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Ryan’s 150 Favorite Films: Number 101, The Kid (1921)

One of the most frequent questions I am always asked being the host of the greatest movie podcast ever (opinions may vary) is “What’s your favorite movie?” That answer has been the same since I was 11 years old. But it also isn’t as easy to explain why I love some movies more than others.

As an art form, movies are by their nature interpretative. Some people will point to a film’s box office total as a barometer for a film’s quality, this might not be true again because although it might be popular to the masses it might not appeal to you. I am looking at you Avatar, which is not one of my favorite films, not by a longshot.

Also, if the film wins an Academy Award for Best Picture, that hardly means it’s one of my favorite films, looking at you The English Patient, in fact I hardly agree with the Academy. Having said that, I am sure that some people love Avatar and The English Patient. And that’s what makes movies so great.

I, also am not a professional critic. I love film. I try and find merit in all film. As a host of a podcast that attempts to give every movie a chance, I believe that is the best way to approach movies, let the lights go out and try and enjoy yourself. You might find a “diamond in the rough.”

When thinking of my favorite movies to share with you, my loyal listeners, I thought 100 wasn’t going to be enough. So, I am proud to present my 150 Favorite Films, right now. These will change, I know they will.

See you at the movies!

***Spoilers Ahead!!!***

101. The Kid (1921) Directed by Charlie Chaplin

The Movie: Filled with pain, an unwed Mother (Edna Purviance) abandons her child by placing him into the back of an expensive car, hoping that the boy will have the life she could not give him. With a note pinned to the child she leaves. The car is stolen by thieves who leave the child in an alley.

The child is found by A Tramp (Charlie Chaplin), who tries very hard to give the child to strangers on the street. Tramp finds the note on the boy that states, “Please love and care for this orphan child.” Tramp is moved by the note and takes the boy home. There he names the boy John and starts adjusting to a life of a caregiver.

It’s been five years and we catch up with John “The Kid” (Jackie Coogan) and the Tramp. They still live in Tramp’s cramped room and have little to no money. They do however have a scheme they pull off to make money. The Kid throws rocks threw windows, and The Tramp repairs them. The Mother, now a famous and wealthy actress does charity work by giving gifts to poor children. The Mother and The Kid unknowingly meet.

Later, The Kid gets into a fight and wins. This angers the other kid’s older brother. He attacks The Tramp who is “saved” when Mother breaks the fight up. When she leaves the fight continues. The Tramp is victorious with the help of some well-placed bricks.

The Kid soon falls ill and the Mother has The Tramp call a doctor. The doctor learns that The Tramp is not the father of The Kid. Men come to take The Kid to the orphanage but he and The Tramp escape. The doctor shows Mother the note he finds and she learns that The Kid is her son that she abandoned all those years ago.

While at a flophouse, the manager learns that there is a $1,000 reward for The Kid. He takes The Kid to the police station in the middle of the night while The Tramp is asleep. The Mother and The Kid are reunited. The Tramp after searching for The Kid returns home, and falls asleep in the doorway. In his dreams, his neighbors are all angels and devils. The Tramp is roused by a policeman, who takes The Tramp to a mansion. The Tramp confused as the door opens and he sees The Kid and The Mother, who welcome him into their home.

Why I Love The Kid (1921): Brilliant, funny and heartwarming. The Kid delivers on a wide range of emotions. Chaplin rightfully earned his place as one of the first true movie stars with films like The Kid.

Not only was he the star of the picture, but he was also the writer, editor, producer and composer. He wore many hats in his career and to me The Kid is the best and most successful of all of his films.

Laugh out loud moments are peppered throughout the film, but the chemistry between Chaplin and Coogan is what separates The Kid. The power of motion pictures as an art form is maybe the strongest on The Kid. As this is a silent picture all of the story is told by the actions of the stars. The act of physical comedy in The Kid is nothing short of amazing. But, how brilliant the physical comedy is, the emotions that Chaplin and Coogan put on screen make The Kid an all time classic tear jerker as well.

From well-choregraphed physical comedy, to heart warming and beautiful scenes, The Kid is the gold standard of silent films.

Ryan’s 150 Favorite Films: Number 129-Dr. Jekyll and Mr. Hyde (1931)

See you at the movies!

***Spoilers Ahead!***

129. Dr. Jekyll and Mr. Hyde (1931) Directed by Rouben Mamoulian

The Movie: Dr. Henry Jekyll (Fredric March) believes that in every man there is a duality. One part that is good and another that is evil, and he intends to conduct experiments to separate the two. Henry is engaged to Muriel Carew (Rose Hobart) and intends to marry her right away. Her father, Sir Danvers Carew (Halliwell Hobbes) informs the couple that they must wait, putting Jekyll at odds with him.

One night, Jekyll and his colleague Dr. John Lanyon (Holmes Herbert) are walking home. On their way through the seedy streets of London a woman is being attacked by a man outside her residence. Jekyll is able to fight the man off. The woman introduces herself, Ivy Pierson (Miriam Hopkins) a bar singer and lady of the night. Jekyll carries Ivy to her room where she attempts to seduced the “good” doctor. Jekyll is tempted but leaves.

Jekyll is left alone after Muriel leaves with her father to Bath. With his fiancé out of the way, Jekyll beings experimenting with drugs that he believes will unleash the “evil” doctor. His experiment works, and Jekyll disappears and the evil Hyde takes his place. Where Jekyll has a moral compass, Hyde does not. Now able to act on all of Jekyll’s impulses, Hyde goes to a music hall where Ivy is performing. He offers her money in exchange for her company. Ivy agrees and takes Hyde to her room. Once there Hyde rapes Ivy and psychologically terrorizes her. Hyde soon learns that Muriel is set to return. He tells Ivy that he is leaving, but he will return.

The next day, Jekyll is back and he is overcome with guilt. He sends Ivy money, which after she receives it, Ivy decides to see Jekyll. When Ivy recognizes Jekyll as the man who saved her, she confides in him what Hyde had done to her. Jekyll tells Ivy that she will never see Hyde again.

Intending to attend a party hosted by Sir Carew Jekyll never makes it. He turns into Hyde, runs to Ivy’s room and murders her. Hyde runs to Jekyll’s home but is denied entry by the butler. Hyde quickly writes a letter to Lanyon tells him to take chemicals from Jekyll’s laboratory and take them to his home. Hyde arrives at Lanyon’s home where the doctor demands that Hyde tell him where Jekyll is. Hyde sensing he has no other choice drinks the formula a reverts back to Jekyll. Lanyon is shocked.

Jekyll leaves and soon realizes he is losing control from turning into Hyde. He visits Muriel and breaks off their engagement and leaves. As he walks away he sees Muriel crying. Jekyll turns into Hyde once again. Hyde goes into the home and attacks Muriel. Sir Carew attempts to stop it and is beaten to death for his trouble. Hyde flees back to Jekyll’s lab and takes the formula yet again and reverts back to Jekyll.

At Carew’s home, Lanyon recognizes the walking cane that was used in Sir Carew’s murder as Jekyll’s. Lanyon accompanies the police to Jekyll’s home, where Jekyll pleads with them that Hyde has left. Lanyon tells the police that Hyde and Jekyll are one and the same. Jekyll turns into Hyde and attempts to fight the intruders. Hyde is shot by police, and transforms back into Jekyll, dead.

Why I Love Dr. Jekyll and Mr. Hyde (1931): This is a truly horrifying film. It is a great showcase for Fredric March, who would win an Academy Award for his dual role of Jekyll/Hyde. The duality in the roles is remarkable. As Jekyll, March is as handsome and charming as ever, as Hyde he is absolutely terrifying. Miriam Hopkins is the object of Hyde’s desire and it’s easy to see why. She is sexy, vulnerable and puts on a tour de force of a woman suffering at the hands of a controlling man.

The horror in this film is what it says about men as a whole. The way Jekyll wants to explore his dark side is nothing short of selfish. Instead of waiting to be married he wants to explore what it’s like to control a woman that has nothing with money and threats. And although Hyde is a “different” person, in reality he isn’t, he’s just the asshole version of Jekyll.

The horror of what man is capable of is told brilliantly through the direction of Rouben Mamoulain. The transformation scene is done cleverly by having the make-up by Wally Westmore using contrasting colors and the lenses of matching colors. When the lenses were slowly removed, the colors would not appear on a black and white film, but just more of the make-up was exposed.

Dr. Jekyll and Mr. Hyde transformed what horror could mean for film. Not every horror is a monster of supernatural origin, sometimes it’s the evil lurking inside.

Rod Stewart: Year by Year, Track by Track Part 5 1975-1978

Part 5: In Which Our Hero Polishes HIs Sound, Falls in Love with a Bond Girl and Other Musings of a Rock ‘n’ Roll Superstar

It wasn’t official, but The Faces were for the most part broken up. With Ron Wood being on “loan” to The Rolling Stones the writing was on the wall. Rod Stewart also was looking to change. It started with Britain’s crippling taxes, 83%. Rod decided to pack up and leave for Los Angeles, with his new girlfriend in tow.

Britt Ekland was a beautiful Swedish model/actress who had appeared in lots of films, including The Wicker Man and perhaps most famously as Goodnight in The Man with the Golden Gun. Rod had met Britt through Joan Collins backstage at a Faces gig in 1975. Rod and Britt became tabloid fodder and they ate up the celebrity life style of Los Angeles.

Stewart had grown tired of the sound of his earlier albums. Although Smiler wasn’t a total failure, it did seem like his creative juices were stuck. Stewart had essentially in five years made nine albums with the same musicians and while they were all brilliant he felt that he needed to change his sound.

In comes producer Tom Dowd. Dowd felt The Faces could not be flexible enough to play the sound that Rod was looking for. In fact, The Faces would go on record on not liking Rod’s new approach to music and when they played their final gigs, the only song from Atlantic Crossing they would play live was Three Time Loser.

So Tom Dowd enlisted help from musicians that he had worked with and they were doozy’s. The MG’s, Al Jackson, “Duck” Dunn and Steve Cropper. Dowd also got the Memphis Horns, giving Rod a much more layered and rich sound to his first album released on Warner Bros. Before Stewart hunkered down to really make his sixth studio album, he and his new studio band, headed into the studio and produced three songs.

The MG’s Sessions April, 1975

158. To Love Somebody (Barry Gibb, Robin Gibb)

A hit song for The Bee Gees would seem like an odd choice for the newly formed frontman and studio band but it was right up their alley. From Booker T and the MG’s playing on Stax records and Rod’s soulful voice, it seemed like a perfect get to know each other.

In fact, this song seemed lost until 1990s Storyteller, where Rod says he discovered it in an old jacket pocket. Two other mixes of this song have been found since, each is pretty close to one another, with some added strings to the 2009 extended Atlantic Crossing and it also appears on The Rod Stewart Sessions. Rod losses the backing vocals on the chorus and just sings with his heart on his sleeve. I prefer the Rod Stewart Sessions version as it brings Stewart’s vocals out more and he owns the song.

Grade: B+

159. Holy Cow (Allen Toussaint)

First released by Lee Dorsey in 1966 in a much more big band style, which you should seek out. Rod funks it up and speeds it up. And in doing so freaking crushes it. I am not sure if this was ever intended for Atlantic Crossing or more of just a jam and putting something on record to see how it sounds, but it doesn’t matter, I love it. The fun bass line, and Stewart’s fun reading and phrasing make this song an absolute winner.

