Saturday, August 3, 2024

Armageddon Time

Year 16, Day 216 - 8/3/24 - Movie #4,804

BEFORE: OK, I'm going to go to a beer event today, so if my posting is late, that will mean that I  was "overserved" and needed some recovery time.  It's a really hot day so there's also the chance of heat-stroke or getting dehydrated or just dissolving into a big puddle of sweat. Hey, it could happen.  Anyway I started this one on Friday night, with hopes of still getting enough sleep to make it through this beer event without passing out.  Will file my report down below after. 

Anthony Hopkins is my exit point from the Doc Block, he carries over from "Call Me Kate". 


THE PLOT: A deeply personal coming-of-age story about the strength of family and the generational pursuit of the American Dream.  

AFTER: I survived the beer festival - probably had you worried a bit there.  They moved the event indoors because of the tremendous heat, but really that just increased the chance of everyone catching COVID in an enclosed space.  Yeah, it's going around again, there's a summer spike, at least in NYC, because of the increase in social events and the heat that's keeping people inside.  If it were only sort of hot, everyone would be outside and therefore less COVID, but it's like tropical hot so the only thing you can do on the weekend is stay inside, really, and pass your germs that you caught staying out on weeknights to the rest of your family. Yeah, I probably had COVID last week, my wife tested positive after I was sick for two days, but I couldn't get tested because the pharmacies were out of tests.  (WHY do they give them out to the people who are going to test negative?  It's such a waste of tests, they should only give them to the people who are positive for COVID, so they can know for sure...)

Anyway, I'm back home and I had a long nap and I think I can remember this movie, I had to finish it this morning before leaving for the event.  Yes, I fell asleep midway through, that's not usually a good sign, is it?  This is a film set back in 1980, and it tries to portray that year as a turning point, not only for its main characters but for everyone - there's footage of Ronald Reagan as he's campaigning for President and being interviewed, so yeah, 1980 signalled the end of the 1970's, the end of the Carter presidency, and the beginning of 8 years of Reaganomics and Reagan's B.S.  Sure, there were some people at the time who thought he was a GREAT President, but I think that pendulum has swung back the other way consistently.  He was an actor, he stood for "less government", and he lied about a great many things.  Plus he was very old, so in a way he was like the forerunner to both Trump and Biden, but displaying the worst things about those men.  Trump's lies plus Biden's "senior moments'.  

There is a Trump in this movie - two, in fact, just not THAT one.  Fred Trump is a character, and so is Maryanne Trump, Fred's daughter and Donald's big sister, who died in November of 2023.  She attended a prep school in Queens, NY called Kew-Forest, and one of the schools seen in this film has a very similar name, and Maryanne and Fred Trump are there on the main character's first day of school to speak to the students.  (Well, it's a little early for me to be programming a "back to school" film, but I need this one here for the linking.)

I figure this movie just HAS to be autobiographical, there are just too many specific things that take place in it, some that would be common to any Jewish family in Queens, but some are just off-center and probably come from the writer/director's own life, they are things you just wouldn't write to happen to other characters, what would be the point?  Unless they really happened...

Paul Graff is a sixth grader from a Jewish family who becomes friends with Johnny, an African-American boy in his class, who was held back a year because of his attitude and behavior.  Paul isn't doing well in school, either, because he can't seem to pay attention, and only wants to draw and daydream.  He's sure that he wants to be a famous artist when he grows up, only he's got to get through school first, and that's the challenge.  His parents can only afford to send his older brother, Ted, to that prep school, even with financial help from his grandparents.  Ted is considered to be a "better investment", in other words, and the family has pretty much written Paul off. But that's a downward spiral, because he's never going to improve in school unless he gets better teachers, and he can't get better teachers unless he goes to a better school, and he can't go to a better school unless his grades improve.

Paul's grandfather is very kind to him, though, he buys Paul a set of professional art supplies, and also a rocket that they can launch in Flushing Meadows Park one day.  All he wants in return is for someone to tell his stories to, about how his mother fled religious persecution in Ukraine, and met her husband in the U.K. before coming to the U.S. (Well, at least this explains why Anthony Hopkins' character has a British accent.). Paul's grandfather is very sick, but hasn't told anyone yet...

But Paul can't seem to follow the rules, he and his new friend Johnny keep getting in trouble, like for smoking a joint in the school restroom.  It's very stupid, why do this at school when they can just wait until after 3 pm, like maybe at 4:20?  When Paul's father finds out about this, he beats Paul with his belt, and sure, that doesn't seem right now, but this was 40 years ago.  And yet still, the knowledge that his father has a temper and might beat him is not enough to get Paul to stop joking around in class, to study and improve his grades.  The family tries sending Paul to the same prep school as his older brother, but this puts Paul in the position where he has to pretend to not be friends with Johnny, and it also inspires him to steal a computer from the school, so he and Johnny can run away to Florida, where he can (eventually) become an artist and Johnny can (eventually) work for NASA.  

There's more that happened, but it all didn't quite come together for me.  Plus we never really find out what happens to Johnny (I hope he gets that hurt foot looked at...) and though we all know that Reagan got elected that November, and that led to eight years of nonsense, we don't really know what happened to Paul, either.  He left the Thanksgiving dance because he couldn't take listening to Fred Trump (like father, like son, I guess) but we don't know, did he leave for home or did he leave for Florida?  It's best to stay away from Florida, Paul, in a couple decades it's going to become a place that's too hot and too stupid to live in.  

Also starring 
Anne Hathaway (last seen in 'Colossal"), Jeremy Strong (last seen in "Robot & Frank"), Banks Repeta (last seen in "The Devil All the Time"), Jaylin Webb, Ryan Sell, Andrew Polk (last seen in "Space Oddity"), Tovah Feldshuh (last seen in "Clifford the Big Red Dog"), Marcia Haufrecht (last seen in "The Daytrippers"), Teddy Coluca (last seen in "Night Falls on Manhattan"), Marcia Jean Kurtz (ditto), Richard Bekins (last seen in "Young Adult"), Dane Zagarino, Landon James Forlenza, John Diehl (last seen in "Anywhere But Here"), Jessica Chastain (last seen in "Albert Brooks: Defending My Life"), Domenick Lombardozzi (last seen in "The Family"), Lizbeth Mackay (last seen in "Malcolm X"), Jacob MacKinnon, Jeb Kreager, Lauren Sharpe, John Dinello (last seen in "A Most Violent Year"), Gerald Jones, Griffin Wallace Henkel, Douglas Crosby (last seen in "Empire State"), Eva Jette Putrello, Marjorie Johnson (last seen in "Boiler Room"), 

with archive footage of John Chancellor (last seen in "Rock Hudson: All That Heaven Allowed"), Ronald Reagan (last seen in "Sid & Judy")

RATING: 5 out of 10 trips to the principal's office

Friday, August 2, 2024

Call Me Kate

Year 16, Day 215 - 8/2/24 - Movie #4,803

BEFORE: Here it is, the last documentary in this year's Doc Block. I made it! I can tell you that something weird may happen to you after you watch 43 documentaries, because right now I can't remember a time when I was NOT watching docs.  I mean, I know there WAS a time before the Doc Block, it's just hard to remember it.  But I'm am STARVING for a fiction film - I re-watched "Deadpool 2" on Thursday afternoon, because I wanted to get ready for "Deadpool & Wolverine", and it seemed like the most brilliant narrative film of all time!  Or at least the best superhero film of all time, let's be real.  But it was really, really nice to watch fiction again, so I can't wait to finish this doc and move on to something fictional tomorrow! 

Angela Lansbury carries over from "Famous Nathan".  


THE PLOT: A documentary which captures Katharine Hepburn's spirit and determination, exploring her story using her own words through a combination of previously hidden audio tapes, videos and photographs. 

AFTER: This is another film that uses the "Belushi" technique, which occurs when someone finds a big box of a dead celebrity's correspondence and decides to make a documentary about that.  In this case, the Katharine Hepburn museum, which is in Old Saybrook, CT got a donation of a big box of Hepburn's personal letters, which was found in the last house she lived in, I think.  It seems that most of her personal belongings were put up for auction in 2004, in accordance with her final wishes, but I guess somebody missed this box of letters, so what better use for them than to gain insights about her personal life and thoughts? 

Unlike the Rock Hudson revelations, nobody really seems to know definitively about Hepburn, she's a bit more like Cary Grant, in that of course there were rumors, but nobody can really say for sure. Hepburn was married once to Ludlow Smith, who helped her get into acting, and moved with her back to New York from Philadelphia, and then she left with his car and broke his heart. This guy even changed his NAME to S. Ogden Ludlow so she wouldn't have to go by the very plain name "Kate Smith", but it turned out she didn't believe in taking her husband's last name, anyway, so he did that for nothing. By her accounts, he was a very decent guy, but she needed to move out to California and be in movies, so he had to get left behind.  

