5/31/2014 Misery, Best Actress, 1990
Wikipedia describes Misery, based on the novel by Stephen King, as a 'psychological horror thriller'; these three words together are enough to make me say, um, no thank you, which is why it has taken over 20 years for me to watch it. It was taut with suspense, but I would not call it a 'horror' film, maybe just 'psychological thriller' and then I would have watched it only 10 years ago instead. Misery was really a breakthrough role for Kathy Bates who won the Best Actress award for her portrayal of Annie Wilkes who is a little nuts, to put it simply. James Caan is writer Paul Sheldon who has just finished his most recent novel in Colorado. On the drive back to New York, Sheldon crashes his car and is 'rescued' by Annie Wilkes, who tends to his broken legs and reveals herself as his biggest fan, who is very protective of Sheldon's character 'Misery Chastain' and does not approve of his desire to shelve Misery and start writing books in another genre. Annie exerts a lot of control over the virtually helpless Sheldon, and when he decides to try and escape, Annie inflicts a punishment so harsh, I had to close my eyes. Since this is a thriller, I can't reveal too much more (I know, what a cop out), but it was nice to see Lauren Bacall as Sheldon's agent; you can't ever have too much Lauren Bacall. Richard Farnsworth and Frances Sternhagen play the local sheriff and his deputy (they are also married and provide some of the comic moments in the movie, and in my opinion, they could have had a great television series together). Kathy Bates really is fabulous as the woman on the verge of a nervous breakdown, if you're lucky, and homicide, if you're not. She takes Annie right up to the edge, then makes her almost likable, and then back again. James Caan is more like his Brian Piccolo (Brian's Song) than Sonny Corleone (The Godfather) in that he is not in a power position, he is very vulnerable and does a lot of his acting from the bed or a wheelchair. He cannot have the outbursts that Sonny had. I really enjoyed the movie and if you have not seen it, you might enjoy it as well (even if you're a scaredy cat, it will be okay).
6/1/2014 Il Postino, Best Music, Original Score, 1995
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| Pompeii, 2006 |
Muscle Shoals, 2013
Muscle Shoals is a music documentary that focuses on the music made in Muscle Shoals, Alabama. The Rolling Stones, Aretha Franklin, Etta James, Bob Seger, Lynrd Skynrd, the Allman Brothers and so many others made music in this part of the southeastern United States. Its sound is as identifiable and unique as the Motown sound or the Stax sound predominant in the 1960s and 1970s. There is a lot of history poured into this 100 minute documentary, and the music is amazing; I knew about the Muscle Shoals sound, but I did not know how far-reaching it was. The film includes interviews with some well known musicians like Steve Winwood, Mick Jagger, Keith Richards, Aretha (she doesn't even need a last name), and others, as well as the studio band, most of whom are not well-known. There are two studios that are in this story, FAME Studios and Muscle Shoals Sound Studio, which was founded by four of the FAME Studios musicians. FAME Studios is still run by Rick Hall, who produced so many of these great songs and records; I love music and know lots of bits and bobs, but I had never heard of Rick Hall. He certainly had the touch. One of the things that gets talked about a lot in the film, and also comes up in Standing in the Shadows of Motown was the question or issue of color and race; many people did not know that the Muscle Shoals musicians were black and white, and some people were surprised that they were white; 'how could they get that sound if they're white?' kind of thing. The musicians themselves and the artists all said that color wasn't an issue for them, it may have been an issue when they left the studio for others (white musicians socializing with a black singer, like Wilson Pickett), but not for them. The Motown musicians said the same thing. The music was the bond; their love and appreciation of good music and great musicianship. I didn't look, but I will, to see if there is a companion soundtrack, because I'm going to get it. If you liked 20 Feet From Stardom and Standing in the Shadows of Motown, then you will like this as well.
Dear Mr. Watterson, 2013
If you grew up reading Calvin and Hobbes in the comics, then you will want to watch this documentary about the elusive Bill Watterson and his work. The movie is at a slight disadvantage because it has no interviews with Watterson, just a few quotes and a lot of fellow illustrators and writers and cartoon historians giving their analysis and observations. A lot of the analysis about Calvin and his appeal to so many audiences is very insightful, and clearly, Watterson influenced a lot of illustrators. I remember reading Calvin and Hobbes in the paper, munching my cereal. I was old enough to read the comics to myself by the time Calvin came out, but I have great memories of my dad reading the comics to me on Sundays. There is some discussion about the passing of the Golden Age of the newspaper comics and how younger generations may be missing out on this collective experience, and could Calvin and Hobbes be as successful as today. There is also commentary on the fact that Watterson did not license his characters the way Garfield or The Peanuts were, there were no animated specials or movies; Calvin and his tiger pal, Hobbes are in several books that were published. One other fact, and I cannot let it go unmentioned, but Watterson is from Chagrin Falls, Ohio, a town east of Cleveland with a waterfalls and a nice ice cream shop and other little shops. He still lives there and paints for himself. This was not the best documentary I have ever seen, I don't think it tugs on any emotional heartstrings and it doesn't lift you up, like 20 Feet From Stardom or Undefeated, and I think it does miss the voice of Bill Watterson. That's not to say it's bad, but it didn't make me cry.