Plus, bonus points for Stewart yelling, “Shit!” At the end.

Grade: A

160. Return to Sender (Otis Blackwell, Scott Winfield)

When you think of Return to Sender your mind goes to to Elvis and his movie Girls! Girls! Girls! And you would be right. An early rock ‘n’ roll classic from the King of Rock ‘n’ Roll.

Stewart had covered Presley before and here the bass line carries it again. Stewart decides to have a more laid back reading of this song. It is lazy and fun. Rod has grown musically since his Jailhouse Rock days of The Jeff Beck Group, but it totally works here.

Grade: B+

The early returns on our Hero’s new sound were extremely positive. Rod, Tom Dowd would spend the three months putting together a new sound for Stewart and bringing him closer to the sound he had always craved.

Atlantic Crossing August 15, 1975

161. Three Time Loser (Rod Stewart)

“How dare you have a party, In a Chelsea basement, when an poor excited Jezebel said come outside. She felt me up and kissed my face, put her dirty hands down in my pants…” so goes the story of a man three times stricken by venereal disease. Yes, a song about an STD.

Any concern that Rod might lose his wild ways without his Boys from previous records is immediately dismissed on his first song on Atlantic Crossing.

Not only is the music catchy, but so too are the lyrics. They are funny and clever and I am also not 100% certain our Hero is singing the lyrics that are printed in the official music sheet book my dad gave me.

It doesn’t matter, Three Time Loser rocks.

A slightly different mix appears on disc 2 on the deluxe version released in 2009, which Stewart’s vocals are a little more out front.

Grade: A+

162. Alright for an Hour (Rod Stewart, Jesse Ed Davis)

Guitarist Jesse Ed Davis lends Rod a hand in writing Alright for an Hour. An infectious song about not caring if you have a woman when you have “my dog and my car, the best friends I’ve found so far.”

Too many times on Rod Stewart albums his clever writing is over shadowed by the man himself. A lot of his reviews, the “reviewer” is reviewing Rod Stewart the jet setting, blonde chasing superstar, not his incredible catchy and often times heart wearing on your sleeve song writing. On this track he is at his witty best. I am not sure if Britt Ekland approved of this song, but you can’t change the man.

Grade: B+

A different version of Alright for an Hour appears on disc 2 of the 2009 deluxe version. Slightly different lyrics, which aren’t quite as good as the finished product, the meat and potatoes are there however.

163. All in the Name of Rock ‘N’ Roll (Rod Stewart)

Drums and guitars open a song about what it’s like in the day of a rock ‘n’ roll band. From getting high, looking good and causing trouble, Rod touches pretty much all that there is.

Not quite as good as the opening two tracks, All in the Name of Rock ‘N’ Roll, is nevertheless another catchy song that keeps Atlantic Crossing going.

Grade: B

A less polished version with appears on disc 2 of the 2009 deluxe version of Atlantic Crossing

164. Drift Away (Mentor Williams)

A pretty straight forward cover of a song made popular by Dobie Gray in 1973. The best part of Rod’s version is the sudden stop of the chorus after the third verse, where our Hero sings his heart out.

Rod doesn’t bring anything new to the recording, but he does bring his A-game in the voice department which makes it fine cover.

Grade: B

On the 2009 deluxe version disc 2, the mix is slightly different but sounds really close to what is on the original album.

165. Stone Cold Sober (Rod Stewart, Steve Cropper)

Rod teams up with Steve Cropper for a rollicking good time. Rod again flexes his incredible song writing ability to make a song catchy, funny and straight up rock ‘n’ roll. Atlantic Crossing was recorded in part in a “dry county”, meaning no booze. Which I am sure is the inspiration for the song.

Rod has fun with the second verse, which is my favorite on the album;

“Never found a dime in the gutter, always get my best friends drunk, if the president tries to calls me, say “Rodney come on over for lunch, I’d say “Gentlemen excuse me please, but I am busy with my buddies up on cloud thirty-three.”

Grade: A+

166. I Don’t Want to Talk About It (Danny Whitten)

Rod divided Atlantic Crossing into a “fast half” that opened the album and a “slow half”. The second half of the album opens with a stunning reading of the late Danny Whitten’s I Don’t Want to Talk About It. Although Rod ditched the drums for this song, letting the guitars and strings fill the listeners ears with powerful music.

Rod breaks your heart with a haunting reading, phrasing the words in a way that I am sure Danny Whitten would’ve been proud. Rod himself said “this is one of the most poignant songs written in the rock & roll genre.”

Still played at his concerts to this day, it doesn’t leave a dry eye.

Grade: A+

The alternate mix that appears on DIsc 2 of the deluxe version adds more guitar flourishes which take away from the impact of the song, I am glad that Rod and company decided to strip it down.

167. It’s Not the Spotlight (Barry Goldberg, Gerry Goffin)

Longing for a return to the spotlight, Rod sings of wishing for it to shine again him, and how the fame has slipped away.

A mellow guitar and a nice beat of the drums pepper It’s Not the Spotlight which make it catchy but it doesn’t quite deliver the punch of the other songs on the album. Rod is however in top vocal form which makes it an essential listen.

Grade: B

A slightly different mix appears on disc 2 of the 2009 deluxe version, it really just strips the album version of the over produced moments, allowing the guitars to heard more, I prefer this version.

168. This Old Heart of Mine (Lamont Dozier, Brian Holland, Eddie Holland, Sylvia May)

A song that Stewart obviously adores as he loves the line, “this old heart of mine” as he would use it as a place holder for lyrics when he was trying to work through new songs.

On Atlantic Crossing, our Hero slows it down from the Isley Brothers hit, drops a verse and makes it much more romantic and almost as if he wrote a letter and is trying to when his girl back.

Grade: A

In 2009, two more versions of “This Old Heart of Mine” appear on both the deluxe version of Atlantic Crossing and the compilation, The Rod Stewart Sessions. The deluxe version is a more stripped down version, and not quite finished. On The Rod Stewart Sessions, we hear a little background studio chatter and the song then picks up. I actually prefer The Rod Stewart Sessions version as it is stripped down and beautifully sung.

169. Still Love You (Rod Stewart)

A sweet song about losing your love and reminiscing about the good times you had. Rod’s tender reading, and infectious chorus makes this mellow song a winner.

Rod again uses his boyish charm to sell the song,

“Oh darlin, didn’t I promise, I’d never go so far away again, but here I am writing this letter, goodbye to you my love, see you again…”

Grade: B+

A different mix appears on disc 2 of the deluxe version. Again we hear a much stripped down version, some different lyrics and phrasing, with Rod’s voice being front and center. It makes a mellow song mellower, it’s a winner.

170. Sailing (Gavin Sutherland)

If you wanted to have a song to close your night as a performer, it would be Sailing. Longing for someone that is separated by an ocean, Stewart gives an impassioned reading with his heart on his sleeve.

A massive hit in England, it never fully gained traction in the United States. Rod owns this song and it feels like he is singing it to you, or singing it to your love, in words you could never express.

Grade: A+

Two other versions of Sailing appear on both The Rod Stewart Sessions and Atlantic Crossings deluxe version. On the deluxe version, we get basically the same song, but it loses some of the embellishments. But for my money, the version on The Rod Stewart Sessions will give you goose bumps. Almost all the instruments are gone except a few, with Rod pleading his heart out, it is an absolute barn burner.

A couple of songs where lost to us fans, but dug up for the 2009 deluxe release of Atlantic Crossing.

171. Skye Boat Song (The Atlantic Crossing Drum & Pipe Band) (Harold Boulton, Annie MacLeod)

There are many versions of this song, most in a traditional Celtic style. Rod delivers a a hymn style with lots of back up singers and bagpipes and drums.

The song tells the story of Prince Charles Edward Stuart, his journey and how he escaped capture after his defeat at the Battle of Culloden.

I don’t think Rod’s version was released until 2009, but I could be wrong, as I can’t find any other mentions of the song before then. I had heard of it from a totally legitimate website that listed songs that Rod had recorded but were not released, I can’t remember the actual website and I am sure it doesn’t exist anymore.

Anyways, there are two versions of the song on the deluxe version of Atlantic Crossing. I prefer the version on disc 2 as it is just Stewart, no back up singers.

Grade: B

172. Too Much Noise (Early Version of Stone Cold Sober) (Rod Stewart, Steve Cropper)

Rod was working through the lyrics of “Stone Cold Sober” and landed on the chorus, “Too Much Noise”. The music is the same, but the lyrics are totally different. With the first two verses lifted from Stewart’s “True Blue” which both songs open with “Never been a millionaire”. I am sure Rod was trying to get the feel of the song and used lyrics he knew.

“Too Much Noise” is not quite done, in fact it probably was abandoned when Stewart thought of the title “Stone Cold Sober” and what the finished song was about. “Too Much Noise” is a blast however, and it would’ve been fun to hear a finished version, but I wouldn’t replace “Stone Cold Sober” in a million years.

Grade: B

Rod Stewart released Atlantic Crossing in the summer of 1975. The album shot to the top of the UK Albums chart and reached number 9 on the Billboard charts, vindicating Stewart’s desire for a new sound and a new direction.

The Faces were not quite done yet however and embarked on a tour. The last Faces show took place in Minneapolis on November 1, 1975. The other Faces members were not a fan of Stewart’s new sound and Rod was getting tired of making the same sounding album. Their split was inevitable.

Rod wasted no time getting back into the studio. In December 1975, Stewart started work on A Night on the Town. Rod also recorded some of the album in Colorado, my home state at the Caribou Ranch in Nederland.

A Night on the Town June 18, 1976

173. Tonight’s the Night (Gonna Be Alright) (Rod Stewart)

Stewart changed things up for A Night on the Town and opened the album with the “slow half”. The first song on the album is also the first single. The story in which our Hero tries to seduce a virgin and get her “upstairs before the night’s too old”.

Lyrically Rod sings lines that would make you blush and get it banned from the radio, especially “spread your wings and let me come inside.” It did not stop the public form adoring the song as it reached number 1 on the Billboard Charts.

The music is exquisite with a complicated opening which Stewart stated in Storyteller “We spent more time working on the somewhat complicated intro than the song itself.”

Grade: A+

Two different versions of “Tonight’s the Night” appear in 2009, one on the deluxe version of “A Night on the Town” and the other on “The Rod Stewart Sessions”. The opening on the deluxe version we learn that it was originally called “Golden Times” which Rod corrects the engineer by saying “It’s called “Tonight’s the Night”. It must have been a long time because he snaps back,”Well, make up your mind!”

Both versions have a slightly different intro, which Rod was eluding to in “Storyteller”. The opening two verses are nearly identical, with some slight variations on the lyrics, the last verse is completely different as Stewart sings; “Oo, baby when the daylight breaks, I walk you home and ease all your aches, but the sun should turn into rain, we will stay home and do it all again.”

Also these two version omit Britt Ekland’s French cooing for an extended play out by the band.

