Category Archives: 1960s
Iron Man Three ~ This movie is not what you think it is. The trailers give you something that is compelling, but it’s not the film, not really. We’re not talking about false advertising, no, what you see in the previews you get in the movie, it’s just Iron Man 3 (or Iron Man Three as it’s actually called in the credits) is a different kind of superhero film, hell, it’s a different kind of film, period.
Now I’ve already talked about that fact and more about director Shane Black’s approach to Iron Man Three in my spoiler-free review over at Biff Bam Pop! some months back (read it here). But what I’m going to talk about here is very spoiler special heavy. It’s the big secret of Iron Man Three, we’re going to talk about the Mandarin. Spoilers away, be warned.
Now this is not new territory for me either, I talked about the Mandarin before in my article about the forgotten foes of Iron Man, but this will be very specific to bringing Mandy to the big screen, and in the year 2013, that is not an easy job. Let’s face it, the Mandarin is a piece of history, and a rather nasty piece of history, both outdated and racist.
In the comics, the Mandarin is an Asian villain in the tradition of other such masterminds like Sax Rohmer’s classic, but racist stereotype, Fu Manchu. He was created in an age when in the comics every hero fought against the Red Menace, the Communist threat, and yes, the Yellow Peril. We as a nation were recovering from the Korean War, entering into the Viet Nam War, and in the midst of a deadly game of mutually assured destruction in the Cold War. The Asian race was a direct threat.
The Mandarin was a schemer, a manipulator, a mastermind. He worked behind the scenes, he controlled multiple villains, and sought to overthrow not only America, but our entire way of life. But that was the 1960s, and it was racist. That crap don’t play now, and quite honestly the Mandarin, although Iron Man’s archenemy from early on, has not weathered the storm, one of political correctness, well after all these years.
Enter the phenomenon that is the Robert Downey Jr. and the Marvel Cinematic Universe it started. After two Iron Man movies, and a billion dollar blockbuster Avengers film, where do you go? Is it time for Iron Man to finally face his greatest foe on screen? Yes, but in our politically correct world, with a mainstream audience who may or may not have a background in the comics source material, how do you pull it off.
Easy answer? You lie, you dazzle them with trickery. You get your cake, and you eat it too. Sir Ben Kingsley, first, is inspired casting for the villain. And in the previews, the image he gives us is both Marvel Comics Mandarin and Middle Eastern terrorist pimp daddy, an updating to be awed. This new Mandarin is one who both strikes by surprise like the 9/11 bombers, and announces his attacks like the monsters who have beheaded hostages on video on the internet.
An early interview before the film came out asked if Sir Ben had done any research on the Mandarin character, and he said that he had not, and that he did not intend to. This sent fanboys into a frenzy. The fact is that Sir Ben didn’t need to. His character was not really the Mandarin – in fact, the whole concept, in the Marvel Cinematic Universe, was a fake, a deception, a farce.
The Mandarin didn’t exist, he was just an actor, a puppet of the real villain. Sir Ben never needed to know anything about the source material, his character was a construct, and one lovingly performed with the proper fierceness, and comedic flair once revealed (loved the Ringo Starr-esque affectation). Kingsley’s performance was golden, in so many ways, he was menacing, and ridiculous, and done right. That’s right, I said, ‘done right.’
There were fanboys who fumed about this as well, but the truth is – it was impossible to transfer the comics character to the screen in our world of political correctness. Sorry, folks who just don’t get it, but wake up, the Mandarin is a racist stereotype. And also be aware, there are folks who think the villain as he appears in the movie is also a racist stereotype, one of our current Middle Eastern terrorist enemies.
And therein lies the problem, as much good will as Iron Man, the Avengers, and the Marvel Cinematic Universe have engendered with mainstream audiences, it would all fall apart tragically if the Mandarin were portrayed as a sneering Asian madman bent on world domination. In my opinion Iron Man Three does it right, giving us the best of both worlds.
