Category Archives: andy griffith
Andy Griffith was the multiple award-winning and nominated star of television, film, stage and song. The actor, writer, director, producer, comedian, musician and singer passed away this morning in North Carolina. He was 86.
Back in my preschool days, “The Andy Griffith Show” was my favorite show, second only to “Batman.” The opening of the program with Andy and his son Opie, played by Ronny Howard, going fishing and walking in the woods reminded me of my father and me. Especially the bit with that kid throwing rocks. I was that annoying kid throwing rocks whenever we went fishing or went for walks in the woods. My imaginary friend was even named ‘Opie.’ Hey, stop judging. I never said I was a bright kid. The point is, from an early age, “The Andy Griffith Show” and its spin-offs were a family tradition.
Just as I watched little Opie grow into Richie Cunningham and later a successful director, I also watched Andy in the largely forgotten but also fondly remembered ABC series “Salvage 1,” and later on the more palatable “Matlock.” When my brother-in-law gave me all his 45 RPM records (for the kids out there, think single MP3 iTunes purchases, only round and on vinyl), I discovered another facet of Andy Griffith with his down home comedy spoken word hit, “What It Was, Was Football.”
As an adult I discovered how his humor led to Andy’s role on the stage and then in film with No Time for Sergeants. The film not only firmly established his persona for the next few decades but also was the direct inspiration for later television spin-off “Gomer Pyle, USMC.” Andy also did a flick at this time called Onionhead, that was so bad, he stopped doing movies.
However, before that, he made the film that for me, earns Andy Griffith the most respect. 1957’s A Face in the Crowd, written by Budd Schulberg and directed by Elia Kazan, is one of my favorite films, easily in my top five, and Andy Griffith, as the charismatic but evil entertainer Lonesome Rhodes, is the star. This is an acting tour de force, and Griffith is a whirlwind. If you have not seen this phenomenal drama, I can’t recommend it enough.
We have lost not only one of our most beloved television icons, but also a visionary in the way TV is done, as well as one of America’s greatest actors and comedians. Rest in peace, Andy, we will miss you.
The Amateurs ~ When I first heard about this film, I thought, isn’t that essentially the plot of Kevin Smith’s Zack and Miri Make a Porno? I was even more surprised to find it was made in 2005. Of course it couldn’t possibly be as good as the Smith flick, but it does take a slightly different slant.
Here, Jeff Bridges is a small town entrepreneur who convinces his neighbors to make an amateur porno to make money. This is a film powered by its quirky characters that is reminiscent of old school things like the old Don Knotts films or Norman Lear’s Cold Turkey. Ted Danson is especially amusing here.
The flick has a certain naïveté and charm that the Smith film lacked. This aspect is refreshing and adds to the comedy. Imagine Andy Griffith meets Kevin Smith. Yikes. Ahem, well, imagine it if you can. Check it out, it’s a feel good, fun watch, if a bit predictable in parts, but fun.
One of the finest actresses of her era, Patricia Neal was noted for performances in The Fountainhead, the original The Day the Earth Stood Still, Breakfast at Tiffany’s, Hud for which she won an Academy Award for Best Actress, and one of my favorite films, A Face in the Crowd.
She was also a star of Broadway and television as well, winning awards in both arenas. As well as the parts she did play, Neal was also noted for those she did not – she turned down the role of Mrs. Robinson in The Graduate and was unable to play the mother in “The Waltons” for health reasons.
Her personal life was plagued by both health problems and drama. Her affair with the much older and married Gary Cooper caused a feeding frenzy in the press of the day, and her turbulent marriage to author Roald Dahl ended in divorce after thirty years. These events however are overhsadowed by all of her good work over the years for various charities.
We have another one of the greats of Hollywood. Patricia Neal will be missed.
Inglourious Basterds ~ This may be just another bloody Quentin Tarantino flick or it may be his homage to World War II films and Spaghetti Westerns, but what it definitely is is a love letter from a movie lover to other movie lovers. Then again, most Tarantino films are that, but this is for real film lovers, not just grindhouse or martial arts movie lovers.
The cinematography, the scenery, the dialogue, the choreography, even and especially the music, touches the true movie lover in a way that the casual moviegoer just won’t appreciate. Everything is referential, from the character names, to the songs, to the conversations and set pieces. This is a brilliant film, if only for film buffs.
Regarding the spelling in the title, I think it’s just for copyright and trademark reasons. Perhaps it’s to differentiate it from the 1978 Italian film with Bo Svenson and Fred Williamson called Inglorious Bastards. Just for the record, this isn’t a remake or anything of the sort. The only thing these two flicks have in common, other than a similar title, is that they both take place behind enemy lines in WWII. Of the spelling, Tarantino says, “Here’s the thing. I’m never going to explain that. You do an artistic flourish like that, and to explain it would just take the piss out of it and invalidate the whole stroke in the first place.”
The plot, simple but presented in a complex way (this is a Tarantino film after all), revolves around the Basterds – Jewish-American soldiers killing Nazis in occupied France – blowing up a moviehouse in Paris where the Nazi High Command will be gathered for a very special movie premiere. And just for the record, don’t bring the kids. When I say killing I mean Tarantino-style killing. Not pretty.
Brad Pitt impressed me here and he doesn’t do that often. His southern accent and charm as Aldo Raine was haunting, almost as if he was channeling Andy Griffith in A Face in the Crowd. He’s just as charming and sociopathic as well. There’s just not enough of him in the film. Unfortunately Eli Roth channeling the Bowery Boys is as painful as Pitt is brilliant.
Other than Brad Pitt, the standout of the cast is Christoph Waltz as the villain Hans Landa. Both charismatic and chilling, he makes the most convincing and evil Nazi to make the screen since Ralph Fiennes’ Amon Goeth in Schindler’s List. He is a perfect villain. And Samuel L. Jackson’s brief narration was a fun surprise.
As many good things as I have to say about Inglourious Basterds, it’s not all good. Tarantino seems to be recycling jokes at some points, especially with the Little Man name bit that recalls Mr. Pink in Reservoir Dogs. His foot fetish also rears its ugly head but not as blatantly in previous films.
The inclusion of David Bowie’s “Cat People” (the film version) in a WWII movie seems intrusive, and perhaps not right any longer considering Quentin couldn’t get Nastassja Kinski for the role it references as he intended. Also Mike Myers’ cameo is bizarre. I really expected him to pull off his make-up and wig at any moment and yell, “Surprise! It’s me!”
Shosanna’s (played expertly by Melanie Laurent) story is much more compelling than that of the Basterds. It made me wonder if perhaps there should have been two different films here. There are certainly two different themes. If there were indeed problems with the length of the movie, as the rumors claim, maybe it should have been two films, much like Kill Bill.
All that said, I would definitely recommend Inglourious Basterds with the proviso that it’s a Qunetin Tarantino flick, so know what you’re going to see before you go. But do go.