174. The First Cut is the Deepest (Cat Stevens)

To cover a song and make your own is something Rod Stewart is really great at. The First Cut is the Deepest is such a song. Rod’s version is so well known that when people cover it now they use the Rod Stewart version. On Cat Stevens’ version the chorus goes like this “when it comes to being lucky she is cursed, when it comes to loving me she’s worst, but when it comes to being loved she’s first.”

Rod drops the last part making the song much more heartbreaking. So so everybody else who has recorded it since. Sheryl Crow’s version completely apes Rod’s from the intro to the whole song’s arena ready sing along. But I can see why maybe people do not know Stevens’ version, Rod stated in Storyteller, “As I recall, nobody knew how the song went, apart from myself, so a phone call was made to L.A. and some madman had to go out and buy it, rush back, and play it on the phone with seven guys crowded ‘round the receiver on the other end.”

Stewart sings his heart out and gives yet another world class performance on how to be a rock star.

Grade: A+

Two different versions of “The First Cut is the Deepest” appear on the deluxe version of “A Night on the Town” and another on “The Rod Stewart Sessions”. On the deluxe version the lyrics are slightly different, the opening is more haunting, skewing he guitar for an organ. On “The Rod Stewart Sessions” the production is scaled way back, just Rod and a guitar, it is stunningly beautiful and I implore you to listen to this version.

175. Fool for You (Rod Stewart)

A mid-tempo song in which our Hero leaves his lover behind. Rod excels at these songs. His voice is in top form. I love the guitar work on this track. Rod yet again wears his heart on his sleeve with lyrics like “You’re my everything, but now you’re my end, it may be over, but just before I go, I can make a new start, But I can’t mend a broken heart.”

Grade: A-

176. Fool for You (Alternate Version) (Rod Stewart)

On the deluxe release of “A Night on the Town” a completely different version of “Fool for You” appears. Musically it is similar but the lyrics are not. Rod opens with “Ain’t love a bitch…” which us fans know Stewart will return to in two years on the album, “Blondes Have More Fun”. This version is not quite finished but it is so good lyrically. I love how he ends each verse with more of his under appreciated song writing, “Over and over again, you say that you won’t get hurt again, but here it comes, round and round on a carousel, you wanna get off but you know damn well that you like it.”

Grade: A-

177. The Killing of Georgie (Part I and II) (Rod Stewart)

Stewart’s telling of the murder of a gay friend is one of his most beautiful songs ever. The upbeat style to the song paints a vivid picture of a life gone too soon. The wistful and hopeful nature of the song is replaced with a senseless murder and the song never loses it’s upbeat tempo, which stylistically is a bold choice which makes the song more impactful.

Rod reached a crescendo and a sense of urgency and driving force behind the lyrics. It propels the song to its finish line, breaking your heart, while also making it race with the hope that his friend might survive, the nonchalant way Stewart sings “Georgie’s life ended there, but I ask who really cares?” Gives the listener i peek into the treatment of the LGBTQ community in the late 1970’s.

Part 2 pleads with Georgie to not leave, giving the song one last bittersweet moment.

Grade: A+

The deluxe version of “A Night on the Town” contains a stripped down version of Part 1 of “The Killing of Georgie” and with just a a guitar accompanying Stewart, this song would fit on to any of his early 1970’s album. Listening to the outtakes from Stewart’s career you soon realize he truly had never left his roots behind, he just added flourishes to the songs. In any event, seek this version out it makes a classic song that much better.

178. The Balltrap (Rod Stewart)

If Stewart was reflective on the “slow side” he wastes no time on the “fast side” telling us listeners that he hasn’t left The Faces completely behind. “The Balltrap” refers to a man’s manhood, lusting after a woman who doesn’t reciprocate the lust.

If “Tonight’s the Night” made you blush, then “The Balltrap” will have you in church asking for forgiveness, with deliciously inappropriate lyrics like “the first time I had you up on old Park Lane, you didn’t know my name, even when I came, as I recall, you let me walk home in the rain. You say I’m cute, but tell the truth, it’s my body you want with the red hot juice…” some one get the fire extinguisher!

Grade: A-

179. The Balltrap (Alternate Version) (Rod Stewart)

The deluxe version of “A Night on the Town” contains an unfinished version of “The Balltrap” with different lyrics, instead of being overtly sexual, this version is more about our Hero being tricked by a “big old girl who said do you wanna dance?”

It’s not quite finished, but it’s really funny.

Grade: B

180. Pretty Flamingo (Mark Barkan)

Manfred Mann scored a hit with “Pretty Flamingo” in 1966, Rod decides to lose some of the poppy-ness of the original, changing into more of a boogie.

It is fun, light song that I will never listen to without my mom saying this to me one day when she was riding with me in my car and “Pretty Flamingo” came on, and my mother said “I saw a male stripper perform to this song.” Um barf mom.

Grade: B

The deluxe version of “A Night on the Town” contains an alternate mix to “Pretty Flamingo” which is nearly identical.

181. Big Bayou (Gib Guilbeau)

Horns and violins pepper Stewart’s cover of a Cajun favorite, in fact Rod’s mate Ronnie Wood cut it the year before on his solo album, “Now Look”.

Rod’s version is more driving and goes without saying sung better as well. Wood has fun with it, but I think Rod’s band is tighter and sounds better.

Grade: B

A nearly identical version of “Big Bayou” that isn’t finished also appears on the deluxe version of “A Night on the Town”

182. The Wild Side of Life (Arlie Carter, William Warren)

Hank Thompson released “The Wild Side of Life” in 1952, as a country song. Stewart dirties it up nicely and adds a nice southern boogie to the song with fighting guitars.

And who can’t love the chorus “I didn’t know God made Honky Tonk Angels, I might have known you’d never make a wife, you gave up the only one that ever loved you, and went on back to the wild side of life.”

Rod transforms the song from heartbreaking to a fun bar sing along. You should listen to Thompson’s original to hear the contrast. It is quite eye opening.

Grade: A+

“Wild Side of Life” has a nearly identical alternate mix version that appears on the deluxe version of “A Night on the Town”.

183. Trade Winds (Ralph MacDonald, William Salter)

There are very few Rod Stewart songs I dislike, even fewer that I would skip. “Trade Winds” is my least favorite Rod Stewart song. He sings well, but the lyrics are dorky, the song is overproduced, and the wailing of the back up singers drive me crazy…some people like it, I am not one of them.

Grade: F

The alternate version of “Trade Winds” is not as intrusive as the finished product on the plus side it ditches the obnoxious back up singers, but I still am not a fan. If you want to compare the two, you can find it on disc 2 of the deluxe version of “A Night on the Town”.

Stewart had a few songs trickle out of his A Night on the Town sessions, some from 1976, and one that was lost until it was unearthed, and it is a doozy.

184. Rosie (Rod Stewart)

Of all the songs regulated to the b-side of a single and a missed opportunity for it to be on an album, “Rosie” to me is the biggest miss. How a song about our Hero running away with a woman named Rosie with a lively band, funny lyrics with my favorite being “but no more head behind the bicycle shed, I’m getting married on a state welfare!”

Every time, I hear “Rosie” I rack my brain with the question “how in the world was this left off the album and the dredge that is “Trade Winds” make the cut. Oh, well with modern technology I can add it to the proper album and leave “Trade Winds” off.

Grade: A+

Two more versions of “Rosie” pop up on the deluxe version of “A Night on the Town” and “The Rod Stewart Sessions”. On the deluxe version, the lyrics are still being worked on, with it almost resembling the finished product.

My favorite version is the acoustic version on “The Rod Stewart Sessions” where the song loses the big band feel, leaving behind just Stewart singing his heart out with a guitar. Chills!

185. Get Back (John Lennon, Paul McCartney)

Rod contributed to the soundtrack of an odd film where stitched together footage from World War II is shown with covers of Beatles songs. The critics hated the film, the soundtrack did not fair much better. Rod was singled out however as delivering a winning version of “Get Back”.

Rod wasn’t a fan though, when it appeared for the first time on a Rod Stewart collection all he had to say was “What’s this doin’ ere?”

Grade: B+

An alternate take of “Get Back” appears on the deluxe version of “A Night on the Town”.

186. Share (Rod Stewart)

Wow. Another song written by Stewart that was strangely left of the album and I had to endure over 20 years of “Trade Winds”. You see I started really getting into Rod Stewart around 1988 when I was seven and I only had what he had released to that point, it would not be until 2009 “Share” was released to the delight of this Rod Stewart fan.

I keep harping on Stewart’s writing because he doesn’t get enough credit, take this nugget from our Hero “Someone else, there may well be, who could steal your heart away but in your heart she was the only one”

Just like the producer at the end of this song, “ya, lovely!”

Grade: A+

A Night on the Town was another Rod Stewart hit. Reaching number 1 in the UK and number 2 here in the States. Selling over 3 million copies in those two countries alone. Stewart was riding high. I am sure in his eyes he made the right decision to leave The Faces and his old way of making records behind. I agree with Stewart as well. His sound is more polished and his albums were starting to have much more depth. His Mercury days are fondly remembered for a reason, but Rod would continue to evolve and continue to make hit records.

Rod jumped right back into writing songs and recoding in the studio, in between world tours. Rod would record his next album, Footloose and Fancy Free from late 1976 to early 1977.

Footloose and Fancy Free November 4, 1977

187. Hot Legs (Rod Stewart, Gary Grainger)

Rod had ditched (that’s a little harsh) Britt Ekland and the format of his last two albums for a more straight rock ‘n’ roll album. No longer divided into two halves, Stewart dives into funk and hard rock.

Hot Legs was my favorite Rod Stewart song for a long time. It’s funny, pure rock ‘n’ roll of fighting guitars and with new drummer Carmine Appice a really driving beat.

Rod’s sense of humor is on full display. With the opening of the song gets you in the right mood, “Who’s that knockin’ on my door, it’s gotta be a quarter to four, is it you again coming ‘round for more?”

Grade: A+

An early take of “Hot Legs” appears on “The Rod Stewart Sessions”. It’s nearly identical with a slightly different mix and ends more abruptly.

188. You’re Insane (Rod Stewart, Phil Chen)

The funk and rock are on full display on “You’re Insane”. I don’t want to make any assumptions, but this song seems to be calling out Britt Ekland. She and Rod had a very public and nasty split. She sued him saying she is responsible for his new wealth…

Rod is nasty to the woman on question on the track, but the catchy music and chorus make this track a winner.

Grade: A-

189. You’re in My Heart (The Final Acclaim) (Rod Stewart)

The sing along to end all sing alongs. Rod sings sweetly and gently to the love of his life. It is up to the listener if that love is a woman, or football (soccer). I think it’s both.

Stewart name checks his favorite clubs in the song, but my favorite bit is “the big-bosomed lady, with the Dutch accent who tried to change my point of view.”

I adore this song and is always a highlight live.

Grade: A+

An acoustic version of “You’re in My Heart” appears on “The Rod Stewart Sessions”

190. Born Loose (Rod Stewart, Gary Grainger, Jim Cregan)

The wistful “You’re in My Heart” gives way to Stewart declaring he is not going to be faithful because he was “Born Loose”. This song feels like another response to Britt Ekland, who wanted to marry Stewart. Stewart had other ideas, in fact he told reporters in 1976, “Britt and I will never marry. I value my freedom. Britt is closer than any woman has ever been to me, but there is no question of marriage.” (I don’t know which newspaper this came from. It was in a poster book my dad gave me of Rod Stewart. When I asked my dad where he got the newspaper clipping from, he couldn’t remember.) Britt was not amused and told Midnight “It was very hurtful to hear Rod talk about not marrying me.”

