Posted in: Disc Reviews by Gino Sassani on December 2nd, 2010
"How do you do? My name is Deems Taylor, and it's my very pleasant duty to welcome you here on behalf of Walt Disney, Leopold Stokowski, and all the other artists and musicians whose combined talents went into the creation of this new form of entertainment, Fantasia. What you're going to see are the designs and pictures and stories that music inspired in the minds and imaginations of a group of artists. In other words, these are not going to be the interpretations of trained musicians, which I think is all to the good."
Just three years after Walt Disney introduced the world to the animated feature in 1937, Uncle Walt was already experimenting with the idea. The man was always fascinated with music as much as he was with animation and the wonderful fairy tales that would become his studio's trademark. It was inevitable that he would come up with the idea of blending music with animation to create something quite unique in the world of entertainment. You have to remember that not only had there only been three years since the first animated feature, but that sound itself in motion pictures was still only a couple of decades old. By 1940 Walt Disney had combined both elements to create something truly magical.
Posted in: Disc Reviews by Gino Sassani on December 2nd, 2010
"Cal Lightman sees the truth. It's written all over your face. It's also in your voice, your posture, the words you choose. Give him five minutes and 20 questions and he'll know whether you went off to Argentina to cheat on your wife, lied about a well-timed stock sale, or murdered a one-night stand."
I spent quite a few years as a detective. My specialty turned out to be in the interview room. When some of my fellow detectives had a suspect they couldn't break, they often called me in. It was my job to get the person talking. You see, the company’s insurance recovery from the theft was based on how much I could get the thief to admit they had taken over and above whatever they just got busted for. I have to admit that I rather enjoyed the job. I was able to read the person's emotions well enough to gauge how my approaches were making the suspect feel. The key was to be able to separate the truth from the deception. Well, it turns out there's a science behind what I just took as instinct. Apparently, our faces and body language are almost impossible to control, and anyone who could read and translate that language would be nearly impossible to deceive. I don't recall consciously looking for any of these things. I could just tell. After watching a season of Lie To Me, I'm not so sure that there wasn't more to it than just instinct.
Posted in: Disc Reviews by Gino Sassani on December 2nd, 2010
"Well when you gettin' "got" and somebody done "got" you and you go "get" them, when you get 'em everybody's gon' get got."
When Tyler Perry started writing his small plays, he probably never had a clue just how far it might all go from there. The plays had a solid audience, but there was always concern that the appeal would be too narrow. That didn't stop Perry from putting together a few relatively low-budget films located in his adopted film hometown of Atlanta. For the most part the studio got pretty much what it expected. The payoffs weren't huge, but they more than covered the costs. Perry's creativity attracted some big-name actors and cameos, and that wasn't bad for business either. The mainstay of his moderate success was his cross-dressed character, Madea. Mabel Simmons was a wildcat old lady. She didn't take no "stuff" and she spoke her mind. The racial profiling here was a bit rough, but nothing more than the blacksploitation films of the 1970's. Anyway, it was all harmless fun, and no one seemed to be all that upset over the characterizations. There was talk of sending Madea to that big old folks’ home in the sky when the numbers for Madea Goes To Jail came in. They weren't good. They were extraordinary. The film pulled in over $90 million at the domestic box office with very little money spent. Tyler Perry, that one-man writer/director/producer/ and three-character actor, had a bona fide hit on his hands. And we’ve continued to deal with loud-mouth Madea ever since.
Posted in: Disc Reviews by Gino Sassani on December 1st, 2010
Most of the huge names of Broadway are gone. Certainly there are young talents that have created some memorable shows. Perhaps one day they will build up the mountain of classics that we received from the likes of Rodgers, Hammerstein, Bernstein, and others. There are even a couple of writers out there that have amassed that kind of a career. Andrew Lloyd Weber absolutely comes to mind as a fine example. But Stephen Sondheim is the last of a dying breed. It's been quite a while since he's created anything new, but his shows live on in revivals and film versions where they will likely continue for decades to come.
In March the writer/composer celebrated his 80th birthday in style. The bash was held at the celebrated Lincoln Center in New York. The performers included a who's who of Broadway for the last 40 years. The music was provided by the world renowned New York Philharmonic, conducted by long-time Sondheim conductor Paul Gemignani. The event was hosted by David Hyde Pierce. The concert lasts about two hours but you'll find time flies by as the show demonstrates the incredible variety of Sondheim's work. Pieces from all of his milestone shows are on display. Often the performers who originally gave voice to these pieces are on hand to deliver this tribute performance. Many of these performers hadn't seen each other in decades. They likely haven't performed these particular pieces in a long time. But not a single performance was less than magical. An absolute treat for any fan, to be sure. Sondheim also wrote a small number of scores so the show is not quite all song. There's a dance routine attached to a sample of music from the Reds score.
Posted in: Disc Reviews by Gino Sassani on December 1st, 2010
The axiom in Hollywood these days is that more is better. Every year we get inundated with blockbuster films sporting $200 million budgets, groundbreaking f/x, epic journeys and casts of thousands. Enter first-time director J. Blakeson and his intimate and quite claustrophobic thriller, The Disappearance Of Alice Creed. Right from the start we know that we're in for something completely different. There are no opening credits of any kind. There isn't even a title screen. We don't get that until about 90 or so minutes later when the film is over. In between you will experience the leanest, meanest little movie you likely have ever seen.
