Pages

Blogger templates

Blogroll

Labels

Featured 1

Curabitur et lectus vitae purus tincidunt laoreet sit amet ac ipsum. Proin tincidunt mattis nisi a scelerisque. Aliquam placerat dapibus eros non ullamcorper. Integer interdum ullamcorper venenatis. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas.

Featured 2

Curabitur et lectus vitae purus tincidunt laoreet sit amet ac ipsum. Proin tincidunt mattis nisi a scelerisque. Aliquam placerat dapibus eros non ullamcorper. Integer interdum ullamcorper venenatis. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas.

Featured 3

Curabitur et lectus vitae purus tincidunt laoreet sit amet ac ipsum. Proin tincidunt mattis nisi a scelerisque. Aliquam placerat dapibus eros non ullamcorper. Integer interdum ullamcorper venenatis. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas.

Featured 4

Curabitur et lectus vitae purus tincidunt laoreet sit amet ac ipsum. Proin tincidunt mattis nisi a scelerisque. Aliquam placerat dapibus eros non ullamcorper. Integer interdum ullamcorper venenatis. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas.

Featured 5

Curabitur et lectus vitae purus tincidunt laoreet sit amet ac ipsum. Proin tincidunt mattis nisi a scelerisque. Aliquam placerat dapibus eros non ullamcorper. Integer interdum ullamcorper venenatis. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas.

Showing posts with label Cheap N' Gritty. Show all posts
Showing posts with label Cheap N' Gritty. Show all posts

Tuesday, December 21, 2010

Commercial Review: THUNDERBIRD WINE AD (196?, James Mason)

Stars 5 of 5.
Running Time: 22 seconds.
Notable Cast or Crew: James Mason.

Submitted, for your consideration: Thunderbird. The American Classic. What's the word? Thunderbird. How's it sold? Good and cold. What's the jive? Bird's alive. What's the price? Thirty twice. That's just sixty cents, ladies and gentlemen. Now for those of you still asking, 'What the hell is Thunderbird?,' let me lay it out for ya. It's a low-end, fortified wine. Also known as a blockparty breakup, a poverty punch, or a gutter punk champagne. A cheap n' grubby beverage, which, despite possessing a translucent 'white wine' hue, is known to turn the mouth a tenebrous, inky black. Existing somewhere on the chemical spectrum between Clorox, gasoline, and rubbing alcohol, it's like something out of STREET TRASH.

Over here we have James Mason. Veteran actor of stage and screen and a memorable collaborator of Alfred Hitchcock, Carol Reed, Stanley Kubrick, Michael Powell, Nicholas Ray, Tobe Hooper, Sam Peckinpah, and George Cukor, among others. Nominated for three Oscars, he's played General Rommel, Brutus, Captain Nemo, Joseph of Arimathea, and Humbert Humbert. He even had his own TV show for a little while: THE JAMES MASON SHOW. His deep, velvety voice has delivered exquistely-worded put-downs to co-stars as disparate as Charles Bronson, Cary Grant, and Marlon Brando. A class act if there ever was one. So, you're probably wondering why I even brought him up in the context of Thunderb–

Now that may be the finest celebrity endorsement I have ever witnessed, this side of Bronson/Mandom.

James Mason begins with a moment of hesitation...

You can see it in his nervous eyes and his stiff demeanor. He knows exactly what he's about to endorse. In fact, he may have grown that seedy moustache expressly for the occasion. He's come to grips with the sacrifices that must be made in the name of earning a living, yet still he finds it difficult to maintain eye contact with the viewer. He looks downward, using the excuse of a steadier pour.

"I like the unusual flavor of Thunderbird wine. It's an exceptionally good drink for every occasion."

He slowly pours himself a glass. He hasn't lied to us yet. Not directly. Perhaps he does like that unusual chemical taste in the same way that some of us enjoy the occasional whiff of gasoline from a passing automobile. And note that he doesn't say it's an exceptionally good drink per se, he simply finds it well-suited for every occasion, just as I find Drain-O well-suited for every occasion I have to unclog a pipe.

"Thunderbird has an unusual flavor, all it's own. Not quite like anything I've ever tasted."

Still he looks away. He even uses the descriptor 'unusual' once more. He's falling apart. Under that silken neck scarf, he is sweating buckets. You can't tell because he's a pro, but he's never lied to his public before. He still manages to avoid coming straight out and saying that 'Thunderbird is worth your time and money because it is delicious,' though, which is admirable. I like that sculpture, too.

"I suggest that you try Thunderbird. It's really delightful."

'Delightful' is stretching it. And James Mason knows it. That's why he toasts us with his tumbler-of-Thunderbird-on-the-rocks-with-lime-garnish as he says it. It's an old magician's trick: sleight of hand, distraction, and visual flourish. I like that he never takes a sip of Thunderbird. Now most will probably cite advertising laws and so forth, but I'll always hold that he can't bring himself to do it. It's also possible that the fumes have generated some kind of temporary paralysis.

Ah, and only now do we see that it's officially described as an aperitif, which might be the most egregious example of false advertising yet. Perhaps it could stimulate an appetite for slow-roasted packing peanuts served with rubber cement sauce, or something of that nature. I have to assume, though, that James Mason has tried Thunderbird at least once, or else he wouldn't realize the necessity of so carefully tiptoeing through his adjectives. But it's all in that first look–


It's only for an instant, but he really does look like a turtle out of its shell. The bird may be alive, but the Mason's mortified. And yet, at the same time, he looks scuzzier than Humbert Humbert at his scuzziest. This is the look of a man who is about to hawk some toxic chemicals in the form of a wine bottle. Then again, it doesn't resemble wine in any way, so let's say it's the look of a man who's about to hawk some toxic chemicals in the form of a bottle of bottom-tier Triple Sec. It's like that Philosophy 101 conundrum whereupon if you grab the carrot to feed yourself, someone across the world who you don't know dies. Except here, it's James Mason's livlihood versus a couple of dozen melting bums and dissolving hobos. It's the cycle of life, and it's all laid out quite beautifully. Thank you, Mr. Mason. Now pass that Thunderbird. Let her gentle wings soar.

