The Friday Night Horror Movie: The Cat O’ Nine Tails (1971)

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This was one of the first Dario Argento films I ever watched. I had definitely watched The Bird With the Crystal Plumage before, and probably Suspiria, but I was not well versed in Argento or Giallo at that point.  I watched it on an old DVD that I bought on the cheap. It was one of those packs of multiple films all put onto a couple of discs where the quality is god-awful. This was a pack of like ten slasher films on two discs.

I didn’t know anything about the film; I’m not even sure I knew it was an Argento, but it sounded interesting, and I gave it a go. I mostly liked it, but I didn’t love it. 

I’ve seen it a couple of times since and have come to enjoy it more. Having now seen almost all of Argento’s filmography and a whole lot of Giallo, I can better see how it fits inside those things and appreciate it more.  It still isn’t anywhere close to my favorite, but it’s a long way from the worst.   I do find it interesting that I watched it so early.

The Cat O’ Nine Tails was the second film Argento ever directed and is the middle part of what has become known as his “Animal Trilogy” (the first is Bird With the Crystal Plumage, the last is Four Flies on Gray Velvet.)

This film suffers from it leaning more towards the murder mystery aspects of the Giallo and away from the more lurid and stylistic parts of the genre. 

Someone breaks into the Terzi Medical Institute but steals nothing. The institute studies genetics and has just made a breakthrough. It seems that individuals with an extra Y chromosome—making it XYY – have a much greater tendency toward violence. That extra chromosome is quite rare, but a study inside a prison found that those convicted of violent crimes had it at a much higher rate.

Since nothing was stolen, the police basically shrug. But a newspaper man named Carlo Giordani (James Franciscus) takes an interest in the story, as does Franco “Cookie” Arno (Karl Malden), a blind man who loves working puzzles. 

Before they can figure it out, the bodies start piling up. Someone is strangling people that at first seem random, but they ultimately are found to have some connection to the institute. 

There are lots of groovy scenes featured from the killer’s point of view, usually as he’s killing someone. In the midst of this, Argento often gives us extreme close-ups on the killer’s eyes, but until the end we do not see who the killer is. With that and Cookie being blind, Argento’s themes about what we see and what we don’t are none too subtle. But still effective. 

The editing is rather fascinating. Between scenes, the film will often give us flashes of what is to come. As one scene is ending, we’ll see the beginning of the next scene  flash cut into the previous scene for a few seconds.  There are a few nicely staged scenes and some typical Dario style, but mostly he plays it straight. Which is too bad because the actual story doesn’t quite have enough in it to keep me completely interested.

It is well worth seeing if you are a fan of Argento or Giallo. It isn’t the first film I’d turn to if you are interested, but it is definitely a nice way of seeing how things developed.

As an aside note I’m counting this as part of Foreign Film February even though the copy I watched was an English dub. Like a lot of Italian films from this time I believe Cat O’ Nine Tails was filmed with everyone speaking in their native tongue and then in post production it was dubbed into English and Italian (with the main actors using their own voice when possible – so Karl Malden speaks in English, and was presumably dubbed by an Italian for that version.) So this was a foreign made film directed by an Italian so I’m counting it.

Spencer Tracy 4-Film Collection

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Spencer Tracy is one of those actors whom I like in just about everything but that I’ve never really gravitated towards. I have no idea why. I got this four-film set the other day and quite enjoyed it (well, three of the films, anyways).

You can read my review of the entire set here.

My Life in Music: Europe – The Final Countdown

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I used to write a series entitled “Random Shuffle.” This is where I’d literally put my entire music collection (all ripped to iTunes), put it on shuffle mode, and then talk about whatever songs came up. Sometimes I’d talk about the music, but mostly I talked about the memories the music brought to mind. It became kind of an emotional journal, a history of my life in music.

