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Sketchy Comedy

In Living Color, AKA Fox’s first attempt at an SNL type show was is an interesting little slice of early 90’s history.  From the mind of Keenan Ivory Williams the show was set up to put his family to work and provide some inconsistantly funny sketches.

In Living Color – Season Four
2 Stars

What’s the legacy of In Living Color?  Even though most of the recurring sketches and characters have been long forgotten the show did have a strong following during it’s run and jump started the careers of Damon Wayans, Jim Carey, Jamie Foxx and Jennifer Lopez.

The fourth season of In Living Color introduces “Fly Girl” Jennifer Lopez and adds another Wayan, Marlon Wayans, to the company payroll.  The sketches from the season include returning original characters like Fire Marshall Bill, the Head Detective, and Men on Film.  Also included are some pretty good parodies such as the “Def Comedy Jam” parody which is a wicked take on live audiences that laugh at mediocre material.  There’s also a best of parodies episode include spoofs on Superfly, Basic Instinct and Silence of the Lambs.

Jim Carrey is the gem of the bunch and besides his role of of Fire Marshall Bill he does a Ross Perot impersonation, the father of the Dystfunctional Home Show, and his William Shatner impersonation in a Rescue 911 spoof and a Star Trek spoof.

Damon Wayans provides many of the laughs with his roles as the Head Detective, one half of the Men on Film, Handiman, and Homey D. Clown.  One of the episodes is a best of Men of Film which includes clips from this season and other season including Blayne’s short live heterosexuality.

Not all the comedy comes off and much of it misses the mark.  For every one that works there are two or three that don’t.  For example the recurring character of Wanda (Jamie Foxx) who’s whole character is she’s an ugly and not very smart woman.  Though one of the sketches does lead to an appearance by En Vogue.  The show was very popular with urban music and hip hop and you get performances by the likes of Naughty by Nature and Mary J. Blige.  You also get group after group of very forgettable bands such as Digital Planets, but hey at least JLo and the Fly Girls can dance to anything.

The comedy is real hit-and-miss especially for a fourth season show.  Longtime fans of the show will really enjoy it but I think for the casual viewer the $40 price tag is much too high for what you actually get.

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Fawlty Towers

John Cleese considers his work on Fawlty Towers to be some of the best of his career.  Cleese co-wrote and starred as hotel owner Basil Fawlty for twelve hilarious episodes that originally aired on the BBC in the late 70’s.  The entire collection is available on DVD and for fans of Cleese or just comedy it’s a must have.

Fawlty Towers
4 & 1/2 Stars

How good is Fawlty Towers?  Well, the British Film Institute ranked it the number one television program of all time beating out Doctor Who, Monty Python’s Flying Circus, and The Prisoner (read my review of The Prisoner here).  Add the fact that John Cleese considers it some of the best work of his career and you know you’ve got something pretty special here.  Written and performed with then wife Connie Booth Fawlty Towers is comic gold.

Basil Fawlty (John Cleese) owns a small hotel with his wife Cybil (Prunella Scales) in the sleepy hamlet of Torquay.  Not cut out for the hotel business Basil grouses, ignores, intimidates, spies on, and insults everyone.  In Basil’s view there is only the one thing wrong with the hotel business – the customers.  Cybil (Prunella Scales) is the shrewish wife who spends most days talking on the phone and leaving the business to Basil so she can complain about his horrid management style. 

To help them they have a small band of characters.  Manuel (Andrew Sachs) is the bellhop, waiter, and handyman who speaks little English and understands even less.  The only stable influence is maid Polly (Connie Booth) who despite her best efforts finds herself pulled into Basil’s half-baked schemes again and again.

Cleese is at his best in the role as the maniacal Basil who as my Grandmother might say is just dumb enough to be dangerous.  His seething hatred for his customers and wife boil out into such hilarious outbursts and incidents that you are amazed and entertained with each viewing; he plays the part with such wicked glee.  Surrounded with a good cast Cleese takes the character into all sorts of unsuspected places and provides laugh after laugh.

The three disc collection is bursting with extras including director commentary for every episode by the series two directors John Howard Davies and Bob Spiers.  There are long interviews with Cleese about his experience with the show and extras on the real life character on which Basil was based.  There are featurettes on the hotel and the town of Torquay as well as fun clip segments arranged by theme.

Episodes:

A Touch of Class
Tired of the riff-raff staying at the hotel Basil has taken out an ad in a newspaper to attract a higher level of clientele.  The problem is it attracts a confidence man who, when he is found out, sends Basil up the wall.