Yikes.

Grade: B+

191. You Keep Me Hangin’ On (Brian Holland, Lamont Dozier, Eddie Holland)

Rod took The Supremes monster hit and adds some sinister music to it. By doing this he strips it down to its emotional core.

Stewart also slows it way down, giving the song an organ intro that seems at home with the Phantom of the Opera. When the song kicks into gear it is a heavy rock song sung with gusto by Stewart. It might not be for everyone, especially with The Supremes version so etched into our minds.

Stewart delivers a hell of a performance, give the song a chance, it’s a brilliant cover.

Grade: A

192. (If Loving You Is Wrong) I Don’t Want to Be Right (Homer Banks, Carl Hampton, Raymond Jackson)

Stewart revisits a song that he first tried with The Faces that was to appear on “Ooh La La”. It didn’t make the cut.

A piano tinkle opens the song and it serves as a nice one-two punch with “You Keep Me Hangin’ On”.

Rod again is in top vocal form and you can tell by his singing that he adores this song. I don’t think it is quite as good as “You Keep Me Hangin’ On” but it is powerful. You should seek out the live version of this song that appears on “Absolutely Live: Deluxe Edition” it is awesome.

Grade: B

193. You Got a Nerve (Rod Stewart, Gary Grainger)

Another haunting break up song, sung with emotion and hurt by Stewart. If “Born Loose” and “You’re Insane” are hateful responses to his break up with Ekland, “You Got a Nerve” looks back more remorsefully at a crumbling relationship.

You can hear the hurt in Rod’s voice when he pleads, “Go away, go away, please please go away, I loved you once I don’t love you now, please please go away…”

Grade: A-

194. I Was Only Joking (Rod Stewart, Gary Grainger)

Two of Rod Stewart’s best written songs are on Footloose and Fancy Free. The previously mentioned “You’re in My Heart” and the absolute show stopper that is “I Was Only Joking”.

Conjuring up images of growing up, falling in love and just hanging with your friends is something we all relate to. Our Hero puts it into a wonderful song that has him”pouring his heart out in a song”.

This song touches me in my heart in a way I could never fully explain. A lot of my past loves and and I am sure my wife heard from me many times, “I was only joking”. When I think about my early life and where I am now, this song is always playing in the background of my slide show. I relate to it so much, with lyrics like, “now you ask me if I’m sincere, that’s the question that I always fear…”

Grade: A+

An acoustic version of “I Was Only Joking” appears on “The Rod Stewart Sessions”.

If A Night on the Town signaled the “new” Rod Stewart, Footloose and Fancy Free fully embraced it. The United Stated fully embraced this album as well as it sold over 3 million copies here alone. It soared to number 3 in the UK and number 2 on the Billboard Charts.

On The Rod Stewart Sessions us fans were promised a deluxe version of Footloose and Fancy Free. So on that compilation only one unheard song from those sessions was put on the album. We never got it due to supposedly weak sales of the deluxe versions of Atlantic Crossing and A Night on the Town. And while the song that was found is brilliant it wouldn’t be until 2021 that we would hear some of the promised songs.

195. Innocent (The Killing of Georgie Part III) (Rod Stewart)

Rod continues the journey of his friends death, this time detailing the other side, the murderer Billy’s trial. Rod details Billy’s plead of innocent with a driving rock beat, forgoing the acoustic feeling of the original “The Killing of Georgie”.

Another song I would love to have heard in its finished version, as the song as it appears on “The Rod Stewart Sessions” is somewhat drowned out by Appice’s drums, which Andy Zax explains they couldn’t bring Rod’s vocals up anymore.

It doesn’t matter though as the song is still brilliant.

Grade: A

196. You’ve Really Got a Hold on Me (Smokey Robinson)

A winning cover of Smokey Robinson’s 1962 hit. Here Rod Stewart’s band is playing restrained and in control with Rod’s vocals matching the performance of his band.

Rod would cover this song again over 30 years later, on his album Soulbook.

Grade: A

197. Honey, Let Me Be Your Man (Rod Stewart)

A super cool funky rock track that is so close to being finished. “Honey, Let Me Be Your Man” has a catchy chorus with some clever lyrics.

I feel like dancing every time the chorus starts, “Honey, let me be your man, do the best that I can.” It just has such a fun vibe to it. Oh, what might have been…

Grade: B+

198. Lost Love (Rod Stewart)

Rod returns to a bitter, jilted lover in “Lost Love”. Rod explains that he doesn’t need the love of a woman because “she’s gone and I am not too pleased, it doesn’t matter, I’ll move in with someone else by tomorrow.”

“Lost Love” is almost finished, more so than “Honey, Let Me Be Your Man”.

I do love the end verse where after the song and singer become longing and Rod snaps out of it telling us “Fuck her, I can do without her tomorrow”.

Grade: B+

Rod Stewart was riding a wave of highly successful albums, little did he and the public know that he was about to unleash his biggest, most divisive song ever.

Stay tuned for Part 6: In Which Our Hero Sells His Rock ‘N’ Roll Soul to the Disco Devil and Laughs All the Way to Hell and a Number One Smash Hit

Rod Stewart: Year by Year, Track by Track Part 1: 1964-1969, The Singles

Here we go again. I know that’s what you’re thinking. Another Rod Stewart article by Ryan. And yes, another one. I am making this one the most complete exploration of Rod Stewart’s output. As I scour the internet, I have seen that Stewart is sometimes largely ignored. As a fan I try and explain to everyone that he might posses the biggest, longest must under appreciated career in music.

With Stewart approaching nearly 60 years of continuously producing and recording music the only question is what will he do next? He has done everything from R&B, folk, rock, disco, The Great American Songbook and just about everything in between.

So the information found in this series of articles will be a breakdown/review of every, yes every song Rod Stewart recorded, released or was a part of. I think I have them all and I think I have heard them all (a big shoutout to Antonio of Rod Stewart FC Pals for sending me hard to find bonus tracks from The Great American “Snorebook” his words not mine.) If there are missing songs, wrong information, or any other musings that you disagree with, please let me know. I want this to be the most complete review of all of Rod Stewart’s songs.

Part 1: Where Our Hero Tries to Find His Voice: The Singles 1964-1969

If you dig enough you will find some truly funny stories from Rod Stewart about his early days of trying to find his way into the music world. From busking in Paris to performing in bands such as Steampacket and Shotgun Express, Rod covered a lot of blues and R&B songs from his heroes. You can hear in his early recordings a young man desperately trying to sound like Sam Cooke. And while the music during this blossoming period is fun, it doesn’t really catch on.

I struggled to find actual dates for a lot of these songs, I do know that Rod’s first solo single is the blues standard by Sonny Boy Williamson, “Good Morning Little School Girl”. In the liner notes to “Storyteller” Rod states that John Paul Jones of Led Zeppelin is on bass, how cool is that?

1. Good Morning Little School Girl (Sonny Boy Williamson)

The opening guitar on this blues standard is instantly catchy. Rod states in “Storyteller” that The Yardbirds recorded this song as well, “mere weeks” before he did making his version “fairly useless”. But ignore that and Rod sounds confident and at home with the blues. For a first effort it is pretty solid. Nothing earth shattering but the song is well done and a nice start for our hero.

Grade: B

2. Up Above My Head (Sister Rosetta Thorpe)

Long John Baldry opens the singing on this uptempo number originally released in 1939. Rod and John do a call and answer and the song is bursting with energy. The sound is right and the band is tight. I imagine this is a fun song to play. The song play out goes on a little too long before it picks up again causing the song to lose some momentum.

Grade: B-

3. I’m Gonna Move to the Outskirts of Town (Casey Bill and Roy Jacobs)

Another blues number that Rod attempts with some success. Originally recorded as “We Gonna Move (To the Outskirts of Town)” in 1936, but often changed to I’m. Although it is missing the rough and tumble grittiness of the original, Rod’s version is commendable.

Grade: B-

4. Bright Lights, Big City (Jimmy Reed)

Recorded in 1961 by Jimmy Reed, Rod would tackle this song just three years later, and it is just ok. This is a song I can hear Rod trying really hard on, and without some discipline he over sings some parts with varying degrees of success. It would be another couple years before Rod Stewart, became Rod Stewart and this is a song where he lacks some identity.

Grade: C

5. Ain’t That Lovin’ You Baby (Jimmy Reed)

Another Jimmy Reed classic that Rod tries his hand at. While Reed’s version is vastly superior, Rod pops it up a little bit causing the song to lose some of it’s bite. Rod also over sings this song as well but it doesn’t come across as trying too hard as on “Bright Lights, Big City”.

Grade: C+

6. Don’t You Tell Nobody (Willie Dixon)

Rod gets down and dirty by barking at his lady friend telling her not to tell anyone what they have been up to. Not too effective and the song just seems to shamble along.

Grade: C-

7. Just Like I Treat You (Willie Dixon)

A meandering dip into blues doesn’t really deliver. Where as Rod tried to overdue “Don’t You Tell Nobody” here he tries to tone it down, which makes it not pop. As I listen to these songs again I can’t help but notice Rod is trying to find his voice, which in turn leads to some varying degrees of success.

Grade: C-

8. Mopper’s Blues (Big Bill Broozny)

Easily the weakest song Rod has recorded to this point. It is way over produced. The backing band is distracting and unnecessary. Rod’s version mirrors Muddy Waters’ version not the superior Big Bill Broozny original. Rod also leaves off a couple verses which makes the song a repetitive bore.

Grade: D

9. Keep Your Hands Off Her (Huddie “Lead Belly” Ledbetter, I actually can’t find out if he is the writer of this song. HIs version and his name are the only mentions of this song I can find, if you know please help,)

A really fun ditty that is almost great. Rod has lots of fun with this song telling another man to keep his hands off his “heavy hipped woman”. Why I enjoy this song is I can hear Rod smiling as he sings it. Part of the appeal of Rod Stewart for me has always been “he’s one of the guys”. “Keep Your Hands Off Her” is a perfect example of a song that Rod sings and enjoys.

Grade: A-

10. The Day Will Come (Barry Mason)

A true pop song in an early recording career of covering blues songs. A warning perhaps of armageddon and how the common man is the one fighting the fight. I read that the writer of the song was not too impressed with Rod’s version stating that Rod really did not want to sing it.

If that is true I disagree with both men. It is not earth shattering but Rod sings the song well and the song is effective. And I think Mason is giving his song too much credit. Yes, it is cool lyrically but it is nowhere a song that if it was sung by someone else would make it anything more than Rod did.

Grade: B

11. Why Does it Go On (Barry Mason)

I’m sensing a theme here with Barry Mason and his song writing, but this song is better than “A Day Will Come”. But trading in the fantastical images of the end of the world to an almost Bob Dylan style of song makes it much more effective.

Rod is in top form as well as I think he is starting to find his voice. And although Rod has such a great voice for blues, as you will find out a little later on, possibly his best genre is folk/rock.