I love the way music does that. How a certain song can take you back to a specific moment in your life. It is transportive. I love that sometimes it isn’t a specific memory but a feeling. There are songs that remind me of being sixteen and driving around in my beat-up Plymouth with the windows rolled down and not a care in the world.

I loved writing those posts. I think it’s still some of the best writing I ever did. I often think about starting it again. But the thing is I just don’t listen to music like I once did. I no longer buy an album and listen to it over and over and over again. Those long nights where I’d lie on the floor with my headphones on, letting the music take me far away, never happen anymore.

These days I generally listen to music in my car as I’m riding around for work or at home while I’m cooking dinner. Or in my office while doing some work or playing a game. I hate to say it, but more often than not I’m letting Spotify or Amazon Music, or some other streaming service, pipe in a playlist curated for me off of songs I’ve told it I liked. These things usually aren’t that inventive and rarely play me new music that interests me. And I admit when they do play something I don’t already know, I often skip it.

So now when I put my music on shuffle, it doesn’t bring up any new memories. I haven’t connected to music in the way that I used to. I don’t mean I never listen to anything new or that I haven’t found music I loved recently. But I don’t connect to them in the same way.

Maybe I’m just not having the adventures I used to. Maybe my life is too boring to bring in new memories. It doesn’t help that I now own hundreds of albums that I’ve barely listened to or that my music player is filled up with thousands of live concerts. Shuffle looks a lot different now than it did back then.

But I want to write about music in a meaningful way again. My idea is to do something similar to Random Shuffle but more long-form. With Random Shuffle I usually talked about 4-5 songs; now I want to hit on just one album or one song.

This will still be autobiographical. I’ll still be talking about how the music connected to me on a personal and emotional level. I actually hit on this idea because a friend of mine is doing a list of the best 1,000 albums ever, but in a very personal way. He’s not trying to be objective about it (as if that even exists) but making it very subjective. They are his favorite albums.

I like that. I won’t necessarily only be talking about albums. Sometimes I’ll just talk about one song. And I won’t be counting anything down. They won’t necessarily even be songs/albums that I love. Just ones that I’ve connected to at some point in my life. I suspect they’ll start out more or less chronological, but then we’ll just see where it goes.

The third album by Swedish rock band Europe, The Final Countdown, was the first album I ever owned. I got it on cassette tape. I can’t remember now if I bought it with my own money or I got it for a Christmas or birthday present. I can’t remember much about the album now. I remember I liked it. I know I loved the single “The Final Countdown.” 

I had probably owned some cassette singles before owning this album. I’m quite sure I had some blank tapes that I recorded songs from the radio onto. to tell the truth, I really don’t remember if this was the first album I ever owned. It is the first album I remember owning, so we’ll leave it at that. 

What I do remember is losing it. I took it with me to church one day. This would have been either Sunday night worship or Wednesday night Bible Study. It definitely wasn’t for Sunday morning worship; that would have been uncivilized.  I would have been about ten years old.

I vaguely remember taking the tape out of the case. We probably played it on the way to church, but I would have taken it out before going into the building. I probably did not properly put it back into its case. I liked looking at the liner notes and staring at the pictures.

 When we got home that night, I realized I did not have the tape. I had the cover, but not the tape. I looked everywhere for it. I tore that car apart.  Our best guess at the time was that I had probably laid it on the exterior of the car somewhere. Maybe I put it on the trunk or the hood when I and the boys played around after services. I had a vague notion I may have laid it on the bumper absentmindedly.

I can’t remember now if my parents drove me back to church that night or if they said it was too late and we went the next day. I do remember for weeks after every time we drove to church I’d look out my window hoping I’d see it lying on the side of the road somewhere.

We never did find it.

I was heartbroken.

Years later I remember finding a copy of that album. I think a friend had it or something. I definitely didn’t ever buy it again. This was a CD, and I nostalgically pressed “play” only to discover I didn’t recognize any of the songs. In that memory I loved the entire album, but none of the snippets I played (and I only played snippets; I didn’t have time to play the entire album in that moment) were familiar to me.

