'Look, my job is shit and my life is a tragedy. But you - look at you, you're dead!'"

The song tells a pretty simple story, but why is it Keith's theme, aside from it being a rare lead vocal performance for him in the whole of Ace?

Keith John Moon (1946-1978)

Keith Moon was a troubled man. He was thrown into the rock star world at just 17 when he auditioned to be The Who's replacement drummer, and stayed with them until a premature death at 32, caused by an overdose on medication meant to treat alcohol withdrawal. 

Moon is famous for his eccentric personality, drinking problem, and self-destructive behavior, maybe even more than his skills as a drummer, which is a shame. Fans of the Who may have thought that his energetic and outlandish live performances, where he destroyed his drum kit and made dark jokes between songs, were just the front of an act meant to entertain audiences. But while it's safe to say that some of it was manufactured, a lot of it was indicative of how Moon lived his life, a legendary rock star odyssey which consisted of smashing up Holiday Inn rooms and spending obscene amounts of money.

He tried to settle down, kick his habits, and start a family. But he easily grew restless when not touring and became frustrated when he wasn't the center of attention.

And there were consequences. His marriage was a disaster, he passed out on stage on at least two occasions, and by the end of his life, it's said The Who were threatening him with expulsion from the band. The darkest chapter came in 1970 when he accidentally ran over and killed Neil Boland, his driver and friend. Despite his carefree attitude on stage, Moon took all there events seriously, and made real attempts at sobriety, which ultimately led to his death.

The story of Ace-Face doesn't have anything to do with alcoholism, and the character's life doesn't seem remotely as eccentric as Moon's. But when viewed with the right subtext, Ace couldn't be anymore like Moon. Both were men reveled in a lifestyle of debauchery, rebelliousness, and the adoration of loyal followers, but also desperately wanted a quiet, normal life where they could make money, stay out of trouble, and not alienate your loved ones. "Bell Boy" is about our quest to find the best of both worlds, and how that wish might be impossible. It seems like you either lose your self-respect and status like Ace, or burn out like Moon.

Live versions by The Who, I feel, have actually improved in the 21st century. The synhesizer parts are more pronounced, particularly during Moon's verses, or played on brass horns. I myself was lucky enough to see it played live during the Quadrophenia and More tour. You can see a replica of what the performance entailed in their slot at 12-12-12: The Concert for Sandy Relief.

Most of the song is accompanied by clips of Moon drumming, laughing, and being the eccentric "Moon the Loon" we all know and love. An isolated track of Moon's original vocals are used as well. He sung most of it in an exaggerated cockney accent, but during the "Some nights I still sleep on the beach" bridge, and drops it for his normal voice. At this time, the video changes to an interview from the sixties, showing a sweaty exasperated Moon resting a towel on his head. He looks genuinely tired and even a bit contemplative in this clip. And I really appreciate that. I love how they make an effort to show that he wasn't a cartoon character, but a young man still coming to terms with where his life had taken him.

Roger Daltrey turns his back on the audience to look and hold his microphone up during Moon's part. When the song is ending, he gives the late drummer salute before the video fades to black. It's all incredibly moving.

To be clear, I don't think there's anything wrong with remembering Moon's eccentric persona happily and how it made The Who a funnier, more iconic band. And I don't think The Who were trying to get that message across in the performance either. It's okay to remember the fun times with Keith Moon. But's it's also important that we acknowledge that there was a dark side to all of it.

Pete Townshend is a former art student with a talent for writing songs slamming ignorance, corrupt political systems, sexual frustration, and never being completed understood by anyone. Daltrey, who started his career as a sheet metal worker, is the perfect working class avatar for Townshend's angry, sardonic poetry. Bassist John Entwistle was the glue. No matter how difficult Moon's situation got, or how many times Daltrey and Townshend were at each other's throats, everybody loved John. And Keith Moon was the embodiment of The Who's energy. One of the greatest drummers who ever lived, he helped the bad reach their full potential, and is one of the reasons they remain so memorable and interesting to this day. And in the case of "Bell Boy", he was Townshend's inspiration. This wasn't about writing a song for him to sing with a funny voice. It was about looking inward at the root of his strengths, shortcomings, desires, and who he really was.

SOURCES:

1. Brian Cady, Quadrophenia linear notes.   https://web.archive.org/web/20100702221937/http://www.thewho.net/linernotes/Quad.htm
2. Genius Lyrics https://genius.com/The-who-bell-boy-lyrics