Two hoods, Danny (Compston) and Vic (Marsan), are preparing meticulously for their big crime. They kidnap Alice Creed (Arterton) and tie her to a bed with a blindfold and ball gag. Everything is planned down to the most minute detail. It all seems to be going perfectly. But, like all so-called perfect crimes, there are going to be some hitches in this one.
Posted in: Disc Reviews by Gino Sassani on December 1st, 2010
Most people remember the Bee Gees from their disco days and Saturday Night Fever. They sold a lot of records and achieved more fame than at any time in their careers. But the Brothers Gibb had been performing since the 1950's as children. They would headline automobile races and appear on local radio and television shows. They would quickly gain attention for their harmonies and eventually for their own songs. By 1967 they had begun to gain international attention, appearing on the national rock-and-roll shows. The brothers would become known then for their power ballads and love songs. Hits like “Words” and “How Can You Mend A Broken Heart” put their particularly unique voices on the charts around the world. But by the 1970's the sound was already beginning to fade. The Beatles had broken up, and the era of the vocal bands appeared to have died, at least for a time. They saw their stardom plummet almost overnight.
Then came the disco scene and the movie that launched both the Bee Gees and John Travolta into instant superstardom. The album of the film's soundtrack would go on to be the best selling album in history until Michael Jackson's “Thriller” came along. Before anyone knew it the world was in a disco frenzy, and for many of us who grew up in the 1970's, music died for a while.
Posted in: Disc Reviews by Gino Sassani on November 30th, 2010
As a kid who grew up in the 1960's I remember Cher mostly for her musical career and the music and variety show she shared with then-husband Sonny Bono. When they split, it was a big deal in the time. We didn't quite follow celebrities’, lives near as obsessively as is done today, but these guys were a power couple that had gained fame pretty much as a package deal. When they split Sonny wasn't very successful at maintaing the same level as Cher was able to do. It turned out that we took sides in the split. We kept buying Cher's records, and we sent Sonny to Congress. Not sure which was the better idea there.
Cher eventually turned her singing career into a pretty good acting career. Her years in television had given her a lot of experience in front of the camera, so it wasn't as much of a stretch as you might think. The movies she's appeared in have been a bit of a mixed bag of stuff. The same can be said for this collection. There are gems like Moonstruck and Tea With Mussolini, and there are odd tidbits like Chastity and Mermaids.
Posted in: No Huddle Reviews by Gino Sassani on November 30th, 2010
"Steve Austin, astronaut, a man barely alive. Gentlemen, we can rebuild him, we have the technology. We have the capability to make the world’s first Bionic man. Steve Austin will be that man. Better than he was before. Better. Stronger. Faster."
I remember as a kid we used to imitate the Bionic Man when we would be playing in the playground. We would run in slow motion and make that distinctive "chchacha" sound and pretend we were bending steel bars or lifting tons of weight. In the 1970's bionic play was everywhere. For a time it was the most popular thing on television.
Posted in: Disc Reviews by Gino Sassani on November 24th, 2010
"Man, we'll die with you. Just don't ask us to do it twice."
Remember the old days of the action movie? Those films where someone like Stallone or Schwarzenegger would run around and take out armies of bad guys while barely breaking a sweat. You know the kind of movie I'm talking about. The ones where the hero goes up against a hail of bullets and explosions and manages to pick off the bad guys without catching a single slug himself. These were the days when a guy like Bruce Willis could fall thirty floors, get a spike impaled in is ribcage, have a ton of concrete wall fall on his head and get run over by a truck but still manage to take out the bad guy while muttering some witty little catch phrase that we would all be repeating, because if we can deliver the line just right that meant we were tough guys too, and we didn't even have to fall out of an airplane to prove it. Well, you won't have to remember. You just have to watch Sly Stallone's love letter to the action movie fans. It's called The Expendables, and it's out right now on high definition Blu-ray from Lionsgate.
Posted in: Disc Reviews by Gino Sassani on November 24th, 2010
When Peter Gabriel left the band Genesis to pursue his own solo career, it was the break of a lifetime for the band's drummer, Phil Collins. He took over the front-man duties with style, and before long Genesis was enjoying the most commercial success of their lives. Collins provided the smooth, easy-to-listen-to voice that Gabriel really never had. The tunes were instantly more recognizable and stuck with you for a long time. Of course, that meant that Collins would go out and work on that solo career as well. He didn't quite abandon Genesis and managed to keep both careers on the charts for quite a long time. If anything, the two entities became more and more the same. It's hard to distinguish the band's Invisible Touch from anything Collins released under his own name. No problem, as long as the records were selling. And sell they did.
We haven't heard a ton from Collins in recent years. He's always been there. He's toured under both names a few times in recent years. But the releases became less and less successful. Much of this can be traced to Collins' wish to become a one-man band. The last few CD's were produced in his own home studio with Phil filling in for most of the instruments. The lyrics lost much of their creativity, and it seemed that the British rocker had waded deep into stagnant waters. I guess it was time to try a different approach in the hopes of getting back on top.
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