Grade: A

12. Can I Get a Witness (Holland, Holland and Dozier)

A Steampacket song that Rod and Long John Baldry trade roles of “Up Above My Head”, where Rod takes over the lead and John is the callback during the song.

It is fun, light and not quite great, but enjoyable.

Grade: B-

13. Baby Take Me (Jo Armstead, Nickolas Ashford and Valerie Simpson)

A true all in Steampacket song with Rod, Long John Baldry and Julie Driscoll all taking the lead at some point. And while I do adore Long John and Julie, Rod is starting to separate himself from them in terms of becoming a lead vocalist and not just part of a band. His charm and vocal prowess cannot be denied in this song and it sines through the speakers.

Grade: B+

14. Oh, Baby Don’t You Do It (Holland, Holland and Dozier)

Long John Baldry takes the lead on this song with Rod regulated to backing vocals. It is slightly over produced and doesn’t stick the landing. John Baldry has a very distinct voice and it is oozing with personality. This song however did nothing for his career.

Grade: C-

15. Lord Remember Me (unknown, I can’t find this writer, possibly a traditional song, again please reach out to me if you know.)

Long John again steps into the lead vocalist role with Rod providing backing vocals. It is a little strange hearing a gospel song from Steampacket, and although lyrically it’s a little different, I am guessing they heard Sam Cooke sing this song at some point. John Baldry’s powerful voice shines on this track. The message is lost on me because I am not the biggest fan of gospel music, the power of John Baldry’s voice cannot be denied.

Grade: B-

16. Shake (Sam Cooke)

The first Sam Cooke song Stewart recorded is a doozy. So much fun and so much energy. Listening to this song you can hear how much Rod loves Sam Cooke. Stewart has alway said he could never sing a Sam Cooke song better so he just tries to make it his own. And while “Shake” sticks pretty close to Sam’s Rod does Sam proud.

Grade: A

17. I Just Got Some (Willie Mason)

A blues song about, well *ahem* sex. Rod is really getting into a groove. HIs confidence is booming and it is conveyed in his delivery. He tones it down when needed and cranks it up when he needs to. I like this song and it moves well, never really slows down.

Grade: B+

18. I Could Feel the Whole World Turn Around (Ray Smith & Tony Colton)

Rod teams with Beryl Marsden (I think?) on this fun ditty that is slightly over produced but nevertheless breezy fun. Maybe that is he determent to the song. It feels safe, not challenging Rod or the band. But it is snappy and catchy.

Grade: B-

19. Come Home Baby (Barry Mann & Cynthia Well)

Rod teams up with P.P. Arnold on a fun track that gives each artist time to shine. Rod opens the song with, “I know just how bad I hurt you” it gives us a glimpse of what’s to come as Stewart is one of the best at phrasing lyrics. I think this is a hidden gem that begs to be heard.

Grade: A-

20. Stone Crazy (Buddy Guy)

Rod slows it way down to blues standard by the wonderful Buddy Guy. It sticks really close to original, but with not quite the same bite. Buddy and Rod both pour their hearts into the song but Buddy’s band is tighter making the song more cohesive. Not bad, but Rod would have more success soon in the blues department.

Grade: C+

21. Little Miss Understood (Mike D’Abo)

A slightly overindulgent song that is also slightly over produced and over sung but the lyrics about a woman who walks the streets to make money is brilliant. It is one song that I wish Rod would try again with a better understanding of lyric phrasing and a tighter overall production. The song is good though and it well worth a listen or two.

Grade: B

22. So Much to Say (Rod Stewart & Mike D’Abo)

Awesome! Rod’s first song writing credit! But, um yeah this song is just there. Rod tries his hand at blues again and the results are the best. Even Rod states in “Storyteller”, “A lousy wavering vocal here causes me to shudder in embarrassment.” I agree with Rod, back to the drawing board.

Grade: D

23. The Blues (unknown, can’t find a writing credit)

A much better foray into the blues by Stewart. The band sounds so much better and it isn’t just a piano like in “So Much to Say”. It’s a rollicking 4 minute blues song with a killer guitar solo. Also, I love that the band stops and lets Rod sing some lyrics with bass and drums before cranking it back up.

Grade: B-

24. Cloud Nine (Barrett Strong & Norman Whitfield)

More fighting guitars gives this blues song a heavy rock feel, Rod would really get into this very soon as a member of The Jeff Beck Group. But he is cutting his teeth here with killer results. Stewart is really coming into his own and would be just a couple of years from superstardom, “Cloud Nine” lays the foundation.

Grade: B+

25. Shock Treatment (?)

Yikes. I guess the big draw here is Frank Zappa produced this. I am glad it is only 1:47, it is a tough listen. It just is too much and too lame.

Grade: F

26. Diamond Joe (?)

Not sure who Rod is trying to sound like at the beginning of the song and I am not sure that it isn’t a joke, but about half way through he settles into a pretty fun rock song. With a funky bass and a driving force “Diamond Joe” is a little rough but fun.

Grade: B-

27. Engine 4444 (Art Wood)

Rod is second fiddle on this song featuring Art Wood. Nothing to write home about, but it is fun. And Rod loves trains, a theme he would return to many times in his career.

Grade: C+

28. In A Broken Dream (David Keith Bentley)

A fun story about this song, I will have Rod tell it to you, again this appears in “Storyteller”. “ This was only meant to be a demo, which I did for a friend in exchange for a new set of carpets for my automobile (he was a car salesman trying to enter the field of rock & roll management-a lethal combination). He said “I only want a guide vocal to show my new signing how it should be sung.” I, of course obliged like a friend. Subsequently, three years later, it was released and became a major hit in Europe. I was conned. Never mind, life goes on.” This is a brilliant song. So good and I hope Rod got the carpets he wanted for his car, he deserves them.

Grade: A+

Stay tuned for part two, In Which Our Hero Joins a Band or Two

Top 19 Blu-Rays of 2019: Number 17 Batman vs. Teenage Mutant Ninja Turtles

As 2019 comes to a close I always like to reflect on my favorite physical releases of year. Consumers seem to be moving more and more to streaming services with the launch this holiday season of Disney Plus being the latest. However, 2019 was also a banner year for physical media as well. Several companies really stepped up their game with incredible packaging, extras and in some cases sparkling new transfers of classic films. I will always make the case of physically owning a copy of a movie because it is permanently in your collection, it won’t be dropped or eventually removed from your shelf.

Being that it is 2019, I decided to list my favorite 19 releases of the year. So sit back relax and let’s watch some movies!

Number 16: Batman vs. Teenage Mutant Ninja Turtles

Jumping out of the extremely fun 2016 six-issue miniseries, Batman vs. Teenage Mutant Ninja Turtles is a fun and exciting entry into DC’s animated films starring the Dark Knight.

The Foot Clan have appeared in Gotham City and Batgirl observes four mysterious being, which she believes are metahumans. Batgirl informs Batman and they set out to Powers Industrial. While there Batman meets The Shredder. Batman and Batgirl soon meet the Teenage Mutant Ninja Turtles as well.

After a brief misunderstanding, Batman and the Turtles soon realize that they have the same enemy and they team up to take down The Shredder and Foot Clan.

Batman vs. TMNT is a lot of fun. I am a fan of most of the Batman animated films as they do a really great job adapting popular comic stories and giving them their own platform to shine. The action in this film is top notch as each fight is choreographed well. Batman’s fight with The Shredder is an early highlight as too is the confrontation between the Ninja Turtles and Batman.

The story is fun as it plays on Batman’s trust issues and he needs The Bat-Family’s help to understand why it is sometimes necessary to trust people you do not know.

The video for Batman vs. TMNT is solid. The colors of each individual Turtle pops against the dark, inky black shadows of Gotham City. The DC Animated films tend to lean a little into simplistic design but that helps make each scene pop and lends itself well in the animation of the characters. There are a few jagged edges here and there but they are really few and far in-between.

On the audio side, Batman vs. Teenage Mutant Ninja Turtles delivers quite a punch. All dialogue is crystal clear and each punch lands with a crunch. The soundtrack is a lot of fun too. The synths add a lot to the film giving it a cool 80’s vibe.

Batman vs. TMNT offers up two pretty good behind the scenes look at the film and about a ten minute preview of Batman; Hush. First up is Cowabunga Batman!, which gives an overview of both Batman and TMNT with interviews with the people who brought the film to life. Fight Night in Gotham is a behind the scenes look at the fights and storyboards that brought them to life. Both featurettes are a fun look into the making of the film.

Batman vs. TMNT is a great addition to the DC Animated Universe. It’s fun, exciting and it brings in a lot of characters without ever bogging down pace. I highly recommend this Blu-Ray to any fan of Batman and the Ninja Turtles.

Film: A-

Video: B+

Audio: A-

Extras: B+

Overall: A-

The Shamley Silhouette – Chapter 4

Chapter 4: Experiment

“He is the only director I know of who knew absolutely everything that was going to be on the screen. He didn’t have to look through a viewfinder, he knew. This was probably the most difficult picture in that regard because: ‘Was the wall going to be moved to the right spot?’ [or] ‘Would the camera be in the right spot?’; but when it was all set up, he didn’t bother to look, he knew.”

-Arthur Laurents, screenwriter of Rope, on Hitchcock’s approach to filmmaking in the 1998 featurette “Rope Unleashed”.

Good Evening…

It is not a notion right off the top of one’s head to think of Alfred Hitchcock as an independent filmmaker. Our association with his work stems primarily from those familiar logos that do inspire a sense of prestige and quality in even the greatest cynic (whether those attributes are truly present or not). The legacy of Hitchcock is intertwined with the studio system no matter the free reign he was given, and it tends to be solely defined by the way we look at independent film in general. We have a broader definition of it nowadays with looking at it through budgets and not the actual formation of the project and the term “indie film” is used in several ways. Putting aside merited specifics on what is truly independent (self distribution is a whole discussion in and of itself) , a very easy understanding of how it works comes from the most commercial aspect: a film made through means outside the major studio system that is then picked up by a major studio after the creation. A negative pickup, if you will. When it comes to the Master of Suspense, there was a time when he sought to follow this notion rather than be tied to the constraints of the moguls. It is an example that proves to be a repeating tale throughout film history, usually retaining the unhappy outcome. Despite the failings at a business level, these treks into independent territory have produced some of the most beloved and intriguing classics that we continue to study to this day. Not the least of which is 1948’s ‘Rope’; one of the two films produced by Transatlantic Pictures, the production company created by Sidney Bernstein and Alfred Hitchcock.