Then she had relationships with her married agent, Leland Hayward, and of course the famous one with Howard Hughes. You know, for a lesbian she sure slept with a lot of guys.  I know, maybe she went both ways because she did always travel with another woman, just saying.  A few biographers have insisted over the years that she was lesbian or bisexual, but one was Liz Smith and she might have had her own agenda.  Anyway the doc really leans on the love she had for Spencer Tracy, who was also married, but that's OK, she really liked dating married guys, just not her own husband. Celebrities, right? 

The relationship between Hepburn and Tracy was something of an open secret, but since Tracy stayed married to someone else, they tried to keep things as clandestine as possible.  They had separate residences, and spent long periods apart, especially if one or both of them was away on a movie shoot, but then they also made a lot of films together, so that was probably just as much time spent together as apart.  Still, a lot of sneaking around and trying not to be seen together, it was probably a lot more trouble than it was worth.  As Tracy began to lose his health due partly to his alcoholism, Hepburn took a break from her career to care for him, for five years, and she was with him when he died, but did not attend his funeral out of respect for his family. Look, I get it, it sucks to be cheated on and it also sucks to BE the cheaters, you do what you can do, and everyone's really just making it all up as they go along.  

Hepburn stayed active after that, playing tennis every day into her eighties, and also swimming regularly.  She also took up painting later in life, just like David Bowie did.  OK, maybe not JUST like Bowie.  Early on she'd been a feminist, and supported birth control and abortion, and if you believe this documentary, she was also the first woman to ever wear pants.  I'd like to see the supporting evidence on that, though.  Maybe it was a feminist thing and maybe it wasn't - one report was that she just like to walk around barefoot, and pants made that easier.  But then the doc ran clips from an early film of Hepburn's ("Sylvia Scarlett"), and it shows her being disguised as a man, so a Drag King, if you will, and she did look very masculine with short hair and an added mustache. 

Much like "Sid & Judy", this doc skips quickly over Hepburn's earlier movies - "A Bill of Divorcement", "Christopher Strong", "Morning Glory", "Spitfire" and "The Little Minister", among others, because it wants very badly to get to the meatier ones - "Stage Door", "Holiday", "The Philadelphia Story", and then of course the films co-starring with Spencer Tracy - "Woman of the Year", "Adam's Rib", "Pat and Mike" and "Desk Set".  Hey, I've seen most of those.  

Then there's the later films, "The African Queen", "Guess Who's Coming to Dinner", and "The Lion in Winter". Now, "The African Queen" was released 6 years before "Desk Set", but you wouldn't know that from the order this documentary presents her movies.  I guess they just wanted to deal with all the Spencer Tracy stuff together?  Anyway they spend quite a bit of time on these last three films, because they interviewed the continuity person from "The African Queen", she was somehow still alive, and she remembers everything about being in the jungle with Hepburn, Bogart and John Huston.  Then we go BACK to Spencer Tracy for "Guess Who's Coming to Dinner", where they played the parents of a young woman (Katherine Houghton, who was also Katharine Hepburn's niece) who brings home a black man she's dating for them to meet.  Well, jeez, it was Sidney Poitier, how could they not accept him? 

And then there's "The Lion in Winter", which was the first film she starred in after Spencer Tracy's death, and it was Oscar-nominated in every category it could be nominated in. Hepburn shared the Oscar that year with Barbra Streisand (yes, there can be a tie) and Hepburn also got a double-BAFTA for that film and "Guess Who's Coming to Dinner", I guess in the U.K. both films came out in the same year.  Now by showing clips from "The Lion in Winter" here, for me this is a call-back to the first documentary in my Block, because "Sly" also showed footage from "The Lion in Winter", because I guess Sylvester Stallone likes that movie?  I think he showed the clip just because "it's about family", but yeah, it kind of is but it kind of isn't, still, thanks, Sly, you made my Doc Block loop back in on itself and form a giant circle of sorts.  

But really, saying it was a circle is just a bit too simple.  Maybe the Doc Block was a giant Mobius strip, something that loops around and joins itself again and forms a giant surface with two sides, that in the end are really only one side.  Nah, that doesn't really work either, it's still like a giant circle, but there are lines across the circle that connect different points on the circle, for no reason at all, but at least I know the connections are there, and I know all of them.  Like "Call Me Kate" doesn't just connect back with "Sly", it connects to "Sid & Judy", and it connects to 15 other films via Dick Cavett or Larry King, and it connects back to "Yogi Berra: It Ain't Over" because Cary Grant was also in that movie, and it connects back to "Remembering Gene Wilder" through Sidney Poitier, and so on.  

Anyway, "Call Me Kate" ended up leaving out a LOT of details about Katharine Hepburn's movies, and her life as well.  I guess it's impossible to sum up the life of a person who lived for 96 years in a documentary portrait that's not even 96 minutes long. It can't be done, we just can't learn everything we need to know, they just have to generalize things given the viewers' short attention spans.  But this has kind of been the case for every film in the last month and a half.  Anyway, it's over now and I have to look at the big picture to see everything I learned - now, what did everybody have in common?  

Well, my doc subjects this year have been mostly Americans, most born in America but others who were immigrants (Charlie Chaplin, John Lennon, David Bowie).  OK, we had a few Brits in the mix, too, like Elton John and Wham!  But come on, who's more American than Mary Tyler Moore, Burt Reynolds and Yogi Berra?  The Beach Boys, Donna Summer and Little Richard?  Stan Lee, Mike Wallace and Jim Henson?  Belushi, Farley, Gene Wilder and Albert Brooks? Keith Haring, Rock Hudson and Billie Jean King?  Billie Holiday, Marvin Hamlisch and Judy Garland?  Surely this is one of the finest cross-sections of famous and mostly-dead Americans ever profiled!  

If I'm really generalizing, these are also successful people, and most of them were workaholics.  Is that a common thread that ran through everything?  Work very hard, and you'll be successful at acting, singing, baseball or puppeting - but work too hard and it may cost you your marriage.  Fame gives and fame also takes away, unless you work to achieve some kind of balance.  How many of the people listed above were divorced several times?  The majority of them, right? I think Judy Garland had the record with five husbands, but honestly I haven't done the math. Mike Wallace had four wives, too. Others like Little Richard and Rock Hudson tried marriage but come on, it just wasn't in the cards for them.  Jim Henson and Mary Tyler Moore had long-term marriages, but those ended too - the only ones who really stayed married for a long time were Yogi Berra and Stan Lee. Well, at least somebody did.  

All right, I'm packing up the documentaries (really, not many left on my list to pack up) and I'll get back to some more next year if I can link enough of them together.  Moving on back to fiction films, I can't wait.  

Also starring Angela Allen, Robin Andreoli, Bonnie Greer, Mundy Hepburn, Kat Kramer, Glenn Paskin, Claudia Roth Pierpont, Joe Tracy, Sean Tracy, Toyah Willcox, 

with archive footage of Katharine Hepburn (last seen in "The Half of It"), Lauren Bacall (last seen in "Sid & Judy"), Humphrey Bogart (ditto), George Cukor (ditto), Louis B. Mayer (ditto), John Barrymore (last seen in "Grand Hotel"), Cate Blanchett (last seen in  "Tár"), Charles Boyer (last seen in "She's Funny That Way"), Barbara Bush (last seen in "The Special Relationship"), Dick Cavett (last seen in "Billie"), Jane Fonda (last seen in "Georgia Rule"), Henry Fonda (also carrying over from "Famous Nathan"), Clark Gable (last seen in "Mr. Warmth - The Don Rickles Project"), Ava Gardner (last seen in "The Kid Stays in the Picture"), Cary Grant (last seen in "Yogi Berra: It Ain't Over"), Laura Harding, Anthony Harvey, Leland Hayward, Howard Hildebrand, Anthony Hopkins (last seen in "Sly"), Peter O'Toole (ditto), Katharine Houghton (last seen in "The Night We Never Met"), Howard Hughes (last seen in "F for Fake"), John Huston (last seen in "They'll Love Me When I'm Dead"), Larry King (last seen in "Marvin Hamlisch: What He Did for Love"), Fred MacMurray (last seen in "Double Indemnity"), Sidney Poitier (last seen in "Remembering Gene Wilder"), Gig Young (ditto), Ludlow Smith, James Stewart (last seen in "Ira & Abby"), Spencer Tracy (last seen in "Everything Is Copy"), Phyllis Wilbourne.

RATING: 5 out of 10 early roles in theater - as an understudy!