The Builders
To save some money Basil hires a less reputable contractor to work on the hotel while he and Sybil go away on holiday.  On returning he discovers that the dining room has been completely walled up and has to find a way to fix it before Sybil kills him

The Wedding Party
Misreading the situation Basil suspects that promiscuity and fornication may be going on right under his nose.  Not in his hotel!  He spies to try and find the truth creating a series of unfortunate incidents.  The final scene is priceless.

Hotel Inspectors
After learning that hotel inspectors are in town Basil goes into overdrive trying to please the guests he believes might be inspectors while ignoring and offending everyone else only to find out the hotel inspector might not be who he thinks.

Gourmet Night
To help bring in a higher quality of customer Basil arranges for a gourmet night.  Problems ensue when the chef drinks himself into a stupor because Manuel spurns his romantic notions.  Basil tries to balance the proceedings instead of cancelling the dinner.

The Germans
Both Cybil and Basil end up in the hospital.  Cybil for a normal operation and Basil for a concussion and head trauma caused by a stuffed moose head and an ill timed fire drill.  Basil returns to the hotel in his concussed and medicated state and can’t quite stop from telling the German guests about WWII.  (For my money the best episode of the series)

Communication Problems
Basil tries to hide his horse track winnings from Cybil who doesn’t allow Basil to gamble.  At the same time a deaf customer has replaced a large sum of money.

The Psychiatrist
Basil just knows the new male guest has smuggled a girl into his room and is out to prove it.  The pychiatrist couple watch and comment on Basil’s eccentric behavior.

Waldorf Salad
A very paticular American customer wants a Waldorf salad but the kitchen is closed and he won’t take no for an answer.

The Kipper and the Corpse
Two customers rile Basil.  The first is a woman who demands special attention and service for her dog; the second is a corpse which Basil and Manuel try to smuggle out of the hotel in a laundry basket.

The Anniversary
Cybil leaves thinking Basil has forgotten their anniversary.  As her friends arrive for the surprise party Basil had planned he has to figure out something to do.  Unwilling to admit Cybil is gone he fabricates lie after lie and even involves poor Polly into standing in as the sick Sybil who is near death’s door.

Basil the Rat
The health inspector is coming and Manuel’s pet rat, affectionately named Basil, is on the loose.

 

This is truly an astonishingly funny show.  My only real complaint is that there were only twelve episodes made.  A nice DVD to add to your collection and since each episode is thirty minutes in length it’s a nice thing to pop in whenever you’ve got a little free time and need a quick pick-me-up or a good laugh.  So if you’re in need of a holiday why not spend the night at Fawlty Towers?

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The Human Face Behind the Trigger

In the last thirty years much has been written about “The Godfather” films and their social relevance, Part I having been released toward the end of The Vietnam War, and Part II being released just after the Watergate scandal blew up. It’s been said that the Corleone family’s story is an allegory for Big Business in America and also The American Dream in general; that the films helped usher through the most cynical generation- my generation.

The Godfather Trilogy
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I’d been with Barnes & Noble about a year, working part-time in the music and DVD department. I was ringing a purchase for a young man. He was wearing a tie and slacks. He appeared to be in his late twenties- a businessman, probably on his lunch break. While I was scanning his CD’s he looked over my shoulder, at the wall of DVD box sets behind me. After a moment he furrowed his brow and lifted his chin. “How much for the trilogy?” he asked.
I looked behind me, confused. For a second, I thought, The Star Wars Trilogy? I turned back to him. “Which trilogy?”

He let out a deep, frustrated sigh. “‘The Godfather’,” he replied. And then he added, in a condescending tone: “When someone refers to The Trilogy, they’re talking about ‘The Godfather’”.
I was both stunned and offended.
There I was, forty-two years old. I had seen “The Godfather” on the big screen- when it first came out. Since then I have seen Parts I and II at least 100 times each. I can quote whole passages from both films. Hell, I could even tell you that the actor who plays Genco Abbandando in Part II is an extra in Part I, just a face in the crowd in the scene where Sonny beats the crap out of Carlo. Yet that morning I was being educated by a twenty-something on the finer points of ‘the trilogy. He probably first saw the films when he was a teenager, on USA Network during a holiday marathon.