Transatlantic Pictures was birthed out of Hitchcock’s desire to avoid experiences that he had suffered during his time under contract with David O. Selznick. His experience was one of frustration and artistic restriction at the hands of the domineering movie mogul who clashed him all to often during the making of films such as ‘Rebecca’ and ‘Spellbound’. His experience with Selznick left him wanting more control and voice in all aspects of production, not too dissimilar from the freedom he had in his early years in Britain. In those early years, he met and became friends with film entrepreneur Sidney Bernstein. Berstein’s story is one that is thoroughly intertwined with the early formation of British Cinema. Starting with the formation of a circuit of sixty or so theaters from property his family had owned; he went on to co-found the London Film Society in 1925 and formed Granada Theaters Ltd in 1930, which later became a large media conglomerate that existed on it’s own until a merger in 2004. Berstein met Hitchcock in 1925, just as Hitchcock was beginning his ascent into becoming the first unique voice in British cinema with his work at British Gaumont/Gainsbourough. Years later during World War II, Berstein brought Hitchcock back to Britain to help make documentary shorts for the Ministry of Information. The result of this collaboration was ‘German Concentration Camps Factual Survey’, the documentary that was to unveil the crimes and horrors of the Nazi Party for the British public. The film was shelved for years after one screening in September of 1945, but the teaming of Bernstein and Hitchcock was destined to continue. They had decided that once Hitchcock had finished his contract with Selznick, they would go into production for themselves, and Transatlantic Pictures was born. The goal of the company was to be able to produce films is both Hollywood and London, with offices set up in Bernstein’s Granada Theaters. They had secured the release of their productions with a distribution deal at Warner Brothers pictures, and choose something bold as their first venture: a film based off a play inspired by the Leopold-Loeb murder case in Chicago.

The formation, execution, and final results of ‘Rope’ as a film, breaks new ground in almost every aspect of its existence.

The story is based upon the 1929 stage play ‘Rope’s End’, written by Patrick Hamilton. Having wanted to attempt to film a stage play as a movie for some time, this particular play’s one room setting provided the perfect space to do so. The picture, as designed by Hitchcock was comprised of 10 unbroken shots ranging from 5 to 10 minutes a piece. The shots would end in places such as the back of a character or on a piece of furniture in order to create the illusion of the film being made in one single, continuous shot and perpetuating the feeling of real time. For the period especially, this was a gamble of technical acumen that seems perfectly fitted for the filmmaker who runs his ship on a strict and pre-planned basis on every outing. ‘Rope’ was no different, with the production having to have technical precision of the highest concentration to pull off it’s magic trick.

The picture deals with the aftermath of a murder committed by two young men, Phillip (Farley Granger) and Brandon (John Dall). They strangle their classmate David and have hidden him in a book chest in the living room of their apartment while they prepare for a party they are to hold with many people close to their victim. It is all part of their pursuit to commit the perfect murder, a notion and Nietzschean philosophy of superiority they learned from their prep school teacher, Rupert Cadell (James Stewart).

What follows in the 81 minutes of Rope is a ticking bomb under the table, worthy of Hitchcock’s usual modus operandi, stuck firmly in this one apartment. In order to execute this feat, Hitchcock does exactly what he wanted to do: he films a play. Utilizing rolling sets and a team of crewmen at the ready, they were able to keep up with the camera’s flow throughout each long take. Prop men were at the ready to move furniture in and out of the way with each camera move, sound men were constantly in motion to grab every actor at every moment they were within the camera’s eye, and the actors were strictly beholden to the various technical cues in order to be where they needed to be in each moment. During a press conference on the set, James Stewart was said to have remarked, “The really important thing being rehearsed here is the camera, not the actors!” Within the final result the true fluidity desired was not accomplished, with the editing together of each long shot coming up short from a perspective that seems to be multi-generational. Contemporary critics and modern critics seem to possess the same phrase, “The experiment doesn’t work.” On the surface level that may be so, but there seems to be a call for this film to be met on the terms of a new frontier. In the wake of a film like Alejandro G. Iñárritu’s ‘Birdman’, one can look at Rope as the promise being made that this form of filmmaking can be done and done well, regardless of how it is accomplished. The cutaways in each shot change is indeed obvious and distracting, but if you are drawn in by the story, it is possible that one can be willing to ignore the unseen Bulky Technicolor elephant in the room. The ultimate achievement of ‘Rope’ as a technical experiment ultimately lies in what happens in each shot, with certain moves cultivating the same effect that would be present in a typically shot Hitchcock picture. There is a moment during the party where the camera zeroes in on the chest where the body is being hidden while the guests are in the room (it had been set up as a buffet for the guests). As the camera sits on the chest, we see housekeeper Ms. Wilson (Edith Evanson), cleaning up the chest and putting away the decorations adorning it. We are treated in that moment to an ideal example of how Hitchcock draws out the suspense by playing on the audience’s anxiety of whether or not the body will be discovered.

It is a technique that Hitchcock has used throughout his career. Here’s Hitchcock to tell you all about it:

“There is a distinct difference between “suspense” and “surprise,” and yet many pictures continually confuse the two. I’ll explain what I mean.

We are now having a very innocent little chat. Let’s suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, “Boom!” There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware that the bomb is going to explode at one o’clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: “You shouldn’t be talking about such trivial matters. There is a bomb beneath you and it is about to explode!”

In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.”

Rope may be one of the purest and most extreme examples how how that theory is played out. Hitchcock pulls this thread out for almost the entirety of the picture, keeping us on our toes for what feels like an eternity. One could argue that it’s drawn too long compared to individualized sequences in other pictures he had made prior and after ‘Rope’, and they would be justified in this perspective. After all, how long can you realistically expect an audience to be kept on their toes before the novelty gets tiresome? Yet from the perspective of this all being one giant experiment, it seems (at least to this “author’s” mind) that it proves successful thanks in part to the intrigue and due diligence that Granger and Dall give their characters and how we are hooked by their caper and its possible outcomes. Hitchcock is indeed pushing the audiences patience, and that is exactly part of this film experiments point.

Drawing out the film as he does is enhanced (albeit clunkily) by the execution of playing it out in real time. Accomplishing this goes beyond the confines of the apartments interior. Recalling the previous article on Rear Window and it’s meticulous detail in turning every single apartment into a living being, ‘Rope’ is the testing ground for this. Using a cyclorama for the view outside the apartment, Hitchcock instructed his team to light the buildings and exterior signage with their real-life lighting conditions. Combined with the overall adjustment for the cyclorama to go from day to night, Hitchcock provides a living breathing world outside to add depth to the world he is working with. It ultimately helps with the impact of the finale, where Cadell fires off the boys’ gun to get the police to come investigate. The nightlight exterior with glowing neon, combined with the sounds of people outside concerned all draws us in on the final shot of Cadell, Phillip, and Brandon waiting silently for their fates to unfold. This living, breathing world is further enhanced by Hitchcock’s first outing with Technicolor. It’s a great starter to what would be a deep commitment down the line to utilizing color in film in all the best possible ways. There’s a sense of things not being as “poppy” as they will be in future Hitchcock pictures, but ‘Ropes’ color palette add’s to the terror in it’s own way, with a slight wash-out in the palette helping to lend an air of frigidity to the whole proceedings, which naturally blend with the story of murder for the sake of murder.

Alas, despite the ambitions and positive executions of ‘Rope’, the film was received flatly. Taking in barely enough to cover the $2 million dollar price tag, it was almost immediately the beginning of the end for Transatlantic Pictures. The second blow came with the release of Hitchcock’s 1949 picture ‘Under Capricorn ‘ (which has a unique story to save for later), which was unable to even meet its budget at the box office. The final blow was when Warner Brothers assumed full control over the production of Hitchcock’s ‘Stage Fright’ (1950), thus sealing Transatlantic’s doom. The partnership dissolved, and this ambitious and creatively freeing idea was no more. Gone was the ability to avoid the studio moguls and their badgering. There are two consolations of this whole affair:

1) Hitchcock was about to enter his golden period with the studios, who gave him more free reign than even he could imagine.

And

2) We have a unique and fascinating film to further dissect called ‘Rope’.

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Till the next article… Good Night…..

Oh, P.S.

I realize this article is lacking in the linked videos, so to make up for that, here is an excerpt from the famous Hitchcock/Truffaut interviews where they discuss ‘Rope’ and color in cinema.

The Scream Factory Crypt Part 22: Cat People

Welcome to the Scream Factory Crypt! In this binge series I will be watching all my Scream Factory titles I own alphabetically! Scream Factory is my favorite imprint of Blu-Ray’s because they take movies that studios and the public might not adore but have fans and deserve to be given respect. This will take a long time as I have over 120(!) titles and counting, I know I will have more before I finish, so stay tuned! Not only will I talk about them on the podcast but I will review them here as well so you can see how I feel about aspects of each release.

Part 22 is the semi-erotic were-cat remake, Cat People!

Released in 1982, Paul Schrader’s Cat People wavers between surreal and reality, with a healthy dose of star Nastassja Kinski (billed as Nastassia Kinski) nude.

Kinski stars as Irena Gallier who leaves Canada to visit her brother Paul (Malcolm McDowell) who is living in New Orleans. The siblings were orphaned, Paul found himself in and out of psych wards and Irena was raised in foster care.

In the night a prostitute is attacked by a black panther. The panther is later captured and taken to the zoo. The next morning Paul is missing, Irena is told Paul most likely went on a mission and is told to enjoy New Orleans. Irena goes to the zoo and is drawn to the recently captured panther.

During the course of the film Irena soon learns that Paul is a werepanther and she too is one. Paul also makes sexual advances towards his (barf) sister and she fall in love with the zookeeper Oliver (John Heard).

Cat People is weird. It’s a mystery thriller with horror undertones. The gore is great, so too are the leads Kinski and McDowell, but the film waffles between genres and excuses to show Kinski nude that it can never achieve what made the original, 1942’s The Cat People fun. Although there are some great moments Cat People is nothing more than a gory/erotic werewolf/panther remake. It is fun to watch but it never rises above its B-movie trappings.

The video presentation of Cat People is a lot like the film. It has its moments where it is really great, but overall it isn’t very strong. The colors don’t always pop and details are not very strong. Servicable but not amazing.

The stereo presentation of Cat People however, is fantastic. The panther growls and the victim’s screams sound fantastic. The David Bowie theme song sounds amazing and the synth score is money.

The extras are a little light on Cat People, especially since this release was given a Collector’s Edition banner by Scream Factory. Consisting of 7 interviews that total roughly 45 minutes, Scream Factory was able to get the major players in the film including Kinski, McDowell, and Director Schrader. All the interviews are fun but feel a little brief. Also included is a trailer, TV Spot, Production Art and a photo gallery. Solid but not earth shattering.

Cat People is weird. It’s fun but ultimately it suffocates under the weight of its own B-Movie trappings. The Scream Factory Collector’s Edition should please fans of the film, for everyone else proceed with caution.

Film: C+

Video: B-

Audio: A

Extras: B-

Overall: B-

The Shamley Silhouette – Chapter 3

“We won’t allow you to cheat yourself. You must see PSYCHO from the very beginning. Therefore, do not expect to be admitted into the theatre after the start of each performance of the picture. We say no one — and we mean no one — not even the manager’s brother, the President of the United States, or the Queen of England (God bless her)!”

-Text upon a standee explaining the admittance policy of Psycho (1960)

“ In New York, some journalists thought, ‘Oh we’ll show them this is just a publicity stunt’. So they got ahold of a woman who was pregnant and coached her on what to say to the manager with her “so called” husband. The husband went in a said, ‘Look, my wife is pregnant as you can see. But she really wants to see Psycho. Let us in now even though the picture has started.’ The manager said, ‘Well, I’m very happy that she’s pregnant sir, but we cannot allow her in the theater. She is perfectly welcome to sit in my office until the next program starts. She cannot come in the middle of the program.’”

