Italian screenwriter Furio Scarpelli, who co-wrote such films as Hercules and The Good, The Bad, and The Ugly with Agenore Incrocci, passed on Wednesday at the age of 90.
Furio Scarpelli was born on 16 December, 1919 in Rome. The son of a journalist, Mr. Scarpelli enjoyed writing and drawing as a child. During World War II he had a career as an illustrator. It was during this period that he met Agenore Incrocci (better known simply as Age). It was in 1949 that Messrs. Scarpelli and Incrocci wrote their first screenplay, as one of several screenwriters on Vivere a sbafo. It was that same year that they wrote their first comedy for comedian Totò, Totò le Moko. In all, Mr. Scarpelli would twenty five movies for Totò. In addition to Totò's comedies, the two also wrote such films as A fil di spada (At Sword's Edge), Racconti romani (Roman Tales), I soliti ignoti (Big Deal on Madonna Street), and Il bigamo (The Bigamist). In 1958 they wrote on their first screenplay for a film which would see a good deal of success in the United States, La fatiche de Ercole, released in America as Hercules.
In the Sixties Messrs. Scarpelli and Incrocci wrote screenplays for such films as The Best of Enemies, I compagni (The Organiser), one of the segments in Le stregne (The Witches), and Casanova '70. They were nominated for the Oscar for Best Writing, Story, and Screeplay Written Dirctly for the Screen for both I compagni and Casanova '70. Their best known work from the Sixties, however, would be possibly the most famous spaghetti Western of all time, Il buono, il brutto, il cattivo (The Good, The Bad, and The Ugly).
During the Seventies Mr. Scarpelli wrote screenplays for such films as C'eravamo tanto amati (Those Were the Years, also known as We All Loved Each Other So Much), Romanzo popolare, and Signore e signori, buonanotte (Good Night, Ladies and Gentlemen). Mr. Scarpelli ended his partnership with Mr. Incrocci in the Eighties, but he woul go go onto write such films as La Famiglia (The Family), Briganti, Il postino, La cena (The Dinner), and N (lo e Napoleone). His last screenplay was Christine Cristina, released in 2009.
Furio Scarpelli was arguably one of the most talented writers in any language. Indeed, while he was best known for his comedies, Mr. Scarpelli was a versatile writer who could work in nearly any genre. Over the years he wrote a sword and sandal epic (Hercules), a spaghetti Western (The Good, The Bad, and The Ugly), swashbucklers (At Sword's Edge), and other genres. What is more, Mr. Scarpelli could wrote all of these genres well. Most screenwriters work in only one or two genres, but such was Furio Scarpelli's talent that he could work in several.
Saturday, May 1, 2010
Thursday, April 29, 2010
They Don't Make Them Like They Used To: Why Old Movies Are Better
Unlike other classic film fans, I am not wholly adverse to more recent films. There are movies made in the past few years that number among my favourites, and I do go to the cinema on a somewhat regular basis to watch recently made movies. That having been said, I cannot escape believing that on the whole movies were better fifty or more years ago than they are now.
Now I have given thought to the idea that this could simply be an illusion created by the passage of time. After all, it stands to reason that the best movies--those that would become classics--would continue to be shown over the years, while inferior movies would be shown much less. Citizen Kane is still shown several times a year both on television and in theatres. By contrast, The Conqueror is not shown nearly as much. I also cannot deny that I have seen my share of bad movies made from years and years ago. Jimmy Stewart once called Pot o' Gold the worst film he ever made. He was right.
Still, even given the fact that good movies will tend to be shown much more over the years than bad movies, perhaps creating the illusion that every movie from years ago has some quality, I cannot deny feeling that on average movies declined a good deal in quality in the past forty years. This can be shown by contrasting the films that topped the box office over the years, as well as the various blockbusters released over the years. The top ten grossing films of 1944 included such classics as Going My Way, Meet Me in St. Louis, Double Indemnity, and the Forties version of Gaslight. By contrast, the top ten grossing films of 1988 included such movies as Twins, Crocodile Dundee, and Cocktail (which I am convinced is one of the worst movies of all time). As to blockbusters, the top grossing film of the Thirties (indeed, of all time when adjusted for inflation) was Gone With the Wind, a well crafted epic still regarded as a classic. The top grossing film of the Nineties was Titanic, an epic which relied on its special effects and lavish production to make up for a weak storyline.