It wasn’t until the TV series Arrested Development made “The Final Countdown” popular again that I remembered that song. For me now, that song is a cheesy bit of nostalgia. Something that makes me smile and raise my fists when I hear it, but only if I hear it every once in a while. I had it on one of my Spotify playlists for a while, but that made me hear it too often, and that’s definitely a song you do not need to hear too often.

So this is the type of thing I’ll be doing now. Songs and albums that mean something to me. That provokes memories.  I’d like to say this will become a weekly article. I’d like to say that, but I won’t.  I’ll likely forget to write it fairly regularly, but hopefully it will at least pop up once a month or so.

Encouraging comments will help me keep it up.

Predator: Badlands is the Pick of the Week

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It is kind of amazing to me that the Predator franchise is still a thing. Not only that, but the last couple of films have been some of the best in the entire series. Predator: Badlands might just be my very favorite of all of them. It was definitely one of my favorite films of last year, and you can read all about that here.

It is getting a variety of releases in different formats and covers (plus it is now streaming on Hulu, but I guess I shouldn’t talk about that in a post covering physical releases).  And now it is my pick of the week.

Here’s what else is coming out this week that struck my fancy:

Ben-Hur: William Wyler’s biblical epic took home a whopping 11 Oscars in 1959, and now it is getting the UHD treatment. It has been a long time since I watched this, but now I’m itching to see it again in HD glory.

Song Sung Blue: Loosely based on a true story, this film follows a married couple who form a Neil Diamond cover act and see both success and failures along the way.

Rental Family: Brendan Fraser stars in this drama about an American living in Japan who is hired as a token American for a rental-family company.

All the President’s Men: Robert Redford and Dustin Hoffman star as the real-life Woodward and Bernstein, the reporters who helped uncover the Watergate Scandal and bring the Nixon presidency down. A great film in every way, and this UHD upgrade is getting good reviews.

Dexter: Resurrection: The Complete First Season: I think I watched the first season of the original Dexter, and I’ve not really paid it much attention after that. But I know it has fans.

Cloud: Kiyoshi Kurosawa is one of my favorite modern Japanese directors. His latest features a guy who gets into the resale business, but his carelessness puts him in harm’s way. That’s a terrible description, but the film is great.

The Visitor: This absolutely insane film is about an intergalactic warrior who joins a Christ-like figure to battle a demonic eight-year-old.  Arrow has the release.

Eclipse Series 8: Lubitsch Musicals: I’ve only seen a couple of Ernst Lubitsch movies, and none of them have been musicals, but all of them have been enjoyable.  He’s one of those directors who is beloved by a lot of people I like, but I’ve never truly dug into him.  Maybe now is the time to start.  The films include The Love Parade, Monte Carlo, The Smiling Lieutenant, One Hour With You.

Spencer Tracy 4-Film Collection: I’ll have a review of this up soon. The films include Bad Day at Black Rock, Fury, Northwest Passage, and Libeled Lady.

The Saturday Morning Horror Movie: All That We Destroy (2018)

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Last night the family and I went to see the King Cabbage Brass Band in concert. I’ll probably have more to say about that later, but for now I’ll say we had a blast. It was a great show.  To get there we had to leave about 6:30, and we didn’t get home until almost midnight, at which point I was utterly exhausted, and was not capable of sitting down to watch a horror movie.

I had actually planned for this and watched a movie earlier in the afternoon.  I got about half of this post written before it was time to go. So, I’m finishing it now, and we’re calling it the Saturday Morning Horror Movie. I guess I could call it the Friday Afternoon Horror Movie since that’s when I watched it, but let’s not make things complicated.

There is just too darn much stuff to watch. My daughter wanted to watch Hamilton a couple of weeks ago, and the only way to stream it is to get Disney+. Apparently, the only way to get Disney+ is to bundle it with Hulu. Being the good father that I am, I ordered both, and we all enjoyed Hamilton.