–Peggy Robertson, Alfred Hitchcock’s longtime assistant, recalling the effectiveness of the admittance policy for Psycho in the 1998 making of documentary “The Making of Psycho”.

Chapter 3: Innovations and Influence

Good Evening…

No one, not even the Master of Suspense himself, could have predicted the fruit that would come to bear from the decision he made to tell a small story about a boy and his mother. It is unthinkable to imagine how they could. The world of movie making and movie going had been firmly cemented to the minds of those who had brought the intertwined industry up from the ground earliest part of the 20th century and transformed it into a behemoth that felt for the majority of its life immune to change. That assumption of immunity to change began with the dawn of television, stealing cinema goers away with its allure of free entertainment (it also killed the glorious thing that was scripted radio, but that is a story for another rant). As fast as television came, so did the demolition of theater chains owned and operated by the studios for the simple fact that it was a monopoly that took longer than it should have to be dismantled. Amidst the sea of change though, it appeared that much of the rituals had stayed the same. Filmmakers made entertainment that never truly went beyond the limits of the various censorship boards, which put a stop to any “tomfoolery” and taboo like sex and violence in the most draconian fashion imaginable. Those films were then distributed to a theater where the house would rerun the same set program on a loop and allowing patrons to enter at any given point no matter how much they may have missed. When those films were over they may even leave at the exact moment they came in. In many ways, it’s a glorious period and an intriguing way of watching films. All of that would gradually go, and one of the films to popularize the notion of change was one that had an uphill battle getting into existence.

It would be foolish to proclaim that Hitchcock’s 1960 masterpiece PSYCHO was the sole catalyst for the change that would ensue. Many film prior to him were already breaking down the barriers of content and it is most likely that the restructuring of the movie going habits would be eventual due to declining business pulled away by television. Nevertheless though, PSYCHO made the loudest sound in this regard. From a pure filmmaking and publicity standpoint, it shook the foundation of an establishment already in danger of collapsing. It shook it just enough to allow films to push content forward and it gave a legitimate reason to change our movie going experience. For all its accomplishments; PSYCHO, at the end of the day, is a film that cleverly told a story in such a way that one could hardly proclaim that they had ever seen before… or at least think they had.

Starting off as the whim of noted horror author Robert Bloch, the novel Psycho is a tale steeped in the allusions to the infamous case of serial killer Ed Gein. In his family home in Plainfield, Wisconsin, Gein was responsible for murdering women who he then proceeded to skin and use the body parts for various purposes. Upon capture and further investigation, the revelation of Gein’s mother being a tyrannical presence that dominated his life was the starting point for how real life bled into the story of Norman Bates. The novel, however, does not contain many of the elements that bring the film adaptation to the forefront. While a string piece of horror literature in its own right, it would be screenwriter Joseph Stefano’s take on the material and Hitchcock’s changes to the story that would lay the foundation of the inevitable groundbreaking. The biggest elements of this involves focusing the first act of the film to the story of thief on the run Marion Crane (the legendary Janet Leigh) before having “Mother” stab her repeatedly (and to the typical eye, brutally) in the shower. That is where Hitchcock creates an innovation for the masses. As stated before, this is not necessarily new; however, this was an abrupt turn for a film that despite its low budget was a Hollywood film. Hollywood was steeped in traditions and killing off a character you had invested a substantial amount of time in was a revelation to a mainstream public whose taste did not journey too far of their beaten path. Hitchcock proceeds to popularize the notion of going 180 degrees from expectations and opens up a door for others who utilize it later. Wes Craven’s ‘Scream’ does this in the opening scene with Drew Barrymore, Eli Roth does this for the first half of ‘Hostel’, and even as recently as Quentin Tarantino’s ‘The Hateful Eight’. Hitchcock’s innovation by proclaiming to Stefano that they could get a star to play Marion immediately takes a normal twist and ups the stakes through upsetting the established norm, being that someone as big as Leigh was going to be around the whole movie. Movie stars didn’t get taken out of the picture until at least the end, that is until Hitchcock said otherwise. The other change in the source material is even bigger. In the novel, Norman is a middle age slob of a man with a drinking problem(among other issues that made it into the film with better actualization). Very much the norm for any villain, let alone one that would commit the ghastly murders Bates does in any iteration. Hitchcock and Stefano made the right choice in steering clear of that stereotype by casting the youthful and clean-looking Anthony Perkins. With immediate casting, Hitchcock doubles down on a trope he used before in ‘Shadow of a Doubt’ where the least likely person from a superficial point of view is actually the killer. While it recycles that thread from ‘Shadow’ where Joseph Cotton is indeed a murderer, with Psycho he is able to draw out our suspicions and even disbelief that the option is even present. After all; Mother is alive, right? The innovation within is to dispel preconceived notions of what a villain actually looks like and acts like. It changes the way villains, or perceived villains, are handled going forward. It’s a concept that extends beyond storytelling and into the heart of the very nature of how we look at crimes of this nature. The added twist in that is that Norman is one of the first examples (at least in regards to the genre it spawned) of a villain that has an empathetic and even sympathetic complex. Even before you know he is the killer, you are fearing for him because of the hold that “Mother” has over him. You do not feel full hatred for Norman from the very fact of the private trap he was born into. That’s an element that was carried before it in the gothic horror films of the 30’s, where Karloff and Chaney were tragic figures. Norman is a tragic figure that, at least at the time, is harder to reconcile with because he seems like he is normal looking enough to not have any problems. ‘Psycho’ refines that notion of the sympathetic monster toward something more tangible and bleeds into films like ‘The Texas Chain Saw Massacre (another Gein inspired picture) where despite the horrific crimes of Leatherface, you also see an abused and tormented side courtesy of the Cook and the Hitchhiker he resides with. There’s even the connection to a character like Jason Vorhees of the ‘Friday the 13th’ franchise. Jason’s tragic origin does not take away his villainy, but it does add a dimension that doesn’t exist with most Slasher film villains.

Among the innovations brought forth within the picture, you can never understate the importance of “The Shower Scene”. Marion ends her awkward but enlightening chat with Norman and decides to return the money she has absconded with earlier in the film. She returns to her cabin (Cabin #1, it’s close by in case she needs anything), adds up what she would owe from the stolen money she spent on a car (California Charlie never saw the customer high pressure the salesman), and decides to cleanse herself in the shower. As she showers, a dark silhouette (no, not the Shamley Silhouette you jokers) strolls quietly up to the shower and draws back the curtain to reveal a large kitchen knife. At that moment begins a sequence that required 78 setups and 52 cuts to completely change a genre forever (for far more intricate and intelligent dissection of that, see Alexandre O. Phillipe’s “78/52”). “The Shower Scene” is an innovation primarily because it is a magic trick of editing that perpetuates the notion that you saw what you did not see. As the knife from “Mother” stabs away at Marion, you would assume that you saw her body being penetrated by the knife. When slowed down and examined frame by frame, it is far from that notion. To be honest, it’s all in your dirty mind (that goes for nudity too, there’s none there). What the magic trick accomplishes is making the audience believe that brutality has occurred. The hyper-kinetic cutting conveys the brutality and is added upon by the way that kinetic energy ceases as “Mother leaves the cabin and Marion collapses to the ground. What is fascinating is that this scene is decidedly not gory or intense by any time measure, but the illusion it gave pushed other inspired filmmakers to up the ante. A gate had been opened for on screen death’s to become more real and, many times following, more intense and brutal. Oddly though, Psycho is but the seed that doesn’t fully blossom until 1980, when Sean Cunningham’s ‘Friday The 13th’ arrives with the most brutal and intense deaths then seen at the time from a Slasher film. ‘Friday’ however, owes a debt to John Carpenter’s 1978 classic, ‘Halloween’ (or John Carpenter’s Halloween, which is not David Gordon Greens Halloween, or even Rob Zombie’s Halloween, etc..). ‘Halloween’ took the knife wielding character and dialed up the intensity ever so slightly. It is violent and the kills are brutal, but they are decidedly not gory and evoke further into the Hitchcockian way of creating terror. They only show you enough to convey the horror that lies inside your mind. Even the aforementioned ‘The Texas Chain Saw Massacre’ is tame on its violence (albeit in a different and unique way), and many moments remembered from that film are not as detailed as our minds assumed. They all owe a debt to ‘Psycho’ because ‘Psycho’ told them, “Hey, what if we did this. We are old enough to handle it, right?”. Thus dawned a genre that has persisted into the very present.

It isn’t enough though to just create a masterpiece. In the ever lovable mix between art and commerce, one must make the money that justifies a change (sigh). ‘Psycho’, from the moment it was a notion if Hitchcock’s head, was a gamble financially and reputational. Paramount Pictures did not desire this as their last film from Hitchcock under their contract with him prior to his move to Universal. Prior to ‘Psycho’, Hitchcock had done ‘North by Northwest’ with MGM, a film Paramount would rather have had as their final contribution to their slate from the Master of Suspense. An agreement was reached that Paramount would distribute the film, but would not supply the budget. The money that made Psycho was out of Hitchcock’s pocket. It’s only right to assume that if you put your own money in the show, you will do everything short of criminal behavior to ensure it is a success. ‘Psycho’ by its very nature is a film that is considered “Spoiler-Heavy” by current parlance. After the 35-40 minute mark when Marion exits the film, there lies a story that has more twists and curves then had been done at that time. As a proponent of his story and how it played out, Hitchcock knew he could use this to marketing advantage. The result was a campaign that set up restrictions on how Psycho would be viewed by the public. The greatest contribution to that is the strict attendance policy. The theaters would be required to enforce a policy that once ‘Psycho’ had started playing, no one would be admitted until the next performance. It is a clever play by Hitchcock and the ‘Psycho’ marketing team , who utilized the power of traditional movie theater going habits to create a special aura around the film. It creates an anticipation that people were not used to experiencing in their movie going lives. They had been trained to go in whenever and come out from the moment they came in on the theater program. Now Hitchcock is having to teach the public how to experience his film properly and fully, and spawning a notion in our heads to show up to the theater on time to see the film from beginning to end. It is impossible to know if EVERY theater followed this policy set up by the ‘Psycho’ team and to know if this is the exact moment where the movie-going habits change. It is arguable though, that Psycho popularized the idea that going to the movies means getting the full experience of the picture. This is not even an anomaly anymore. Try going to a movie at an Alamo Drafthouse 15 minutes after the show has started, you will rightfully not be let in. It is highly likely though, that ‘Psycho’ is closest to the origin point of creating the phrase “No Spoilers”. The campaign urged viewers who had just seen the film, “not to indulge your friends with the many secrets of ‘Psycho’.” Today, this very concept is how the internet lives and breathes on any given day (basically, if you spoiled Avengers: Endgame, you made Hitchcock’s ghost cry). The very conceit of not revealing plot details and twists becomes emphasized and popularized by the release of ‘Psycho’.

It’s overwhelming to understand how a simple film meant to shock was responsible for so much. To nearly overhaul an entire way of thinking from multiple facets and establish new ground. Even more amazing is how this isn’t the first or the last time Hitchcock does it in some way that has long reaching effects. As we will learn going forward, there are many things that we do not hold today without these risks. Some for the better and some for the worse. Much like Norman Bates is fully changed forever by the end of ‘Psycho’, we as an audience and even as filmmakers are changed forever.