Thursday, August 1, 2024

Famous Nathan

Year 16, Day 214 - 8/1/24 - Movie #4,802

BEFORE: Normally at the start of a new month I would give you the links that are going to get me all the way through that month, but I just don't have them this time, and it's Deadpool's fault.  I want to see the new movie "Deadpool & Wolverine", and I know there will be a bunch of cameos, so I'm not looking them up, I'm not looking at the cast list on the IMDB, I would prefer to be surprised, if possible.  And it's not really possible, because I know they're THERE, the internet is buzzing about them and I try to look away as soon as I can.  Anyway I'm not going to be able to get to the theater until next week, so here's the linking that's going to get me there: 

Angela Lansbury, Anthony Hopkins, Hugh Jackman.  That's it, that's all I got - but I can do a few films with Anthony Hopkins and hold out for a few days, then I'll really have to get my ass into a movie theater seat, I haven't been out to the movies since "Asteroid City" last year (or was it "Indiana Jones and the Dial of Destiny"?). Liza Minnelli carries over again from "Sid & Judy", because when you think of Liza, you naturally think about her love of hot dogs, right?  I'm tying everything together, the whole Doc Block, with hot dogs, because the connections are still everywhere.  


THE PLOT: A Coney Island-inspired documentary portrait of the life and times of the original Nathan's Famous hot dog stand, opened in 1916 by the filmmaker's grandparents, Nathan and Ida Handwerker, interweaving archival footage, family photos and home movies.  

AFTER: Maybe I should have worked harder to get THIS movie to land on July 4, because that is the date of the annual Hot Dog Eating Championship at Nathan's flagship hot-dog stand at Coney Island. I never miss it - I never GO there on July 4, that would be ridiculous, it's always like 125 degrees hot that day with a unrelenting sun and also thousands of people turn out because they all suddenly remember that 30 or so contenders are going to be stuffing hot dogs down their throats. Also they forget that the event is televised on ESPN and really, there's no need to go in person, you'll get a better view of things in your own living room, just like the Macy's fireworks and the Super Bowl and really, any rock concert. 

But I've been to Coney Island several times, and that Nathan's stand is always crowded - maybe not "July 4 Hot Dog Eating Contest" crowded, but it's always busy there.  It's like people all suddenly remember that they like hot dogs when they get there, and also they forget how hot dogs are made, even though we have a prominent saying about that, how you never ever want to see how the sausage is made, because if you knew, you wouldn't eat it.  BUT WE KNOW, because there's a saying about it, so how can you not know that they grind up the worst cuts of meat and stuff them inside an intestine?  "Oh, I like the snap when I bite into it!" Yeah, that snap once transported poop inside an animal, but sure, you go ahead and enjoy that snap, while I buy the cheapest hot dogs I can at the store and avoid paying extra for the "natural" casing.

Let me get this year's hot dog eating contest results out of the way, then I can focus on the documentary. Joey "Jaws" Chestnut was not allowed to compete this year, because he signed an endorsement deal with a rival hot dog manufacturer, and worse, it was Impossible Foods, a vegan hot dog maker to boot. Nathan's has such a lock on this event, through the sham organization now known as Major League Eating (formerly the International Federation of Competitive Eating) that his endorsement of a rival brand was enough to disqualify him, despite the fact that Chestnut has won the event many, many times before, and there's no dispute that he is THE BEST in the world at eating hot dogs (I can eat four, max, in 10 minutes, I think).  Without him competing, it just wasn't a valid event this year, not in my book anyway - would it be a valid boxing match if the current heavyweight champion were not allowed to defend his title?  If Billie Jean King were the #1 seed in tennis and was not allowed to play at Wimbledon, then whoever won the next event could not truly consider themselves a champion, because they did not beat the best opponent to win.  So whoever won this year, and I promise you that I've already forgotten his name (Patrick Bertoletti, I had to look it up) can not in good conscience declare himself a champion, because he "only" ate 58 hot dogs in 10 minutes, and I know for a fact that Joey can easily eat 70 on a bad day. 

I kept hoping that there would be some last-minute reprieve of the ban, that these crazy kids who eat too many dogs and the even crazier people who hold the contest could come to some kind of resolution on this point, but at some point I realized that would be like Lance Armstrong being allowed to be in another Tour de France, or Pete Rose getting elected into the Baseball Hall of Fame - it's not impossible because nothing is in sports, but it became extremely, extremely unlikely.  No athlete is bigger than their sport (except maybe Babe Ruth, he was bigger than anything else) and so I tuned in and watched people stuff hot dogs down their throats, but my heart just wasn't in it this time.  Our NYC Mayor, Eric Adams, tried to broker a peace deal between Chestnut and MLE, but like literally every other endeavor he's taken on since getting elected, he was completely useless in getting something done. In fact when Eric Adams got involved, that's when I KNEW that the negotiations would break down.  The stupidest thing that MLE could do would be to keep this ban in place, like they did for Kobayashi, the previous hot dog eating champion.  All he wanted to do was to compete in other eating events in his native Japan AND also compete in the MLE events in the U.S., and this also was not allowed. Kobayashi, of course, is a natural, he was born with a stomach lower than the average human's, which of course allows him to eat more before getting full.  Until this event once again becomes a showdown between Kobayashi and Chestnut, the event is a complete sham. There, I said it. 

Of course, there is more to Nathan's than the one day annual eating contest (and I"ll drop the subject now, because once I start talking about it, I'm likely to keep going...) but in that event, you see some of the business strategy of Nathan's - we'll give away a few dozen dogs to competitive eaters, and the crowd that we'll draw to the hot dog stand will buy ten times as many.  And considering what I now know about Nathan Handwerker, if he were still alive he'd probably want to charge Joey Chestnut for those 70 dogs, I mean, just giving them away to the MLE competitors has to eat into the profit margin at some point, right?  The current marketing strategy, of course, calls that a "loss leader", you give away a few dozen and then you sell a few hundred more than you would have. To really understand Nathan's, though, you have do dive back through the mists of time to a point where there was just ONE Nathan's stand, and yes, it was the one at Coney Island (which isn't even an island at all, but that's another story. It's only an island in the sense that it's part of Brooklyn, which is part of Long Island, look at a map if you don't believe me.)

The whole story is filmed and narrated by Lloyd Handwerker, grandson of Nathan Handwerker, who grew up in Poland, near the Ukraine border, as one of 13 children of a poor Jewish shoemaker. There was never enough food in his household, particularly meat, and his father had to beg for food, but he had to commute to the next town to do it, and that commuting (you guessed it) ate into the profits of his non-lucrative begging scam. One day Nathan went begging with his father on Take Your Child to Work day and when they got to a bakery, his father asked if there were any jobs there, and the baker said yes, but rather than the FATHER taking the job there, which would have made some sense, young Nathan took an apprenticeship at the bakery, he slept at the bakery so he could wake up at midnight and make the dough for the morning's bread, then he'd deliver the rolls around town, and he found he was really good at selling rolls (put a pin in that factoid for a minute).  After two years working at the bakery he'd saved up some money and he bought as much meat as he could and went back to his family, only to find that they were dead because it took him TWO YEARS to deliver some food. OK, lesson learned, bring home meat sooner. 

Nathan kept working through his teens, but when he reached the age of twenty, there was pressure on him to join the army and die in World War I, which nobody knew about yet, except for Nathan, who just had a feeling. So he casually took a train to Belgium and promised to enlist as soon as he got back to Poland, then he jumped aboard a migrant ship and headed for America, because he knew America would never be stupid enough to get caught up in World War I.  Also it's a big place, America, much bigger than Poland, plenty of places to hide, especially out west in Montana or Wyoming.  But he only got as far as New York City, like a lot of people who landed at Ellis Island and then found they had no money to travel any further.  So since he knew the bakery business and he was GREAT at selling rolls, Nathan found a job at Feltman's, a German bakery in Coney Island that also sold (you guessed it) hot dogs for 10 cents each.  

Nathan loved working at Feltman's, he could eat a couple of free hot dogs each day, and he fell in mutual acceptance with a young woman who also worked there, Ida, and they met cute when Ida was accused of taking $2.00 from the till, or something like that.  Together they scraped together $300 but instead of buying a house they opened up a hot dog stand right across from Feltman's and charged only 5 cents each.  Yeah, there's that American spirit, don't worry, Nathan, you'll fit right in in America.  Ida came up with the secret recipe for the new hot dogs (umm, yeah, probably better if you don't ask) and even though it probably cost them 4 cents to make each hot dog, they still sold them for 5 cents, and figured they'd just make up for it with volume, volume, volume.  They were right, and this was a much better plan than buying the hot dogs from Feltman's and selling them at a loss. 