Then I started to enjoy Hulu. They’ve got some good movies, and some great shows, and I decided to keep it for another month. Tonight I figured I’d see how their horror selection was and came across this film. The trailer looked intriguing, and I gave it a go.

Turns out it is part of a horror anthology series from horror stalwarts Blumhouse Pictures. Into the Dark, as the series was called, ran for two seasons with roughly one movie coming out per month. Each movie was holiday themed, grabbing whatever big holiday happened during the month it aired.

Somehow, I’d never heard of this.  Like at all.  Which is weird because this sort of thing is right up my alley. Like I say, there is just too darn much stuff to watch.

But now that I’ve watched this, I’m kind of glad I’d not heard of it before. There are some intriguing ideas in All That We Destroy, but none of them are explored with any real gusto.

Dr. Harris (Samantha Mathis) is a geneticist who has found a way to make perfect human clones. In her house. It is perfect timing because, as it turns out, her son Spencer (Israel Broussard) is probably a serial killer. He’d shown all sorts of signs of that growing up, but when he actually kills a human – a drifter named Ashley (Aurora Perrineu)—she’s sure of it. Instead of turning him in or getting him some kind of therapy, she clones Ashley and lets him keep killing her. 

The idea is that if she observes his killings, then maybe she can figure out what makes him tick and change him. Or at the very least, killing a clone will get those instincts out of his system (for a time), enabling him to live a normal life. And whenever those instincts pop back up, he can come home and kill another clone. 

That’s an interesting idea, but again the film doesn’t do much with it. It doesn’t really explore what makes him tick. The mom could turn into a great villain. It makes a certain sense that any mom would protect their son, but she just keeps churning out clones for him to kill. Even when the clones start to have memories of themselves and increasingly seem human, she just keeps making them.

The trouble is Spencer knows he’s killing a clone. That makes her not human, and he can tell the difference. It just isn’t the same killing a clone.  Enter Marissa (Dora Madison), the cute, effervescent neighbor who takes a liking to Spencer even though he speaks in monotone and acts very strangely. She becomes the love interest but also a real human he might have to kill.

Spencer’s Dad (Frank Whaley) shows up at some point, but only through these very strange virtual reality phone calls with his mom. When he calls, the mom picks up these little dots she attaches to her head and gets transported to a virtual world where they both walk and talk together. There are some other odd technological moments in this film that seem to exist to show that we are living in the near future or something. 

The script does nobody any favors. Madison and Perrineau give it their best, and both are quite good with what they’re given. There really is something to this story, but it’s like the filmmakers didn’t quite believe in it enough and wound up falling back on some stupid tropes.

The Brewsters Are Not Going To China

We live in Shanghai back in 2007-2008. I wrote a separate blog called The Shanghai Cafe. It still exists as you can see. I want to import it to this blog just so that I won’t ever lose the posts I made back then (or forget about them.)

For one reason or another I can’t figure out how to import them to this blog, so I’m going to have to manually copy/past them here. I am able to set the date of the posts to match the dates of when I originally posted them. WordPress will accept that so they will exist in the correct timeline. But if you subscribe to my emails you will still get a new one.

I just posted one as a trial and it seems to have worked. But I then realized if you are getting my emails then you may be really confused. So we are not going to China again, but you are going to get a bunch of emails about those adventures many years ago.

Five Cool Things and Jo Nesbo’s Detective Hole

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I always seem to forget to post these things shortly after they go up at Cinema Sentries. I don’t know why other than that they don’t go up the moment I send them to that site. They go past an editor and then they decide when they want to actually publish it. By the time that happens I think I just forget all about it.

But here we are, a week after it did get published. This week I’m talking about Bob Weir, the excellent Australian series The Newsreader, the final season of Stranger Things, The Vast of the Night, Send Help, and the trailer for a new TV series based on Jo Nesbos’ popular crime novels. You can read all about it here.