The Strangler ~ Rather well done for its day, this 1964 crime thriller might seem dated by today’s standards. It was designed to exploit the real life Boston Strangler killings but then relocated and altered to distance itself from the case.
Held back by a sad cast, and reportedly the director Burt Topper as well, Victor Buono still rises to the top as the mother and doll obsessed serial killer. He appears to be the only one acting among a crowd of cue card readers.
Had it not been for the lackluster cast, and the uneven score, this could have been a movie on par with Psycho or The Boston Strangler, but it fails to even be a good exploitation flick, despite Buono’s performance.
Behind the Candelabra ~ I remember Liberace from my childhood. I remember him from the 1966 “Batman” TV show (in syndication, I’m not that old), where his appearance as villainous twin brothers equaled the series’ highest rated episodes. Such was the power of Liberace. He was not only a fabulous piano player, and a faaah-bulous showman, he was a huge star, and a serious draw when it came to stage and screen. When Liberace was on TV, for various reasons, you had to see it, and his stage show, whether in Vegas, New York, or LA, it was always a sensation.
While it wasn’t talked about back then, I think everyone knew Liberace was gay, it was oddly accepted he was different in that way. Liberace was wholesome entertainment. When I heard HBO was making a movie about him, I feared the worst. Especially after recent hack jobs on Phil Spector and Alfred Hitchcock. HBO knows how to make quality television series, but the folks who make their movies are out of control.
When I heard it would be about Liberace and his last lover, Scott Thorson, I knew it would be another smear piece. Thorson’s book of the same name was a memoir in much the same vein as Mommy Dearest.
Then I heard about the casting, and I was intrigued. Michael Douglas as Liberace, and Matt Damon as Scott Thorson. Wow. Boggles the mind, doesn’t it? Here’s the thing, they pull it off, they pull it off mind bogglingly well. When I see a flick with a big name star, if I can stop calling them by name, and believe they are the character, that’s impressive to me. For instance, Meryl Streep and Mel Gibson are always Meryl and Mel to me, but here, this was Liberace and Thorson. The actors’ performances are stunning.
True or not, those performances are scarred by the outrageous and flamboyant story. It may have happened that way, and they may have worn those clothes, but the absurdity of the situations take away from the quality of Douglas and Damon.
It also doesn’t help that the rest of the cast is filled out by comedians and actors doing their crazy best. Rob Lowe, Dan Ackroyd, Scott Bakula, and Debbie Reynolds, among others, are at their insane peak, equal to Douglas and Damon.
Should you watch it? Definitely. Behind the Candelabra is both time capsule and freakshow, and most importantly a manic showcase for the actors involved, and nowhere near the usual trainwreck we have gotten recently from HBO Films.
Amidst a whirlwind of false death rumors about the man, it turns out that music legend, and former member of the Doors, Ray Manzarek, has passed away. In a German hospital from cancer, the founder and keyboardist for the Doors is dead at 74.
This is a gut punch to me as strong as the passings of John Lennon, Kurt Cobain, or Warren Zevon. Ray Manzarek is a voice from my youth. I wasn’t cognizant for the first coming of the Doors, but their revival in the late 1970s, due to many factors, was strong in my formation.
There was AOR FM radio looking for music to play and not wanting to touch disco or new wave or punk, and began to mine the sixties for music, delivering the Doors to the forefront once again. There was the book, that everyone in my suburban white drug culture high school read – “No One Here Gets Out Alive” by Jerry Hopkins and Danny Sugarman – that made a legend of the late Jim Morrison.
There was, and is, some hardcore realist inside me that knows that Morrison was just a sullen alcoholic bully, but it was Ray Manzarek that created the legend, wove the tale, built the rock god, and manifested the Lizard King from the ground up. Whatever Jim Morrison was, Ray Manzarek made him.
I remember listening to Jim Ladd and his Sunday night “Innerview” interviewing Ray Manzarek multiple times, as he told apocryphal and supernatural tales of Jim Morrison, building the legend word by word. Manzarek talked of the Native American shaman who possessed Morrison as a child, the concept that he might not be dead, and all sorts of fantastic stories of the legendary Doors, fact and fiction. And he did it all the finesse of a master radio manipulator. Ray Manzarek would’ve made Orson Welles jealous with these performances.