I kid, but there is a reason that Nathan's hot dogs stood out - most hot dogs (and probably Feltman's) were made from the WORST cuts of pork. Snouts, tails, organs, whatever was left over after you take out the hams and the chops and the loins.  But Handwerker was Jewish, and pork isn't kosher, so instead he used beef for his hot dogs - beef snouts, beef tails, beef organs, but hey, they're kosher!  (Actually, they weren't, they were "kosher-style" according to the fine print, which just meant they weren't pig or horse meat, but rabbis were NOT involved in supervising the production. Hmm....).  And allegedly Ida dropped in a little bit of pastrami here and there, and that was the secret - you could hardly taste the ass - so before long they were hiring more workers to grill the dogs and Feltman's was struggling, and things only got better when somebody finally invented mustard. Who couldn't afford a nickel for a hot dog, even during the Great Depression?  So Nathan's grew and put Feltman's out of business, because that's America - undercut your competitor and the world will beat a path to your door. 

Time went by and Nathan had two sons, Murray and Sol. Many other family members worked at Nathan's in one capacity or another, but the story is mainly about Murray and Sol, each had a choice to make in life, stay in the family business and be driven miserable by working with their father, or strike out on their own and be miserable and disowned, but at least then they wouldn't have to work with their father.  Murray chose the first path, and Sol chose the second. And the movie can't really go into great detail about the rivalry between the two sons, because by the time Sol's son, Lloyd, made this movie, everybody was too old to remember what they were all fighting about, they just knew it had something to do with hot dogs. 

Murray rose in the business, but felt that the company needed to expand, because if one stand at Coney Island was successful, wouldn't it make sense to have two stores, three stores, a hundred stores?  (Again, that's America for you). But Nathan did not like this line of thinking at all, he wanted to stay with just the one location, because he felt he couldn't supervise two stores at once, plus he knew everyone in the Coney Island store and how to make their lives miserable, and he lived for that. Retiring would be out of the question for the same reason, who would he drive crazy?  But Murray persisted and so the company opened another location in Oceanside, NY (which is still there) and another giant one in Times Square (which, umm, is not). The company also rented office space in a skyscraper near the new Times Square location, and that could NOT have been cheap. Murray's clashes with his father about expanding the company eventually led to Nathan being forced to retire against his will and move to Florida, which at the time every New Yorker over the age of 70 was legally required to do. 

As the documentary details, the Times Square location was a colossal failure - Murray built a very classy steakhouse on the basement level, and it turned out that absolutely nobody in NYC wanted to walk through a hot dog restaurant to get to a steakhouse. Or maybe they did, but then they remembered how much they loved hot dogs and then forgot all about the steak. Or maybe the failure of that location was linked to the general decline of the Times Square area, which was a booming, hopping place to be in the Judy Garland days, but remember that the whole area needed to be saved by Marvin Hamlisch and "A Chorus Line" in 1973 - so those years in-between were very grim indeed, that's when porno theaters and crime took over.  Well, at least the perverts and muggers could have a couple hot dogs after a hard day's work, at least until that branch closed. 

Sol, the other son, remember him?  After 10 years as a Vice President at Nathan's, he wanted to do something completely different with his life, so he opened up Snacktime, a fast-food restaurant chain that served (you guessed it) hot dogs.  Among other things, I'm sure - but the focus was probably hot dogs - he opened Snacktime in 1963 and it closed in 1977.  The hot dogs were FREE on day one, this probably gave his father Nathan a heart attack - but that's the baller move you make when you open a new business, and over 29,000 hot dogs were consumed on day one. Hey, the first one is always free, right? Just not the second one. The Snacktime restaurant was at 267 West 34th St., and I know that's on the corner of 8th Ave., right across from the Tick Tock Diner and the New Yorker Hotel. I think it's an empty lot at the moment, but somebody's building something. 

Anyway, this is all part of fast food history now, Nathan Handwerker died in 1974, his son Murray took the company public and then sold it to private investors in 1987 and they franchised it, which meant by the year 2001 there were more than 1,400 stores around the world, and the hot dogs can now be found in grocery stores, and it's the official hot dog brand of both Major League Baseball AND Major League Eating. Remember, Nathan wanted to keep just the one location in Coney Island running, that was enough for him. Instead the company grew larger than he ever could have imagined, however something got lost along the way, I think. The company was successful at first because it sold hot dogs cheaper than the other places, but now a hot dog at Nathan's will cost you $5.99.  And that's in person, not delivery, before tax and with no tip. SIX DOLLARS for a hot dog, when I can get a slice of pizza for $1.50?  Fuhgeddaboutit!  I can buy a pack of 8 hot dogs in the grocery store for $3 if the brand is on sale, even with a pack of rolls I can still have 8 hot dogs at home for the price of ONE at the restaurant.  

A Nathan's chili cheese dog is now $8, chili cheese fries are $7 - these prices have more than doubled in the last decade, and inflation is partly to blame, but I'm sure that NYC rising rents and just plain greed are also in the mix.  The Nathan's restaurants also serve burgers now and cheesesteak sandwiches too, but when you see how much THOSE cost, you may change your mind. Things are tough all over, I get it, but I used to eat Gray's Papaya dogs after I got out of  college and they were just 50 cents each at the time. Those hot dogs got more expensive, too, but not by as much, they go for $3.25 now, which I still maintain is too much for a HOT DOG, remember that they're still made from snouts and assholes and the other parts that couldn't be used elsewhere.  Why does everyone seem to keep forgetting this? 

Look, I don't want to sound like an old fogey by complaining about how things were cheaper and better back in my day, so I'll stop.  I will just never pay $6 for a hot dog, that's all, unless it's a pack of 8 at the grocery, and even then, $6 is a bit too much.  I'm glad that Nathan's is doing well, like I understand Mr. Handwerker's argument about not letting the business expand out of his control, but this is the way of American industry, you need to grow, grow, grow your business until there are hundreds of locations and a couple bad promotional moves will cause you to file for bankruptcy, like Red Lobster did.  Yeah, there's really nothing more American than THAT. 

NITPICK POINT: One of the burnouts who served up hot dogs at Nathan's in the 1970's talks about the time that Jackie Kennedy came in to buy a hot dog, and she sat in the back so she wouldn't be noticed.  He says, "Well, considering what year it was, she wasn't Jackie KENNEDY because JFK died, and she wasn't yet Jackie ONASSIS, so I guess she was just Jackie."  No, that's not how it works, she took the last name Kennedy when she married JFK and she didn't go back to Bouvier, so she was still Jackie KENNEDY.  Why did this guy have so much trouble understanding this?

Also starring Nathan Handwerker, Lloyd Handwerker, Ida Handwerker, Dotty Handwerker, Joe Handwerker, Minnie Handwerker, Murray Handwerker, Sidney Handwerker, Sol Handwerker, Steve Handwerker, Dewey Albert, Maria Argano, Paul Berlly, Gregory Bitetzakis, Jimmy Bologna, Hy Brown, Johnny "Blackie" Casillo, Jay Cohen, Jack Dreitzer, Leah Dreitzer, Eddie Furst, Paul Georgoulakos, Claire Kamiel, Max Kamiel, Matt Kennedy, Bob Levine, Morty Matz, Larry Moyer,  Johnny Pao, Larry Rocco, Izzy Rodriguez, Jose Santiago, Hyman Schuchman, Lena Schuchman, Joe Scianmetta, Sol Seiderman, Al Shalik, Hyman Silverglad, Anna Singer, Frank Soto, Morris Sunshine, Richard Trautstein, Felix Vasquez, 

with archive footage of Lucille Ball (last seen in "Marvin Hamlisch: What He Did for Love"), Jacqueline Kennedy (ditto), Anne Bancroft (last seen in "Remembering Gene Wilder"), Sid Caesar (ditto), Jerry Lewis (ditto), Al Capone (last seen in "The Strange Name Movie"), Jimmy Durante (last seen in "Dean Martin: King of Cool"), Albert Einstein (last seen in "Recorder: The Marion Stokes Project"), Henry Fonda (last seen in "Robert Klein Still Can't Stop His Leg"), Jackie Gleason (last seen in 'Mike Wallace Is Here"), Robert F. Kennedy (ditto), Buddy Hackett (last heard in "The Little Mermaid"), Angela Lansbury (last seen in "Butterfly in the Sky"), Liberace (last seen in "Rock Hudson: All That Heaven Allowed"), Walter Matthau (last seen in "The Kid Stays in the Picture"), Marilyn Monroe (last seen in "Stan Lee"), George Reeves (last seen in "The Flash"), Babe Ruth (last seen in "Say Hey, Willie Mays!"), Chuck Scarborough (last seen in "Yogi Berra: It Ain't Over"), Andy Warhol (last seen in "Keith Haring: Street Art Boy")

RATING: 6 out of 10 mustard packets (which replaced the communal "mustard bowls" with spreading sticks that were falsely rumored to be contaminated with LSD by hippies in the late 1960's)