Red Dust (1932)

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Warner Archive and Kino Lorber both put out a lot of what you might call second-tier classic films. These are movies with big-name stars or directors that, for one reason or another, are not all that well known all these decades later. 

I quite enjoy watching and reviewing them because you never know what you are going to get. Sure, most of them are not the greatest films, but usually they aren’t bad, and once in a while you find a real gem.

Red Dust is a very enjoyable little film. It stars Clark Gable as a rubber plantation owner in Asia and Jean Harlow as the no-nonsense sex worker he falls in love with. Mary Astor also appears as the prim and proper lady Gable’s character initially falls for.  Anyways, I quite enjoyed it, and you can read my review here.

Foreign Film February: Pierrot le Fou (1965)

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I am an emotional cinephile, not an intellectual one.  What I mean by that is that when I watch a film, I respond to it with my gut, with my heart, not my mind. My favorite films are ones that move me in some way. As is probably painfully obvious from my reviews, I don’t spend a lot of time analyzing a film for its deeper meanings or its themes. I don’t necessarily spend hours digging into the filmmaker’s personal beliefs, what they’ve said in interviews, or the political climate the film was made in.

Now, that doesn’t mean I don’t use my intellect when watching a film. I am often stimulated by the filmmaking techniques, the director’s sense of style, and how they tell their story. I love reading intellectual critiques of films; I’m just not all that capable of writing one.  I’ll let you decide if that is a good or a bad thing.

What this means is that sometimes I come across a film and have no idea how to talk about it.  Jean-Luc Godard’s Pierrot le Fou  is a meta-movie, a crime thriller, a relationship drama, and so much more. 

The plot is fairly simple. Ferdinand Griffon (Jean-Paul Belmondo) is sick of his average, boring life. His wife drags him to a party where the men talk like commercials selling cars and the women sound like an ad for skin cream. He leaves early and discovers the babysitter, Marianne Renoir (Anna Karina), sound asleep. He agrees to take her home, and they reminisce about how they used to be lovers. 

Those reminisces turn into something more, and they run away, turn to crime, and have a bit of a Bonnie and Clyde situation. It turns out she’s got a history; her brother has been a criminal for quite some time, and…well, now that I think about it, that simple plot gets a little complicated.

The thing is, Godard is taking a fairly standard crime plot, and he’s having all kinds of fun with it. The  title of the film literally translates to “Pierrot, the Fool.”  Marianne constantly calls Ferdinand “Pierrot,” to which he always replies, “My name is Ferdinand.”  The name Pierrot refers to the sad clown of Commedia dell’arte. 

The film makes various references to French literature (most of which went over my head, but my wife filled me in), and movies. At that party early in the film, the great American director Samuel Fuller shows up and discusses film by saying “Film is like a battleground. There’s love, hate, action, violence, death… in one word: emotion.”  Well known French actor Jean-Pierre Leaud shows up as an extra at one point. You can barely see him at the bottom of the frame while our heroes are at a movie.

The score often cuts out for a second only to come back as if Godard is trying to remind us we are watching a film and that real life doesn’t come with a soundtrack. At least a couple of times, characters look straight at the camera and speak to the audience.  Marianne catches Ferdinand doing it and asks, “Who are you talking to?” To which he replies, “The audience.”

This is where I come back to the part where I’m not intellectual enough to talk about this film. There is so much going on in every second of this film that I’ve barely covered it. I can’t cover it, because I know I missed most of it.  I’m just not qualified to give this a true review.

That isn’t to say I didn’t like the film. On the contrary, I loved it. I’ve seen enough films to understand that Godard is being playful, that he’s calling attention to the fact he’s making a film while also making a thoroughly enjoyable story.  

I don’t think you have to be a total film nerd or an intellectual to enjoy this film. I think it can be enjoyed at face value while providing many layers for smart people to sift through.  Highly recommended.