If I had to pinpoint the time when movies began to seriously decline in quality, I would say that it was probably the Seventies. The Seventies saw a boom in disaster movies, where big name stars and special effects were more important than good filmmaking or the storyline. Worse yet, films such as Airport, The Poseidon Adventure, The Towering Inferno, and Earthquake all did relatively well at the box office. This would lead to such empty, special effects epics as Independence Day, The Day After Tomorrow, and 2012. While the disaster films would lead to a decline in quality of blockbusters from yesteryear, comedies would also start to decline in the Seventies. While the Seventies would produce some truly funny comedies (Young Frankenstein, Animal House, What's Up, Doc?), it also produced some truly bad comedies (Smokey and the Bandit, Every Which Way But Loose, 1941).
Indeed, even more so than in the arena of blockbusters, it is in the genre of comedy that movies have suffered the most the past forty years. Such classic comedies of the Thirties and Forties as My Man Godfrey, Bringing Up Baby, and To Be or Not To Be relied on witty dialogue and some truly funny situations for their humour, which always grew out of the characters. Today the average comedy often relies on low, obvious, and often scatological humour. There's not a bit of witty dialogue to be heard. Among the subgenres of comedy which have suffered the most must be the romantic comedy. There was a time when romantic comedies were made to be enjoyed by both sexes. Men and women alike could appreciate such movies as It Happened One Night and Bringing Up Baby. Sadly, today it seems as if romantic comedies are made exclusively for women. This would not be so bad, but it seems as if filmmakers must think the average woman is none too bright and none too discerning with regards to film, as the average romantic comedy of today features cardboard characters and often hackneyed situations.
Even children's movies seem inferior in quality these days. The period from the Thirties into the Sixties produced such classic children's films as The Wizard of Oz, The Thief of Baghdad, The 5,000 Fingers of Dr. T, and The Parent Trap. And I cannot deny that there have been some good children's films released in the past forty years (Willy Wonka and the Chocolate Factory, Babe), but today it seems as if the average studio's idea of a good children's movie is to combine talking animals created by CGI with very low brow humour. The Wizard of Oz and Babe have been replaced by Alvin and the Chipmunks and G-Force.
Here I must stress that I do think there are a few genres where movies do compare favourably to those of yesteryear. While animated movies would decline precipitously in quality in the late Sixties into the early Eighties, the genre would make up comeback in the Nineties. This I attribute to Pixar, who had always maintained a high degree of quality on their films. In doing so they placed the bar higher for other animated filmmakers, who had to make good films of their own simply to keep up with Pixar. I also believe the superhero movie of today is superior to those made in the past. I suspect much of this has to do with the fact that in the past forty years comic books have become more respectable, thus insuring that superhero movies would no longer be quickie productions made simply for kids. I also think much of this has to do with the directors at the helm of such movies--Sam Raimi, Guillermo del Toro, and Christopher Nolan, directors who either grew up reading comic books, are visionary enough to see the cinematic possibilities of the medium, or both.
As to what caused this decline in film, that is difficult to say. Some might point to the weakening of the MPAA Production Code from the late Forties into the Sixties and the establishment of the ratings system, which would permit much more graphic content than the old Production Code had allowed. I suppose an argument could be made that the ratings system allowed for movies to rely more on sex and violence than strong writing and characters. Indeed, such atrocities as the American Pie movies, which rely upon sex for their source of humour, would have been impossible even in the Sixties. That having been said, I tend to doubt that the ratings system was to a large degree responsible for the decline in film. While the ratings system would allow for the existence of films like Porky's and American Pie, it must be pointed out that the disaster films of the Seventies and what's passes for romantic comedies now could have been made before the ratings system was implemented, even if some language and situations might have to have been edited out.