Wednesday, July 31, 2024

Sid & Judy

Year 16, Day 213 - 7/31/24 - Movie #4,801

BEFORE: We're closing down another month today so here are the format totals for July 2024:

8 Movies watched on cable (saved to DVD): I Am Burt Reynolds, LennoNYC, Elton John: Becoming Rocketman, Little Richard: King and Queen of Rock 'n' Roll, Keith Haring: Street Art Boy, The Real Charlie Chaplin, Marvin Hamlisch: What He Did for Love, Sid & Judy
6 Movies watched on cable (not saved): Love to Love You Donna Summer, Rock Hudson: All That Heaven Allowed, David Bowie: Out of This World, Moonage Daydream, Mike Wallace Is Here, Billie Jean King: Portrait of a Pioneer
5 watched on Netflix: Yogi Berra: It Ain't Over, American Symphony, Money Shot: The Pornhub Story, The Greatest Night in Pop, Wham!
1 watched on Hulu: The Stones and Brian Jones
2 watched on YouTube: We Blew It, Billie
5 watched on Disney+: If These Walls Could Sing, Elton John Live: Farewell from Dodger Stadium, The Beach Boys, Stan Lee, Jim Henson: Idea Man
1 watched on Tubi: The Strange Name Movie
1 watched on HBO MAX: Little Richard: I Am Everything
29 TOTAL

Well, if I could have watched 31 movies during July then I would have, but my work schedule got in the way, and I also have to sleep at some point. But yeah, if I could have fit in two more films that would have been great, because then the Doc Block would have ended today, on July 31, and I could move on to another topic with the new month.  Well, it just meant wasn't to be.  

Liza Minnelli and Barbra Streisand carry over from "Marvin Hamlisch: What He Did for Love". 


FOLLOW-UP TO: "Judy" (Movie #3,839)

THE PLOT: A revealing new look at Judy Garland, fifty years after her tragic death, fusing the unpublished recollections of producer, manager and third husband Sid Luft with film clips, rare concert footage and Judy's own inimitable words. 

AFTER: I've seen a few different approaches to documentary filmmaking during this year's Doc Block, some just go all archive footage because really, everything's out there and available, including everyone's appearances on talk shows, all the footage just needs to be licensed, but there are HUNDREDS if not thousands of talk show episodes that can get you all the footage you may need. The other approach is the popular "talking heads" format where the director secures interviews with the subject's family and friends and maybe even enemies to learn more about them first-hand before we cut to the archive footage.  

But there are new techniques emerging and one I've noticed this year is the "audio archive" approach, where the director tracks down audio interviews that maybe were already made, even years ago, and then runs these sound clips over the archive footage.  One problem with this approach is that everything really should be treated as hearsay, like if you find an interview archive (or, really, if you just SAY that you found one) you can't really prove that what the people said in the interview represented the truth, or even their version of the truth, because they could be lying, or senile and not remembering things right.  Hell, they may not even be who they say they are, there's just no way to verify things, but documentary filmmakers don't seem to want to let this stop them from crafting the narrative they want.  "Belushi" and "Billie" are two recently watched docs that took this approach, and "Belushi" went on step further and hired an actor, Bill Hader, to read Belushi's personal letters to his girlfriend/wife because they didn't have any audio recordings of them, why would they?  

"Sid & Judy" opted for the same approach here, because they "found" Sid Lufts journals and also some things that Judy Garland maybe or probably said at one point, and they got Jon Hamm and Jennifer Jason Leigh to read these things aloud.  Ms. Leigh doesn't really sound much like Judy Garland, but she's got a scratchy, gravelly voice which does kind of work for those times when Judy was drunk or high or some combination of both, which was possibly all the time in the later years.  Jon Hamm got the easier job, he only had to sound like Sid Luft, only he really didn't need to because nobody today knows or cares what Sid Luft sounded like.  

I just went back and re-read my review of "Judy", the biopic with Renee Zellweger in it, which I watched in May of 2021, and wow, that was 962 movies ago, really how am I supposed to remember back that far?  I've watched almost a thousand movies since then, but it was only a little more than three years ago.  Anyway, that film and THIS film are not set in the exact same time period of Judy Garland's life - they both detail a trip made to London to perform in front of a sold-out crowd, however in tonight's film, the trip was arranged by Judy's third husband, Sid Luft, who was also her manager for a time, and things are kind of told from his P.O.V., in this own words, allegedly.  The film "Judy" which nabbed Zellweger that Oscar detailed a DIFFERENT trip she took to perform in London, during a time when Sid Luft was suing her for custody of their two children, so they were divorced, and Judy was being managed by husband #5, Mickey Deans, or at least he went on to become husband #5.  Got it?  So on that other trip she was a little bit older and did a little bit more drinking.  

Yes, here's where Wikipedia helps me clear things up a bit (and they should, I just donated $10 to their campaign last night, so really, they owe me.).  Judy Garland's first tour of Britain and Ireland (as arranged by Sid Luft) took place in 1951 - aka "The First Comeback Tour". During this tour she performed at the London Palladium.  Upon returning to Manhattan, Sid had her play the Palace Theater in Manhattan in October 1951. Then she divorced Vincente Minnelli and married Luft.  The Carnegie Hall concert (also seen in tonight's film) took place in 1961, and then she divorced Sid Luft in 1963.  After THAT, she returned to the London Palladium in November 1964, and then a third U.K. tour in 1968, and THAT'S the tour seen in the movie "Judy".  Well, I'm glad I was able to clear that all up, but I'm guessing I'm the only person who even cares.  

The goal here seems to be to shine a focus on the years of the Sid Luft marriage (1952 to 1965), however Luft's narration also acts as an omniscience of sorts, he seems to know everything about Judy Garland's back-story, even from when she was a child, decades before he even met her. Well, that doesn't make much sense, so clearly he's just being used as a narrative device here to tell us whatever we need to know about Judy.  Really, it's the same back story we saw in that other film, how the studio controlled what she wore, what she eat (or more often, did NOT eat), and gave her "bennies" when she was tired and they still needed to do another few takes.  And the implication that Louis B. Mayer was infatuated with her and may have molested her, but if not, then he at least did a great job of messing with her head.  

But then "Sid & Judy" kind of skips over a lot, or at least goes through "The Wizard of Oz", "Broadway Melody of 1938", "Everybody Sings", "Presenting Lily Mars", "Meet Me In St. Louis" and "Easter Parade" so we can get more quickly to that first London tour, with Sid Luft in the picture, and of course, "A Star Is Born".  This was huge for Judy, finally leaving MGM, the studio that had super-controlled her life for 18 years to start a new career over at Warner Bros.  However, she proved to be just as unreliable in her first film for Warner as she was in her last few years at MGM, always claiming to be sick, but more likely she was suffering from the effects of alcohol and drug abuse.  So it took TWO YEARS to film "A Star Is Born", but not all of that can be blamed on Garland - at some point midway through the production it was decided to switch the from standard ratio over to the new CinemaScope, which meant that everything filmed to date had to be filmed again in the new wider-screen ratio.  And there were constant script changes, too - but sure, some of the delay can be blamed on the leading lady's chemical dependencies, and the illnesses, hypochondria and drastic weight changes that came along with that.  

Then, once the film was completed, with a running time cut DOWN to three hours, it premiered in New York to great acclaim.  However, theater owners complained about the running time, as they could only show a film that long three times a day on a screen instead of five, and therefore it would be nearly impossible for theaters to make any money.  So Warner executives made drastic cuts in the film, losing crucial scenes and two musical numbers to get to a running time of 2 hours and 24 minutes.  The theater owners were happy, however then the film didn't make as much sense.  (The uncut version of the film was finally released, but after Judy Garland died.)

Well, that must have sucked, and it possibly cost Judy Garland an Oscar, she was considered to be a shoo-in that year, but that was before Warner Bros. hacked up the film - so Grace Kelly won instead for "The Country Girl".  All of this fighting with the studio led Judy to seek out other performance venues, not just live stage concerts, but TV specials, and eventually her own variety show, "The Judy Garland Show" on CBS in 1962.  But the TV executives screwed her, too, by putting her show on opposite "Bonanza", the most popular show on TV at the time.  So her TV show only lasted one season, but got four Emmy nominations. 

And then we know what happened to her after that, she divorced Sid and went back on the road - so again if you're planning to watch both THIS documentary from 2019 and also the 2019 film "Judy" with Renée Zellweger, I would suggest watching this one first, because it's almost like that one picks up where this one ends.  Sort of.  But of course I didn't know that, and I watched THAT one three years ago and this one now.  Oh, well, how was I to know? 