I shouldn’t have been offended, though. He was a guy. And “The Godfather” is a guy thing. Ever since it shot out of the gates in 1972 as a blockbuster, Francis Ford Coppola’s “Godfather” films continue to be a cultural phenomena among men. And the reason why is because it portrays serious men doing serious business for high stakes, namely big money and murder. And all of this business is done outside of the law. As much as “The Art of War”, “The Godfather” films have become a primer for conduct and strategy among businessmen, from gangsta rappers to Trump-style boardroom exec’s. Who among them aren’t familiar with the phrases “Keep your friends close, but your enemies even closer” or “It’s business not personal”? Sure, “The Godfather” romanticizes violence among those ‘businessmen’, much the same way “Saving Private Ryan” romanticizes battle among soldiers. But in “The Godfather” films there’s a reason behind the murders. There’s even a reason for how the victims are killed: Paulie Gatto’s body is left in the car (poetically, with The Statue Of Liberty in the distance) to be found as a message that the Corloeone’s knew he was a traitor. And even the Don’s oldest son Santino’s massacre is a message from his enemies: he was a violent man in life. It was only fitting he should suffer a violent death.

But more than being a cultural phenomena, “The Godfather” (Part I) is just plain and simply a GREAT FILM. And for many reasons. It’s a great story told in sweeping, operatic style: After the opening wedding sequence, the villain- a shrewd drug trafficker named Virgil Solozzo (Al Lettieri)- exploits the crime family’s weakness by attempting an assassination on the aging and myopic Don (Marlon Brando) in an attempt to open up the heroin trade on the east coast. Because of that assassination attempt, the youngest son, Michael (Al Pacino), is inexorably drawn into the family business, a life he had chosen to reject, setting him on a course where he finds his One True Destiny.

In addition to the logic behind the bloodletting, there’s also the human element in the films. Yes, there had been many fine gangster films before “The Godfather”, but none of them had so effectively contrasted the business of murder with the family lives of the men pulling the triggers. There are small touches: the way Vito brushes the face of the little boy as he’s taking his daughter out to the dance floor during the wedding scene; when Clemenza tells Rocco Lampone to watch out for the kids while they’re backing out of the driveway… the get well cards strewn on the Don’s bed after he’s brought back home from the hospital. But the most effective scene is when the Don is gunned down on the street outside of his office. A lesser director would have ended the scene when Vito finally slumps to the ground. But Coppola shows Fredo, the wimpy son who had been subbing as the Don’s bodyguard, weeping openly over the body of his father. Sure, Fredo was ‘weak and stupid’, but he was also a soldier in Clemenza’s regime, yet there he was, sitting on the curb and sobbing like a child. It’s a touching and tragic scene because of the performances of Marlon Brando and the late John Cazale.
Which brings me to the acting.

There’s an old saying that acting is REacting. And this is true in “The Godfather” films. If you’re an aspiring actor- or if you’re an actor whose career is going nowhere because you suck- then study the actors faces in the films, especially the scene at the beginning of Part II, where Michael is pleading with Connie to stop whoring around and stay at home, close to the family. Connie knows that Michael was responsible for her husband,Carlo’s, death- which is exactly why she’s whoring around. In the scene, Talia Shire’s face is pregnant with both longing and contempt- longing because she wants to do what Michael is asking, and contempt for his calculated and ruthless tactics.
The films, especially Part I, are a clinic for acting and writing. If you’re an aspiring screenwriter, read the book and then compare what Coppola did with the script; how he took Mario Puzo’s sprawling pulp novel and made it into a lean, efficient film. There aren’t many three hour films that clip along as easily as this one.

In the last thirty years much has been written about “The Godfather” films and their social relevance, Part I having been released toward the end of The Vietnam War, and Part II being released just after the Watergate scandal blew up. It’s been said that the Corleone family’s story is an allegory for Big Business in America and also The American Dream in general; that the films helped usher through the most cynical generation- my generation.

I can’t write authoritatively about any of that. All I know is that “The Godfather” Parts I and II are immensely entertaining. They’re filled with great acting, writing, drama, action, intrigue and scandal. People get shot up and shit gets blown up. The films taught me, at an early age, to “try to think the way people around you would think” and that “behind every great fortune there’s a crime”. They also taught me that behind every trigger there’s a human face with a family that they love, and that they may weep openly or quietly if a member of that family is harmed- and avenge that harmful action, either with cool calculation or wild ferocity.

Oh, yeah… and the films also taught me that a director should not cast a not-so-good actress in a lead role in the third installment of a film series that has become a cultural phenomena- even if that actress is family.