Instead, I have to wonder that the decline of American movies is not associated with the decline of the studio system. For those of you unfamiliar with the studio system, it was the dominant means by which the major studios operated from the Thirties into the Fifties, with directors, writers, and actors under exclusive contracts and ownership (or at the very least some power over) movie distribution and even exhibition at theatres. Under the studio system, studio executives wielded a good deal of power over the films made at their studios, including the directors, actors, and writers who worked on those films. To a degree the studio system did impede creativity among filmmakers. The conflict between David O. Selznick and Alfred Hitchcock over the films that director made for that producer is legendary. And I rather suspect that here have been a number of classic films since the Sixties which could not have simply been made under the studio system, such as 1966's Blowup. Even if its content could have been edited to fit the production code of the Forties, I rather suspect studio bosses would have thought the film not commercial enough. While the studio system did impede creativity among actors, writers, and directors, it may have also had a beneficial effect on film.
Quite simply, the studio system may have acted as a means of quality control in filmmaking. After all, it cannot be coincidence that many, perhaps most, of the greatest films in American history were made under the studio system. While it seems that the studio bosses may have exerted a bit too much control over their creative personnel, they also often knew quality when they saw it. Although the two would often come to heads, it was David O. Selznick who brought Alfred Hitchcock to the United States, resulting in some of his best work. Samuel Goldwyn relied on such writers as Ben Hecht, Lillian Hellman, Sidney Howard, and Dorothy Parker. Over the years his movies earned a number of Oscars. It seems possible that the studio system may have acted as a means of insuring that movies were quality productions. In fact, it seems likely that the major difference between the studio bosses who operated under the studio system and the studio bosses of today could well be that the former were concerned with making quality movies, while the latter apparently care more about making money.
Regardless of why it seems to me that movies have declined in quality, it does seem as if they have. I often find that I would much rather watch an older film from the Forties than many films made more recently, regardless of how they performed at the box office. I have yet to watch Alvin and the Chipmunks and I doubt I ever will. Sadly, it seems to me that it is true that "They don't make them like they used to."
Now I have given thought to the idea that this could simply be an illusion created by the passage of time. After all, it stands to reason that the best movies--those that would become classics--would continue to be shown over the years, while inferior movies would be shown much less. Citizen Kane is still shown several times a year both on television and in theatres. By contrast, The Conqueror is not shown nearly as much. I also cannot deny that I have seen my share of bad movies made from years and years ago. Jimmy Stewart once called Pot o' Gold the worst film he ever made. He was right.
Still, even given the fact that good movies will tend to be shown much more over the years than bad movies, perhaps creating the illusion that every movie from years ago has some quality, I cannot deny feeling that on average movies declined a good deal in quality in the past forty years. This can be shown by contrasting the films that topped the box office over the years, as well as the various blockbusters released over the years. The top ten grossing films of 1944 included such classics as Going My Way, Meet Me in St. Louis, Double Indemnity, and the Forties version of Gaslight. By contrast, the top ten grossing films of 1988 included such movies as Twins, Crocodile Dundee, and Cocktail (which I am convinced is one of the worst movies of all time). As to blockbusters, the top grossing film of the Thirties (indeed, of all time when adjusted for inflation) was Gone With the Wind, a well crafted epic still regarded as a classic. The top grossing film of the Nineties was Titanic, an epic which relied on its special effects and lavish production to make up for a weak storyline.
If I had to pinpoint the time when movies began to seriously decline in quality, I would say that it was probably the Seventies. The Seventies saw a boom in disaster movies, where big name stars and special effects were more important than good filmmaking or the storyline. Worse yet, films such as Airport, The Poseidon Adventure, The Towering Inferno, and Earthquake all did relatively well at the box office. This would lead to such empty, special effects epics as Independence Day, The Day After Tomorrow, and 2012. While the disaster films would lead to a decline in quality of blockbusters from yesteryear, comedies would also start to decline in the Seventies. While the Seventies would produce some truly funny comedies (Young Frankenstein, Animal House, What's Up, Doc?), it also produced some truly bad comedies (Smokey and the Bandit, Every Which Way But Loose, 1941).
Indeed, even more so than in the arena of blockbusters, it is in the genre of comedy that movies have suffered the most the past forty years. Such classic comedies of the Thirties and Forties as My Man Godfrey, Bringing Up Baby, and To Be or Not To Be relied on witty dialogue and some truly funny situations for their humour, which always grew out of the characters. Today the average comedy often relies on low, obvious, and often scatological humour. There's not a bit of witty dialogue to be heard. Among the subgenres of comedy which have suffered the most must be the romantic comedy. There was a time when romantic comedies were made to be enjoyed by both sexes. Men and women alike could appreciate such movies as It Happened One Night and Bringing Up Baby. Sadly, today it seems as if romantic comedies are made exclusively for women. This would not be so bad, but it seems as if filmmakers must think the average woman is none too bright and none too discerning with regards to film, as the average romantic comedy of today features cardboard characters and often hackneyed situations.