Also starring the voices of Jon Hamm (last seen in "Albert Brooks: Defending My Life"), Jennifer Jason Leigh (last seen in "Kill Your Darlings"), Norman Jewison (last heard in "Sly"), George Schlatter (last seen in "Sammy Davis Jr.: I've Gotta Be Me")

with archive footage of Judy Garland (also carrying over from "Marvin Hamlisch: What He Did for Love"), Ronald Reagan (ditto), Fred Astaire (last seen in "Moonage Daydream"), Bing Crosby (ditto), Lauren Bacall (last seen in "Under the Silver Lake"), Count Basie (last seen in "Billie"), Humphrey Bogart (last seen in "Whatever It Takes"), Ray Bolger (last seen in "Capone"), Jack Haley (ditto), Bert Lahr (ditto), Billie Burke (last seen in "Topper Returns"), George Burns (last seen in "Joan Rivers: A Piece of Work"), George Cukor, Ethel Gumm, Francis Gumm, Mary Jane Gumm, Virginia Gumm, Lena Horne (last seen in "Street Gang: How We Got to Sesame Street"), George Jessel (also last seen in "Albert Brooks: Defending My Life"), Dean Martin (ditto), Danny Kaye (last seen in "Remembering Gene Wilder"), Gene Kelly (last seen in "Babylon"), John F. Kennedy (last seen in "Mike Wallace Is Here"), Patricia Kennedy Lawford, Peter Lawford (last seen in "Dionne Warwick: Don't Make Me Over"), Lorna Luft (last seen in "54"), Sidney Luft, James Mason (last seen in "Salem's Lot"), Louis B. Mayer (last seen in "Lucy and Desi"), Mickey Rooney (ditto), Vincente Minnelli, Jack Paar (last seen in "What's My Name: Muhammad Ali"), Martha Raye, Frank Sinatra (last seen in "The Beach Boys"), Lana Turner (last seen in "Topper"), Jerry Van Dyke, Jack L. Warner (last seen in "Natalie Wood: What Remains Behind")

RATING: 5 out of 10 takes of "The Man That Got Away"

Tuesday, July 30, 2024

Marvin Hamlisch: What He Did for Love

Year 16, Day 212 - 7/30/24 - Movie #4,800

BEFORE: Another century mark reached, and with tonight's film this Movie Year is 2/3 over - so I've lined up a big Broadway smash, a star-studded affair, a film that (hopefully) celebrates the best of Broadway, the movies, hit songs and the creative process.  This is focused on one of the world's two PEGOT winners (that's a Pulitzer plus the other four), plus he won three Oscars (in the SAME YEAR), two Golden Globes, four Grammys, four Emmys, and one Tony.  Really, Marvin, just one Tony? Couldn't you have tried a little harder?  Member of the American Theater Hall of Fame and the Songwriters Hall of Fame, here we go, ladies and gentlemen, please welcome to the stage, Mr. Marvin Hamlisch!

Oh, yeah, and Barbra Streisand carries over from "Billie". 


THE PLOT: Composer, conductor, genius, mensch - Marvin Hamlisch was a close to a modern day Da Vinci as it gets. Hit after hit..."The Way We Were", "Nobody Does It Better", "The Sting", "A Chorus Line" - Marvin was irrepressible and prolific, his streak was staggering. So what made a genius like that tick? What was his creative process? And when breathtaking success was followed by flops, how did Marvin cope? 

AFTER: By all accounts, Marvin Hamlisch was an over-achiever. Who gets into Juilliard Music School at the age of SIX?  They don't just let anyone in at any age, but at six, that's kind of ridiculous, you're talking about a child prodigy, someone like Mozart, who was playing recitals for royalty at around the same age. To have a mastery of the piano, or any instrument, or any THING at six years old seems kind of out there, but these people exist, once in a while anyway. OK, I looked into it, and Juilliard has a pre-college division, which teaches students from elementary, junior high and high school - so it's PART of the same school as the college-level students go to, but it was a division specifically for kids and teens.  Still, it's an amazing accomplishment, and it's amazing that a six-year-old knew that he wanted to play and compose music for the rest of his life. But not just classical music, he had a bent even back then for show tunes and theater productions. Nerd.  

As a teen, Hamlisch would go to see the stage versions of "My Fair Lady", "Gypsy", "West Side Story" and "Bye, Bye Birdie", and he caught Carol Channing in "Hello, Dolly" and all of this really opened up his mind, he was hooked. So while he was supposed to be learning the classical music at school, he was playing theater music for fun. Hey, to each his own, right?  There may have been other teens like him that were also theater nerds, but most of them probably ended up as theater actors, not composers. Statistically speaking, anyway, because there just seem to be a lot more wanna-be actors out there than wanna-be composers.  But he still went to college, Queens College, and got his B.A. in 1967, and his first job was as a rehearsal pianist for "Funny Girl" with Barbra Streisand. 

But before a school-mate of his was dating Liza Minnelli, and Liza was looking to make a record of songs that she could give to her mother, Judy Garland, for Christmas.  So Liza hired Marvin to write her some songs, one of which was "The Travelin' Life", and also this got him invited to Judy Garland's house for a Christmas party, during which he ended up at the piano, and he already knew how to play every song in Judy Garland's repertoire, so naturally he was a big hit there, at the age of 19.  A producer at that party, Sam Spiegel, hired him to play piano at other parties, and also score the film "The Swimmer", which came out in 1968.  Three years before that, Marvin had his first hit, which was called "Sunshine, Lollipops and Rainbows", that played in another movie, "Ski Party" with Lesley Gore singing it. (It was like one of those Frankie Avalon beach movies, only not at the beach.)

It seemed like Hamlisch was setting himself up for major Hollywood success, he was meeting the right people, performing at the right parties, another song he wrote for Lesley Gore went to number 16 on the charts and Gore also sang it on the hot TV series "Batman", when she played an accomplice to Catwoman. Hamlisch then found work writing music for a couple of Woody Allen's early films, "Take the Money and Run" and "Bananas".  And in 1973, forget about it, he won THREE Oscars on the same night, he won Best Original Song and Best Original Dramatic Score for "The Way We Were" and Best Original Song Score and/or Adaptation for "The Sting". This feat would be impossible today, because they phased out that last category at some point.  But who the hell DOES this?  Nobody but him, apparently. 

That's it, that's the mountaintop, there's really nowhere to go from there but down, I mean, part of me says you should probably quit the business right then and there, because the chances of someday winning FOUR Oscars in one night are practically zero, no wait, actually zero. If nothing else, he guaranteed that he could work the rest of his life on movie soundtracks and scores, because who doesn't want to hire an Oscar-winning composer?  

So, naturally, he packed up and left L.A. and headed back to New York to work on stage productions. No, no, I get it, he probably just missed the Carnegie Deli or Katz's or something, or like Woody Allen he needed to know that he could get Chinese food at 2 am if he wanted to.  But he really wanted to conquer the stage world, too - he'd only worked at those "Funny Girl" rehearsals and done one event playing piano at Carnegie Hall for Groucho Marx. He fell in with a group of dramatists and lyricists, and the result was "A Chorus Line", which won him a Tony Award and a Pulitzer (he had to share the Pulitzer with four other guys, but hey, 1/5 of a Pulitzer is better than nothing).  Again, this was his FIRST Broadway score, and it was a runaway boffo best-selling giant smash hit, like the whole Times Square area was a decrepit bunch of porn palaces and junkie music stores and one Howard Johnson's, but suddenly with "A Chorus Line" playing there was the start of the giant transformation of the neighborhood, and it only took a few thousand performances to make this happen. 

Seriously, though, "A Chorus Line" started on Broadway in 1975 and ran for 6,137 performances, I don't even know how many years that is. 16? 17? Counting matinees, but the show was dark on Mondays?  Let's say 8 shows a week, 400 shows a year, that means 15 years, and it was a record until "Cats" broke it in 1997, and then "Phantom" broke THAT record. By the end of all that, Broadway had become a place that people could take their families, and Disney could run shows for kids and the porn theaters were closed or exiled to other neighborhoods, and by then we had DVDs and the internet so who cares?

But the big problem with having the biggest hit on Broadway became the same problem with winning three Oscars for "The Sting" and "The Way We Were" - what do you do next?  Hamlisch struggled with success because he was neurotic that way, and for five years it had seemed that everything he wrote turned to gold, so mentally he was not prepared for a time when that didn't prove true.  He wrote a musical with Carole Bayer Sager about their relationship, and it was called "They're Playing Our Song", and it starred Robert Klein and Lucie Arnaz, and it didn't do well because people really liked going to see "Sweeney Todd" that year. I guess somebody forgot to tell Hamlisch that other Broadway shows would also be playing in other theaters, and that people had choices when they bought tickets. Hamlisch threw himself into two other productions, "Jean", based on the life of actress Jean Seberg, and "Smile", based on a movie about beauty pageants, and neither production was successful. He teamed up with Neil Simon for a musical version of "The Goodbye Girl", but it closed after 188 performances. 