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Till the next article… Good Night…..

Oh, P.S.

The one thing that never caught on in the grand scheme of culture was the structure and execution of the trailer for ‘Psycho’. Here it is though to watch and enjoy… because this trailer is just a hilarious delight.

GROWLS AND ‘SWELLS’: A CLINT EASTWOOD ANALYSIS (PART 19)

EPILOGUE: JUST ONE MORE…

3 years, 10 months, and 8 days ago…. that’s when this silliness started.

The plan to sift through all (at the time of commencing) 57 of Clint’s films from the moment he truly broke out with Leone was never meant to take this long. The length could be attributed to the practical explanation of personal reasons, and it certainly isn’t not a factor. Yet there is a more relevant reason. During the time spent with revisiting the iconic figure’s achievements, yours truly has been trying hard to contemplate how much this series would even do towards understanding the films of Clint. There is the undeniable notion that he is a filmmaker truly stuck in his ways, for better and for worse. It is something, as a fan, that I never really wrestled with until writing this series. Eastwood’s films throughout do indeed possess thematically outdated methods even if the overall intent is relevancy. That combined with the outpouring of brilliant and intelligent approaches to film making in the proceeding 3 years, films like Eastwood’s do force even an ardent fan to raise an eyebrow.

There has always been the observation in this series that Eastwood’d art has done a better job than most at possessing an overall balance in terms of relevance and which side it aligns with. That somehow it shows the whole and not one side or the other. Since writing the series however, 3 new films from Eastwood have been released, and while they do their best to balance, the result may not always be so clean. It is unclear who holds that bag: Clint for not observing the material carefully or intentionally choosing what he does, others be damned. In a way it is admirable, a man of his age and station throwing caution to the wind before he departs. But I personally find it troublesome. Many filmmakers in their twilight years did either daring work or settled into their audiences comfort zone. Eastwood, in this day and age, possesses a very specific general audience and my fear is that he is too comfortable with them in a way he wouldn’t be 15 years ago.

With that, lets have a look at his three most recent films. All three are based on true stories and all three have something intriguing to look at. At the same time, it may show a place where a diligent and hardworking director may be working too hard. I’ll let you be the judge as we look at a miracle on the water, a travelogue of heroism, and the fall of a generation.

SULLY
3.5 outta 4 People Bracing For Impact Thanks to Pesky Birds

The Miracle on The Hudson was an interesting subject to tackle. The big question going through minds was how to take this brief but memorable news piece into a feature film. What Eastwood and writer Todd Komarnicki did was decidedly inventive. The film cleverly follows Captain Sullenberger (Tom Hanks) as he deals with the bureaucratic fall out of his landing of a commercial airliner safely in the Hudson River after the engines were disabled. The film not only shows the landing, it repeats it… a lot. And thankfully for good reason, as the consistent recollection acts as a tool for Sully coming to grips with his new found fame and whether or not he is responsible by NTSB Ruling. It handles PTSD in an interesting way that is thanks to the editing and Eastwood’s ability behind the camera to create tension for a moment in history we already know the outcome of. He gives the film a proper balance on intimacy along with scope. Much like a local news story or a small item in the paper, it captures severity with a tight knit feel. By the end, you walk out triumphant, in a way that few of Eastwood’s latest outings have left you.

THE 15:17 TO PARIS
1 outta 4 Tours Of Europe

Sigh…. there is no way to write this without feeling like an utter ass. The fact that the real life heroes who stopped a terrorist attack on a train heading for Paris portrayed themselves in the film is both admirable and part of the problem. The real life men are heroes in every sense of the word, but throughout the whole film I was taken out by their admirable attempt at portraying themselves. It might be because, strangely, it never feels authentic. I don’t think it is their fault… this ones on Eastwood. Eastwood’s film is attempting to do two things. One is trying to lend authenticity to the piece with the actual heroes in place of actors, which has never proven consistent decent results for the reason that… well… they are not actors who dig deep into each scene. The authenticity only feels like a casual recollection and not a purge into the truth of their inner struggles and journeys prior to stooping the attack. The second is Eastwoods attempt at Cinema Verite, or a documentary feel and arc to provide a sense of realism. It is fascinating watch Eastwood attempt the realistic approach, but it falls into the trap of not having actors who truly engage in the scene and not having much sense of direction. I will give the film this though: in the grand scheme of Eastwood’s storied career it is the most interesting to ponder from a technical and behind the scenes perspective.

THE MULE
3 OUTTA 4 Burner Phones

THE MULE feels like it should be the culmination of something legendary in cinema. It also feels like a retread of something we saw 10 years ago in GRAN TORINO. Eastwood coming back to acting (along with directing) in this film feels like a disappointment only in the sense that it is entirely possible that at this point you feel fatigue from his persona. Interestingly though, his portrayal of a 90 year old horticulturist who becomes a mule for a Mexican drug cartel is incredibly subdued. Is that the acting or is it real life. Maybe it’s both. The films biggest problem is landing on a platform it can explain. Much like Gran Torino, it deals with an older generation failing to adapt and understand the present. And much like Torino, it uses similar devices to get its points across. But they feel muddled and unsure of how to speak. Is Eastwood satirizing Boomers and their language, or is his archaic attitude meant as a positive affirmation? In TORINO, the lines are much clearer. In THE MULE, there’s an identity crisis that is either intentional or overlooked by the writer and the director. Outside of that dilemma, the films melancholic approach to regret and reckoning is as present as it ever is in Eastwood’s films, with some very tense and thrilling moments between the lulls. In addition, out of all the work Eastood has done behind the camera in recent years, this film feels both visually and stylistically like a film he would have shot in the 70’s. There’s a nostalgic and episodic feel that was fascinating to watch unfold. Once it’s all said and done and Eastwood’s character meets his fate, you leave the film wondering (and possibly hoping) this is the last time. The character in many ways seems to reckon with Eastwoods archetype, and if this is where it ends, there are worse ways for it to end then this.

—–

With that, we are caught up with a hardworking person who never seems to stop. I feel relieved.

Part of me feels that my admiration for Clint, while not dwindling or gone, has changed to a more clearer understanding of how I and the rest of the world view his work. While I wont hesitate to sit down and watch one of his films again, I may indeed be more careful to pick and choose.

In the end, it feels like anyone who has read this will not walk away satisfied. You may not like how much I praised him, you may not like how much I criticized and called him into question, or you may not like me (which is totally fair).

To paraphrase a line in THE MULE:

“For whatever it’s worth… I’m sorry for all this”

FIN?

GROWLS AND ‘SWELLS’: A CLINT EASTWOOD ANALYSIS (PART 16)

EPISODE 16: SADDLE UP, PT.2

Hope you had a good rest there, pardner. Let’s pack up camp and get movin on down the prairie.

In our last installment, we were able to see Clint in a variety of situations regarding his iconic cowboy status. Stunningly, while the characteristics remain more or less the same on a base level, Clint was indeed able to maneuver between sub genres within the Western setting in a way that can only recall the studio contract players of yesteryear. Having started in the 1950’s, Clint was able to receive training from the traditional set and then gradually over the decades expand into more thoughtful territory. It may be what has kept him popular for so long. While not the acting of traditional masters and legends of the craft, Clints consistency is nonetheless admirable. That admiration can definitely be seen in the three films to be discussed today.

Covering three different decades at nearly ten years apart, these films show how his approach to the Western evolved from aesthetic to thematic. So lets mosey on in to town and take a gander at some local hanging’s, anti-war odyssey’s, and spiritual apparitions.

HANG ‘EM HIGH
3 OUTTA 4 PAT HINGLE’S

Mistaken for a man wanted for murder and cattle rustling, Jed Cooper (Eastwood) is strung up and left for dead, only to be saved in the nick of time. Thus propelling the audience of HANG ‘EM HIGH into a interesting world of vengeance. With the help of Judge Fenton (Pat Hingle), Cooper seeks out to capture alive the men who wronged him. Spoiler: none really survive. Yet the traditional revenge motif is clouded intriguingly by the themes of the old west that the film chooses to explore, of only for brief moments. One of the most thrilling is a simple conversation between Fenton and Cooper over the necessity to hang two people who assisted Clint in capturing a known murderer. Within the argument is a sense of actual thematic conflict beyond the “wronged man” arena, but sadly it moves away to quickly to actually be discussed. The same can be said for the people who actually wronged Clint, who have a few brief moments of actual regret and one particular scene of extrapolating their dilemma. Hence, while a much standard and of the time piece, HANG ‘EM HIGH shows the promise of compelling material for future films to explore.

THE OUTLAW JOSEY WALES
3.5 OUTTA 4 MIRACLE ELIXERS

THE OUTLAW JOSEY WALES has been touted as one of Clints greatest ventures into the western genre for fair reasons. A sprawling epic journey of a Confederate mercenary in a post- Civil War U.S. seeking retreat from a world filled with horror and personal tragedy that does still have enough in it so many years later. The films outlook on history is extremely embellished and assumed from a very certain point of view, let does have an eternally fascinating outlook on anti-war sentiments combined with the traditional Western tropes. Clints direction is one of the films two greatest assets, as he becomes contemplative with the genre for the first time (but certainly not the last). The road is hard in WALES and the characters suffer intensely before any possible reprieve is achieved, and Clint makes you go through every mile of it without loss of detail. The other stand out is the incredible turn by Cheif Dan George as Lone Watie, a Native American who joins Wales on his journey. Its a role that is interesting to watch, given the tone and attitude of the story, and stands out as easily the films best acting performance. Ultimately, THE OUTLAW JOESY WALES still stands as a prime example of what the best westerns can do, even if it has aged in regards to many of its attitudes.

PALE RIDER
3.5 OUTTA 4 PEOPLE FINDING GOLD IN THEM HILLS

PALE RIDER is the last western Clint participates in that goes in and out of theatrical existence without fanfare or hurrah or significance. If one were to know that after this there would only be one final statement, I wonder how the reaction might’ve been in advance. As is with Clints career, he just seems to keep moving with very little regard for any sentimentality in favor of reflection (regardless of how warped or aged). RIDER’s tale of The Preacher (Eastwood) defending and emboldening a community of miners from the oppression of a Mining Tycoon wanders around a blend of dreary myth and harsh reality. The former is key, and not just for the simple fact that Clint’s character is a Ghost. The film pushes a narrative of the hand of fate via the prayer of a young girl that leads to the salvation of the struggling miners at the hand of , what the film wants us to see is, harsh lessons. A lot of it works, but the key areas where it doesn’t are represented in picking and choosing areas of faith and struggle to focus the lens on. The cost of this ghosts violence is tethered tightly to the old stamina of “good vs evil”, thus lacking much tangible tension. All that aside, it’s a bold outing that does a better job at its balancing act than you would expect, with great performances from Michael Moriarty and Sydney Penny. Add to that, yet another example is on display here of Clint’s ability to photograph a Western in profound ways.

——–

Now let’s stop off at the Saloon to settle after a long day of trekkin. When we get back to moving forward, we’ll actually go backward to discuss the relationship between Clint and an Italian master of the Spaghetti Western.

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