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End of the Year

Well the turkey has been eaten and the Christmas tree is up.  Hard to believe December is almost here.  Here’s a quick look at what to expect from us before the bells ring silent on 2005.

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It’s been a big year here at RazorFine and despite some normal growing pains we’ve weathered the year quite well and look forward to a big year in 2006.  But before we can get there we still have one final month of this year.  Here’s a little preview of what you’ll see…

This month expect a look back at the year: Top 10 lists for the best (and worst) movies of the year, our Oscar predictions, some Midterm Report Cards for TV, and a year end recap examining the year that was.  We’ll also give you a list of some of our favorite holiday films in time for your yuletide family fun.

We’ll also bring you new reviews for the late holiday and Oscar push.  What will you see?  Stephen Gaghan’s (Traffic) latest Syriana with George Clooney as a terrorist expert for the CIA, the retelling of C.S. Lewis’s The Chronicles of Narnia begins with The Lion, the Witch and the Wardrobe, Stephen Speilberg gets serious again in Munich, Charlize Theron’s live action portrayal of the animated assassin Aeon Flux, Matthew Broderick and Nathan Lane reprise their Broadway roles in the new version of The Producers, and Peter Jackson has this little movie about an ape.

All that, more DVD (Nowhere Man release date is December 27 baby!!) reviews and essays, plus a suprise or two.  Thanks for the great year folks, check back with us throughout the end of the year and let’s take 2005 out with a bang!

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Dawning of the Age of Aquarius

You’ll have to wait one more day for my review of RENT.  I thought I’d take the opportunity to review a similar type of musical, Hair.  We’ve got Bohemians, counter culture, drugs, and the issues of the day.  The spirit of the 60’s lives strong in Milos Foreman’s film adapted from the Broadway sensation.

Hair
4 & 1/2 Stars

Hey you know that dad from Everwood, did you know that once he was a really cool hippie?!  Hair is an emotional and relevant look at the Sixties, Vietnam, and the effects of both on our culture through some of the best music ever performed on stage or screen.  With a wink and a slight glint of evil Hair pulls no punches dealing with war, drugs, racism, hippies, death, loss, and love.

Let the Sunshine In

Claude Bukowksi (John Savage) travels from Oklahoma to New York City for his date with the Army Induction Board and a ticket to Vietnam.  He goes a little off course when he runs into a pack of Bohemian hippies in Central Park and has a chance meeting with the beautiful rich girl Sheila (Beverly D’Angelo) who is riding through the park on horseback at the same time. 

With nothing better to do Claude crashes with the group led by Berger (Treat Williams) and includes Jennie (Annie Golden), Hud (Dorsey Wright) and Woof (Don Dacus).  Through much singing and dancing, and some entertainment Nancy Reagan would not deem appropriate Claude and his friends spend their time.  Under Berger’s guidance Claude begins to break out of his shell and makes an attempt to win the girl of his dreams before going off to war.

The movie is told through a barrage of music and imagery.  From the opening Age of Aquarius (filmed in Central Park along with other numbers) to the humorous Sodomy the catchy Good Morning Starshine, Let the Sunshine In, and Manchester England, the the contemplative Where Do I Go? and Ain’t Got No and the big title number Hair.

Hair is something you experience and enjoy rather than just watch.  The music rolls over you making you laugh or cry and can even stun as it leads to a darker place.  As a period piece it’s a remarkable work and as a movie musical it’s equally as good.  Any movie that with equal time can sing about Shakespeare and masturbation deserves some notice don’t you think?

Though racy at the time of it’s original release it is rather tame by today’s standards.  What still works are the songs and the emotional involvement in the choices that Claude and the group make.

I’m not always a fan of twist endings, and this one is a doozy, but here the ending is used to convey the harsh reality of the situation that gets overshadowed in some of the lighter numbers in the film.  Many twist endings are designed to shake or surprise the audience not recognizing inconsistancies made to the story.  This one gives a deeper layer of meaning to the movie and actually helps validate it as a great film.

The DVD contains a a short booklet explaining the steps from Broadway to film.  Also included on the is the theatrical trailer and a rather extensive Hair poster gallery.  The best news is the musical has been remastered in Dolby Digital 5.1 letting the music ring out as loud as you like.

Hair is sometimes brash, rough, and coarse.  Often funny, humorous, and delightful.  Sometimes sad and maudlin.  Occasionally it’s bizarre and odd.  Through it all though the film remains as entertaining and poignant today as when it was first performed on Broadway.

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