One could probably make a backwards argument here for never, ever, having a successful musical on Broadway, because you could spend your entire career trying to repeat that feat and never be able to do it.  It's a tough market - so is the film industry, but at least with movies all he had to do was write music, he didn't have to worry about the story, the cast, the audience, and more importantly, the New York Times drama critics. Really, Marvin, the writing was on the wall, forget about Broadway and get back to scoring movie soundtracks - and that's exactly what he did, he co-wrote one James Bond theme, "Nobody Does It Better" for the film "The Spy Who Loved Me", and Carly Simon sang it. The scores for "Ordinary People" (hey, there's Mary Tyler Moore again...) and "Sophie's Choice" did well, so really, he found his niche as a film composer for hire. 

I wish I could say he stuck with movies, because the list of successes he had with Hollywood films is extensive - "Frankie and Johnny", "The Mirror Has Two Faces", "How to Lose a Guy in 10 Days", and "The Informant!", not to mention the older films "Same Time, Next Year", "Ice Castles", "Starting Over" and "Seems Like Old Times".  Plus he was musical director and arranger for Streisand, and was a conductor on tours for Linda Ronstadt, in addition to being the "Pops" conductor for symphony orchestras all over the U.S., in Pittsburgh, Milwaukee, San Diego, Seattle, Dallas, Buffalo, and Baltimore, like how is that even possible?  But no, for some reason he tried to go back to Broadway, and his musical "Sweet Smell of Success" tanked because it opened six months after 9/11, and come on, audiences just weren't ready.  I remember that in 2002 there wasn't much tourism going on in NYC at all.  

Depression hit Hamlisch hard when his Broadway plays didn't do well, and he was incredibly lonely when his mother passed away.  But as his friends and associates all say in this doc, he was an extremely nice guy who LOVED eating great food in fancy restaurants, he loved his New York Yankees, and he dated a LOT of beautiful women, actresses and singers and such, and it was NOT a Rock Hudson thing, if you know what I mean.  And after a long string of "Hey, let's just be friends now" relationships, he finally got married in 1989, and that one was for keeps.  

Really, though, don't watch this for the performances by Streisand and others at his memorial concert, watch this for the clips of Marvin Hamlisch at Yankees fantasy camp, his wife bought the experience as a gift for him, and through this he formed a lasting friendship with Yankees manager Joe Torre, who happened to be a big Broadway fan himself as a teen.  Sure, it's a bit weird, but it's darn cute to see Hamlisch in a baseball uniform catching a fly ball in the outfield.  He was never allowed to play sports as a kid because his mother didn't want him to hurt his piano-playing hands. I feel you, Marvin, my mother didn't let me play sports either. Famous people, they're just like us, only they get to sleep with other famous people!

If I'm posting late tonight, I have to apologize, I'd recorded this movie from the PBS "American Masters" series and dubbed it to DVD, but somehow my DVD was all screwed up, after an hour it started getting all digitized and wonky.  Maybe the original DVR recording was bad, and I put it on VHS and then DVD, but I just couldn't watch the last half hour last night.  So I had to wait for this afternoon and find the film on my pirate site, just to see how it ended.  I know, it's a documentary about someone's life, so of course I already know how it ended, but still, I wanted to be a completist about it.  Spoiler Alert: Marvin Hamlisch died August 6, 2012, from respiratory arrest, brought on by hypertension.  Well, he did love his fancy restaurants, and he was 68.

OK, just three documentaries left in this year's Doc Block - then I have three things left to do in the next 100 films - 1) link to "Deadpool & Wolverine" 2) link to the start of the horror chain, whatever it is, and 3) link to Christmas.  I've got 100 slots left to do that, starting tomorrow. 

Also starring Ann-Margret (last seen in "Mr. Saturday Night"), Lucie Arnaz (last seen in "Lucy and Desi"), Bob Avian, Carole Bayer Sager, Alan Bergman, Marilyn Bergman, Terre Blair, John Breglio, Craig Carnelia, Kevin Cole, Raul Esparza (last heard in "Ferdinand"), Peter Filichia, Maria Friedman, J. Ernest Green, Lorin Hollander, Rupert Holmes, Nicholas Hytner, Brian D'Arcy James (last seen in "West Side Story" (2021)), Quincy Jones (last seen in "The Greatest Night in Pop"), Robert Klein (last seen in "Yogi Berra: It AIn't Over"), Joe Torre (ditto), Baayork Lee, Valerie Lemon, John Lithgow (last seen in "The Homesman"), Melissa Manchester (last seen in "Dionne Warwick: Don't Make Me Over"), Joann Mariano, Patti Mariano, Donna McKechnie, Idina Menzel (last seen in "Disenchanted"), Kelli O'Hara (last seen in "Always at the Carlyle"), Tim Rice (also last seen in "Mr. Saturday Night"), Carly Simon (last seen in "Carly Simon: The Soundtrack of Our Lives"), Steven Soderbergh, Howard Stringer, Leslie Uggams (last seen in "American Ficiton"), Christopher Walken (last seen in "I Am Chris Farley"), Maury Yeston

with archive tootage of Marvin Hamlisch (last seen in "Jim & Andy: The Great Beyond"), Woody Allen (last seen in "Remembering Gene Wilder"), Burt Bacharach (last seen in "If These Walls Could Sing"), Scott Bakula (last seen in "Life as a House"), Lucille Ball (last seen in "Rock Hudson: All That Heaven Allowed"), Burt Lancaster (ditto), Nancy Reagan (ditto), Michael Bennett, Klea Blackhurst, Victor Borge, Carter Brey, Clancy Brown (last seen in "Dumb Money"), Richard Burton (last seen in "Ira & Abby"), Johnny Carson (last seen in "Jim Henson: Idea Man"), Jane Curtin (ditto), Liza Minnelli (ditto), Gilda Radner (ditto), Diana Ross (ditto), Gene Shalit (ditto), Jimmy Carter (last seen in "The Special Relationship"), Rosalynn Carter (last seen in "Irresistible"), Carol Channing (last seen in "The Kid Stays in the Picture"), Judy Garland (last seen in "Beauty"), Matt Damon (last seen in "Oppenheimer"), Lesley Gore (also last seen in "Dionne Warwick: Don't Make Me Over"), Merv Griffin (last seen in "Mike Wallace Is Here"), Jacqueline Kennedy (ditto), Larry King (ditto), Groucho Marx (ditto), Ronald Reagan (ditto), Vladimir Horowitz (last seen in "Jimmy Carter: Rock & Roll President"), Lynn-Holly Johnson (last seen in "For Your Eyes Only"), Edward Kleban, Barack Obama (last seen in "Stan Lee"), Michelle Obama (last seen in "You've Been Trumped Too") Cole Porter, Gene Rayburn (last seen in "Betty White: First Lady of Television"), Robert Redford (last seen in "We Blew It"), Charles Nelson Reilly (last seen in "I Am Burt Reynolds"), Charlie Rose (last seen in "Nothing Compares"), Neil Simon (last seen in "Becoming Mike Nichols"), Brett Somers, Connie Stevens (last seen in "Just Before I Go"), Jule Styne, Elizabeth Taylor (last seen in "Moonage Daydream"), James Taylor (last seen in "American Symphony"), Arturo Toscanini, 

RATING: 7 out of 10 performances at the White House (Carter through Obama)

Monday, July 29, 2024

Billie

Year 16, Day 211 - 7/29/24 - Movie #4,799

BEFORE: We're getting closer to the end of this year's Doc Block, and I can see the extraneous links are falling away, the missed connections are being forgotten, and I'm down to just a couple links left, and I couldn't change the order of the films remaining now, even if I wanted to.  It's going to fall to a few Broadway legends to get me to the end - they can do it, I know they can - they'll be swell, they'll be great, gonna get my Doc Block finished on the right date. 

But first, it's Dick Cavett who carries over one more time from "Billie Jean King: Portrait of a Pioneer", so let's thank all the talk show hosts who made this year's linkage possible. Not just Dick Cavett, but the late Johnny Carson, David Letterman (still the favorite to win the year), and Merv Griffin, Mike Douglas, Dinah Shore, Arsenio Hall, Tom Snyder, Ed Sullivan, Larry King, and you newer guys, Jon Stewart, Conan O'Brien, Stephen Colbert, Trevor Noah - really, thanks, guys, I couldn't have done what I did without you guys doing what you do. Err, did. Special thanks to guest hosts Joan Rivers, Rob Reiner and sure, Burt Reynolds for sitting in for Johnny while he was off getting divorced. 