For decades, Manzarek kept the infamous Doors alive, both on radio, and in sales, as he maintained his own career as well. He created a wonderful rendition of “Carmina Burana” with Philip Glass, as well as producing several albums for LA punk band X. He also worked with Echo and the Bunnymen and Iggy Pop among others, and even toured with Ian Asbury of The Cult in place of Morrison in a version of the Doors.
His charismatic personality, his fabulous storytelling ability, and his unique keyboard creations will live on for decades to come. We have truly lost one of the rock and roll legends. Long live Ray Manzarek and the Doors. Hopefully he’s jamming with the Lizard King right now.
This 1968 curiosity from the folks at Something Weird is a semi-animated fantasy based on Alice in Wonderland but with a more obvious drug theme woven through. It tries to be psychedelic, and probably would be if you were high, but the limited animation makes it difficult.
I can imagine this may have been pretty risqué back in the drug days of the late sixties, but its kinda tame for these days. But let’s face it, back in the day, Ralph Bakshi went much further. Hell, Bakshi could have even done this better.
In this Wonderland, the characters all seem to be using one drug or another – marijuana, pills, even LSD – though I’m unsure whether this short is actually supposed to be pro-drug or anti-drug. It is definitely worth a look-see, at least once, if only as a time capsule to a mostly lost culture.
Those Star Trek people infuriate me. You know the ones I mean. Whether they call themselves Trekkers or Trekkies (and yes, I do know the difference), it makes no difference when it comes to the 2009 reboot of the franchise, and its upcoming sequel in just a few weeks.
Let’s be serious now – if Gene Roddenberry had actually gotten his “Star Trek: Phase II” on the air when he wanted to, would we be still talking about Trek now or would the proposed series just be an embarrassing footnote like “Rescue from Gilligan’s Island” or “The Brady Bunch Hour”? Let’s all be thankful that Star Wars was so successful, and Paramount made Roddenberry move it to the big screen.
And while we’re being thankful, let’s be thankful for J.J. Abrams for finding a way to both be faithful to continuity, and to free himself of it. He paid respect to the fans, and opened up the field for a new generation of fans. It works in the story, and you have the old continuity and the new continuity existing side by side. And come on, it’s not like time paradoxes and parallel universes are foreign territory for the franchise. It’s almost the norm if you look at the original series.
Let’s talk about TOS, as “The Original Series” is called. It may as well stand for The Old Series, because it’s dated. Worse than that, “Next Gen” is even more painful when it comes to looking dated. Special effects and hairstyles weigh down TOS, but man oh man, ST:TNG just screams eighties. It’s so bad, it’s almost embarrassing. And for most of these Trek people, TNG is the gospel canon.
I lost interest in Trek television, when “Deep Space Nine” came along, and once the Captains met in the movies, I was out of there too. “Enterprise” brought me back. The Trek people hate “Enterprise.” I think it was great, it not only brought me back to Trek, it brought The Bride as well. The Trek folks whined about how the Vulcan protagonist behaved, behavior that was rationalized in the context of the series by the way.
These are the same people that don’t have a problem with Klingons not having ridges in TOS, faulty physics, jumbled histories and timelines, and of course the fantasy of a cashless society. But a Vulcan enacting free will, that’s wrong. It’s okay for Spock, but nobody else.
Seems to me that the Trek folks have a problem with the mainstream taking their toys. It was okay when no one else liked Star Trek, but when there’s a blockbuster movie, they get defensive. And I throw the “Doctor Who” latecomers into the same garbage bin.
I loved Abrams’ Star Trek, and can not wait for the sequel. All y’all old Trekkies and Trekkers, feel free to stay home and not see it, just shut up about it. You’re ruining it for the rest of us.