-Sean Gill

Wednesday, September 15, 2010

Film Review: SUBURBIA (1983, Penelope Spheeris)

Stars: 4.5 of 5.
Running Time: 94 minutes.
Notable Cast or Crew: Music by Alex Gibson, The Vandals, T.S.O.L., D.I., The Germs. Starring Bill Coyne, Christina Beck, Chris Pederson, Flea, Timothy O'Brien, Wade Walston, Jennifer Clay, Grant Miner, Maggie Ehrig, Donald V. Allen, Lee Frederick, Jeff Prettyman. Directed by Penelope Spheeris (THE DECLINE OF WESTERN CIVILIZATION PARTS I-III, WAYNE'S WORLD).
Tag-lines: "A New Movie ... About A New Generation."
Best one-liner: "My old man's gonna be back soon, and if we're still here, he's gonna shit Twinkies!"

Now this is the ticket. Low-budge' greatness. Mohawks, graffiti, and roaches in the Rice Crispies.

Primal screams and rebel yells, body-slammin' and bird-flippin'. Tossin' a glass bottle at a bus cause you "got a thing against buses."

I mean, when your movie begins with THIS tableau:


And then you've actually got the balls to follow through on it... then truly the sky's the limit and the world's your filthy oyster.

The fusion of 'suburb' and 'utopia' in 1983 is pretty fuckin' far from what Thomas More had envisioned back in 1516. "Suburbia." It's a world where packs of slavering dogs roam the cul-de-sacs in search of soft flesh, a world of prefabricated homes and streaks of spraypaint, a world of lawn sprinkers and spiteful young pissers, a world of bored children and bored adults.

They're all numb, looking for whatever kicks they can find. Bored kids attend their ramshackle punk shows and engage in petty vandalism; bored yokel adults attend their cheap strip clubs and gun down mangy mutts from their car windows- but keep in mind that only one of these factions claims moral authority. There are children cast from their homes- by circumstance or by choice- who must become brutes to survive, or at least to craft an identity they can live with. They lash out madly at their humdrum tormentors in every way they can- through words, through deeds, through aesthetics– transforming themselves completely into a mockery of the status quo.


They may say that they wished they'd been aborted before they entered this vile world, but now that they're here, they're certainly not going quietly. They've never really had options- "Most of us couldn't afford lunch back in high school." So they embrace humanity's base nature, the refuse that civilization often tries to sweep beneath the carpet, flaunting it in the open, on the normals' well-manicured lawns and in their sterile convenience stores.

They're not just misunderstood, they're actively waging war against a society that's so noxious, so loathsome to them that they must habitually comport themselves with belligerence.

The boiling blood, the childish exuberance, the rage, the mania- it all comes together for them in the music. To them, it is a sort of sacred disconnect wholly at odds with the mainstream culture (and the Muzak which the club's owners occasionally use to drive them out!).

Director Penelope Spheeris captures all of this with shoestring charm and absolute "Hasta luego, shitface!" grittiness. She's no stranger to it, having long been a connoisseur of the Los Angeles music scene and crafting the punk documentary THE DECLINE OF WESTERN CIVILIZATION two years prior. With a cast made up of actual street kids and impoverished punks, there is a special quality of sincere, energetic 'bad acting' which I appreciate immensely. One of the standouts is Timothy O'Brien as "Skinner,"

whose Nic-Cage-in-VALLEY-GIRL-style lilt, predilection towards the words "asshole" and "lame," unpredictably violent manner, and loyalty to his friends are extremely charming (sort of the polar opposite of Tim Roth's masterfully despicable skinhead in Alan Clarke's MADE IN BRITAIN).

We've got Casey Royer of D.I. strangling himself with his mic cord in the midst of a rousing rendition of "Richard Hung himself,"

and Flea performing tricks (and even dancing) with his pet rat.

Note the R.C. Cola.

Yeah, there's a lot to like here. And though it is a film which attempts to authentically (to some extent) document a subculture, I have to place it in the same category of staggering, cheap n' gritty outsider masterpieces like STREET TRASH, DEADBEAT AT DAWN, and BASKET CASE. Four and a half stars.

-Sean Gill

Wednesday, July 14, 2010

COMING SOON: SLUMLORD SHITHEEL SLAUGHTER!

I'm pleased to announce that my latest film, a feature-length endeavor, will be going into production shortly, shooting on location in Brooklyn and Queens, NY. It shall try- though not through contrivances of pastiche- to revive the rugged, gritty traditions of no-budget New York filmmakers, giants like Frank Henenlotter, J. Michael Muro, Buddy Giovinazzo, and Roberta Findlay. I'm sick and tired of polished fluff, needless pizazz, and overproduced, so-called "Indie" cinema– I'd much rather return to robust traditions of old hobos kickin' ya in the balls, crushin' 40's over some poor sap's noggin, and eatin' a rat on a stick– raw. Fuck winking and nodding and light entertainment. Here's to bringin' back the EXTERMINATOR 2's and the DEATH WISH 3's of this world– (not to mention the ROLLING THUNDERs or THE OUTFITs)... and so I'll soon be presenting to you my revolutionary treatise on the ongoing battles between tenants and their landlords: SLUMLORD SHITHEEL SLAUGHTER.