FOLLOW-UP TO: "The United States vs. Billie Holiday" (Movie #4,530)

THE PLOT: Documentary on the famed jazz singer Billie Holiday. 

AFTER: If you watched the Lee Daniels bio-pic on Billie Holiday, then you might already know some of the facts about Billie Holiday's life that this doc is going to try to get around to, namely Billie Holiday being the target of an undercover drug sting because of her insistence on performing the song "Strange Fruit" which was a song that used imagery to protest the lynching of Black Americans in the South.  And also that Billie had an affair/relationship with the narcotics agent who was undercover and assigned to get the goods on her. Well, boy, did he ever.  Look, I'm sure that sleeping with the subject you're supposed to be investigating is a very unorthodox method, but seeing as how Billie slept with men, women, and basically everyone she encountered, well, really, it was just the simplest way to get familiar with her very quickly.  Sometimes an agent has to take one for the team, as painful as that may be.  

But you might walk away from that biopic thinking in a very linear, literal way, like that maybe the narcotics sting came about BECAUSE she kept singing the song "Strange Fruit".  Or that Jimmy Fletcher lost his job as a narcotics agent because he slept with Billie and/or did drugs during the course of the investigation. But then along comes this documentary that suggests, in its own roundabout way, that perhaps nothing is quite that simple - just because one thing happened before another, it doesn't mean that the first thing CAUSED the second thing.  Correlation is not causation.  And so to prove it, it jumbles up all of the major and minor events of Billie Holiday's life to the point where we the audience can't properly understand what happened when, and therefore time is meaningless and nothing is in order and nothing could have ever caused anything else.  See?  Forget what you know about Billie Holiday, because we're about to replace it with a whole bunch of random stuff so that once you watch the documentary, you'll know even LESS about her than you did before!  Won't that be fun? 

We know that Billie was born on April 7, 1915 in the poor part of Philadelphia (which at the time. was called "Philadelphia") and her family was poor because everyone was poor, the middle-class had not been invented yet. But they were happy poor, not sad poor, and the experience led to Billie writing the song "God Bless the Child", so something good came out of her very difficult childhood.  She was named Eleanora Fagan at the time because nobody had yet thought up the cool name "Billie Holiday", even though her father was Clarence Halliday, who left shortly after she was born to go play jazz anywhere else.  Her mother remarried but it didn't last long, because her mother wanted her to be unhappy so she'd grow up to sing the blues. 

As soon as she was old enough to break child labor laws (14), she moved to Harlem to find her mother and maybe look for her father by singing in nightclubs.  Because what could possibly go wrong if a girl is 14 years old and singing in adult clubs late at night?  She was headlining clubs by the time she was 17 and that's when she gave up looking for her parents, and started looking for a recording contract. Talent agent John Hammond signed her to Brunswick Records and cut two jazz records without signing any written agreements, but who ever heard of a recording company stiffing a black artist for royalties? I'm sure everything probably worked out fine...

In 1937 (age 22) she went out on the road with Count Basie and his band - and she got to pick her songs, which all seemed to be about being unlucky in love.  Total baller move, the way for a woman to attract more men is to be available, or to, you know, just be a woman, that works too.  But her "lovelorn" act drew in the men, and apparently some of the women, too.  The way for a woman to attract women is to be a lesbian, or to, you know, just be a woman, that works too.  Billie wanted to experience it all - men, women, alcohol, cocaine, heroin - and sometimes all in the same night and in every possible combination.  Well, that's life on the road, isn't it?  Bille was touring like a rock star before there even was rock music, that's how far ahead she was for her time.  Something got her fired from the Count Basie band (gee, I can't imagine why but go ahead, take your pick...) and was believed to be "tempermental and unreliable" (gee, do you think the grain alcohol and heroin might be to blame?).  But a month later she got hired by Artie Shaw and was back on tour, so there's a lesson that was never learned. 

Then came the recording of "Strange Fruit", which was a song based on a poem about lynching in the South, and the song was so controversial that she only kept singing it for another 20 years after it was released.  But the world wasn't ready for racism to end, and it was much easier for people to just complain about her complaining about racism than to, you know, fix the problem or maybe look into stopping the lynching. It's almost a precursor to today's social media conundrums, like if you complain about what's wrong with society on Twitter or Facebook then people will call you every nasty name they can think of and then remind you that there's no room on social media for negativity.  And sure, they might have a point but then they've also created a paradox. "Listen, you complete utter moron, the internet is no place for your negative attitude and name-calling.  Also, you should go eat a bag of dicks."  

Anyway, time went by for Billie Holiday and she recorded on a few more labels and even appeared in a film, "New Orleans" although her part and Louis Armstrong's part were greatly reduced because the producers didn't want to give the public the false impression that black people somehow invented jazz, which they kind of did.  So, OK, agree to disagree. Anyway it was ROCK AND ROLL that was "black music sung mainly by white people", not JAZZ.  Stupid morons, they should go eat a bag of dicks.

Then in 1947, eight years AFTER releasing "Strange Fruit", Billie Holiday was arrested for possession of narcotics.  The DEA is very slow, but thorough.  Seriously, though, I'm not seeing the connection between the song and the arrest, have we considered that maybe she was arrested for drug possession because she was a drug addict?  Just a thought.  Then came the comeback concert at Carnegie Hall, and really, you can just switch over to the bio-pic "The U.S. vs. Billie Holiday" at this point, because the documentary doesn't even COVER that event.  The doc switches its focus over to Linda Lipnack Kuehl, who was a journalist who was working on a biography of Holiday, and she interviewed all of Billie's friends, bandmates and lovers (and woof, there were a LOT of lovers...) but she died before she could complete writing the book.  However, many of her audio interviews were used to make this documentary.  Near the end of "Billie", Linda's story is interwoven with Billie's, which I think is kind of a mistake.  The story should never be about the story-teller, the interviewer who researched all of the information and formed a close friendship with Count Basie.

UNLESS, somebody thinks that Linda Kuehl's death was not an accident, and her sister, Myra Luftman, comes pretty close to suggesting this.  But why?  Is somebody still upset about the anti-lynching song?  Did Linda get TOO CLOSE to Count Basie and learn too much?  Come on, you can't just leave me hanging, here.  Oh, you're just going to leave me hanging here, aren't you.  OK, well, that's that, I guess, and the world may never know.  Me, I would have kept the focus on Billie Holiday, you know, because the movie is called "Billie" and all that, but hey, that's just me. 

Quick update - Linda Lipnack Kuehl was found dead on a sidewalk after falling from a Washington DC hotel in February 1978, shortly after a Count Basie concert. Officially it was listed as a suicide, but Linda's sister and parents believe that there was foul play because of the research she was doing for her book.  Make of that what you will. Still, I think the film should have stuck with Billie Holiday and mentioned how she died and how her husband, alleged mobster Louis McKay, swindled her out of all of her money. OK so it's a bit sad but it's what happened. 

With archive footage of Billie Holiday (last seen in "Dionne Warwick: Don't Make Me Over"), Jean Allen, Harry Anslinger, Louis Armstrong (last seen in "Listening to Kenny G"), Al Avola, Tallulah Bankhead (last seen in "Cruella"), Tony Bennett (last seen in "If These Walls Could Sing"), Chuck Berry (last seen in "Little Richard: I Am Everything"), Tom Jones (ditto), Marie Bryant, Count Basie (last seen in "What's My Name: Muhammad Ali"), James "Stump" Cross, Skinny Davenport, Ruby Davies, Billy Eckstine, Harry Edison, Ray Ellis, John Fagan, Ella Fitzgerald (last seen in "Beauty"), Jimmy Fletcher, Milton Gabler, Benny Goodman, James Hamilton, John Hammond, Roy S. Harte, Milt Hinton, Jo Jones, Barney Josephson, Mary Kane, Barney Kessel, Irene Kitchings, Linda Lipnack Kuehl, Peggy Lee (last seen in "Dean Martin: King of Cool"), Melba Liston, Myra Luftman, Dewey "Pigmeat" Markham, Virginia McGlocken, Louis McKay, Carmen McRae, Memry Midgett, Charles Mingus, Otis Redding (last seen in "The Bee Gees: How Can You Mend a Broken Heart?"), Les Robinson, Jimmy Rowles, Artie Shaw (last seen in "Second Chorus"), John Simmons, Bessie Smith, Barbra Streisand (last seen in "Mike Wallace Is Here"), Robert Tucker, Mae Weiss, Sid Weiss, Orson Welles (last seen in "Jim Henson: Idea Man"), George H. White, Paul Whiteman, Dorothy Winston, Sandy Williams, Lester Young, Earle Warren Zaidins, 

RATING: 4 out of 10 Jim Crow laws