Family Band: The Cowsills Story ~ I would wager most of the folks reading this have zero idea who the Cowsills are, and I also think those that do know, only know the footnote.
The Cowsills did “Hair,” the title track from the Broadway show, the theme to “Love American Style,” and oh yeah, they were the inspiration for the Partridge Family – literally the real thing. Again, just a footnote. That’s pretty much all I knew as well until I watched this great documentary on Showtime.
The doc, done through interviews with the Cowsills, and their contemporaries, as well as footage of the time, tells the tale of the family band’s meteoric rise and eventual fall into oblivion. There’s a tragic side in the form of the manipulative and abusive father. It doesn’t end well, probably why you don’t remember them, but you should.
April has been lousy with famous deaths, and today we lost another great one. I grew up with Annette Funicello, and no, I’m not that old. In the 1970s, there were reruns of the original “Mickey Mouse Club” on TV every weekday afternoon, and the 1960s Beach Party movies ran quite often on the UHF channels. I was very familiar with who she was, and even dug her when she would appear on talk shows and variety shows, and even Skippy peanut butter commercials, of the era at her current age.
Annette was a regular on “MMC” as well as appearing in their serials and several other Disney television series and movies. Later she moved on to the popular Beach Party films with Frankie Avalon, as well as having many top ten hits as a singer, one of them eventually becoming the theme to “The Tonight Show” with Johnny Carson. She made a comeback in 1987 starring with Avalon in Back to the Beach, a clever homage to the Beach Party movies.
Continuing to sing, act, and make appearances over the next decade, Annette was eventually diagnosed with multiple sclerosis, complications of which finally took her life earlier today in California. We have truly lost another legend today, of many media. Annette Funicello will be missed.
Superman Vs. The Elite ~ In the spirit of full disclosure, I need to say I did not like the Joe Kelly and Doug Mahnke story this is based on, “What’s So Funny About Truth, Justice, and the American Way” from Action Comics #775, but then I didn’t think much of that run, nor of the characters Manchester Black and The Elite either. Sorry, when it comes to Superman, I’m pretty much a traditionalist, although the story did raise a few salient points. I remain unconvinced.
I definitely dug the punk rock pop culture Warhol-ization of the Filmation cartoons from the 1960s mashed up with Curt Swan art of the 1970s for the opening credits sequence. A nice touch. I loved the cartoon at the beginning, the interaction between Lois and Clark, and loved the battle between Superman and the Atomic Skull too, someone really wants me to like this movie. The animation style is a bit odd in places however, Lois most notably stands out as small and sometimes cross-eyed in a bad anime way. That and Superman’s ridiculously huge chin, I mean, he’s not the Tick, ya know?
The gist of the story is Superman is old-fashioned and passé in our world. Why simply capture and imprison a murderous destructive criminal like the Atomic Skull when Superman could so easily rid the world of him. We need a proactive hero, not a reactive hero. Manchester Black and The Elite exploit this when they stop escalating war in Bialya while Superman watches and acts futilely.
Later, after a team-up between our ‘heroes,’ the Elite declare war on the baddies, promising punishment and zero tolerance. Superman is starting to look bad, and in his investigation of his competitors, they are not looking great either, he just can’t prove it. At this point, Lois begins to get annoying. She is less the Margo Lane equal partner and more the Doiby Dickles comic relief. Not cool for this Lois fan.
Speaking of comic relief, I liked the Rush Limbaugh clone doing a Aaron Sorkin style soapbox rant as Superman races to stop the Elite from killing more soldiers in the Bialyan conflict. Superman gets his butt handed to him, when saved by the Elite, and given medical attention at their headquarters, there is even more Sorkin preachiness. On the other hand, I like the preaching provided by Pa Kent. Like Lois should be, his parents are Superman’s rock.
A second battle with the Atomic Skull, this time against both Superman and The Elite, completely turns the tide toward Black against the man of steel. As The Bride would be wont to say, “Is it time for the good guys to win yet?” I liked the movie less and less the more I watched. This was just too much morality play in my comic books for me.