Even children's movies seem inferior in quality these days. The period from the Thirties into the Sixties produced such classic children's films as The Wizard of Oz, The Thief of Baghdad, The 5,000 Fingers of Dr. T, and The Parent Trap. And I cannot deny that there have been some good children's films released in the past forty years (Willy Wonka and the Chocolate Factory, Babe), but today it seems as if the average studio's idea of a good children's movie is to combine talking animals created by CGI with very low brow humour. The Wizard of Oz and Babe have been replaced by Alvin and the Chipmunks and G-Force.
Here I must stress that I do think there are a few genres where movies do compare favourably to those of yesteryear. While animated movies would decline precipitously in quality in the late Sixties into the early Eighties, the genre would make up comeback in the Nineties. This I attribute to Pixar, who had always maintained a high degree of quality on their films. In doing so they placed the bar higher for other animated filmmakers, who had to make good films of their own simply to keep up with Pixar. I also believe the superhero movie of today is superior to those made in the past. I suspect much of this has to do with the fact that in the past forty years comic books have become more respectable, thus insuring that superhero movies would no longer be quickie productions made simply for kids. I also think much of this has to do with the directors at the helm of such movies--Sam Raimi, Guillermo del Toro, and Christopher Nolan, directors who either grew up reading comic books, are visionary enough to see the cinematic possibilities of the medium, or both.
As to what caused this decline in film, that is difficult to say. Some might point to the weakening of the MPAA Production Code from the late Forties into the Sixties and the establishment of the ratings system, which would permit much more graphic content than the old Production Code had allowed. I suppose an argument could be made that the ratings system allowed for movies to rely more on sex and violence than strong writing and characters. Indeed, such atrocities as the American Pie movies, which rely upon sex for their source of humour, would have been impossible even in the Sixties. That having been said, I tend to doubt that the ratings system was to a large degree responsible for the decline in film. While the ratings system would allow for the existence of films like Porky's and American Pie, it must be pointed out that the disaster films of the Seventies and what's passes for romantic comedies now could have been made before the ratings system was implemented, even if some language and situations might have to have been edited out.
Instead, I have to wonder that the decline of American movies is not associated with the decline of the studio system. For those of you unfamiliar with the studio system, it was the dominant means by which the major studios operated from the Thirties into the Fifties, with directors, writers, and actors under exclusive contracts and ownership (or at the very least some power over) movie distribution and even exhibition at theatres. Under the studio system, studio executives wielded a good deal of power over the films made at their studios, including the directors, actors, and writers who worked on those films. To a degree the studio system did impede creativity among filmmakers. The conflict between David O. Selznick and Alfred Hitchcock over the films that director made for that producer is legendary. And I rather suspect that here have been a number of classic films since the Sixties which could not have simply been made under the studio system, such as 1966's Blowup. Even if its content could have been edited to fit the production code of the Forties, I rather suspect studio bosses would have thought the film not commercial enough. While the studio system did impede creativity among actors, writers, and directors, it may have also had a beneficial effect on film.
Quite simply, the studio system may have acted as a means of quality control in filmmaking. After all, it cannot be coincidence that many, perhaps most, of the greatest films in American history were made under the studio system. While it seems that the studio bosses may have exerted a bit too much control over their creative personnel, they also often knew quality when they saw it. Although the two would often come to heads, it was David O. Selznick who brought Alfred Hitchcock to the United States, resulting in some of his best work. Samuel Goldwyn relied on such writers as Ben Hecht, Lillian Hellman, Sidney Howard, and Dorothy Parker. Over the years his movies earned a number of Oscars. It seems possible that the studio system may have acted as a means of insuring that movies were quality productions. In fact, it seems likely that the major difference between the studio bosses who operated under the studio system and the studio bosses of today could well be that the former were concerned with making quality movies, while the latter apparently care more about making money.
Regardless of why it seems to me that movies have declined in quality, it does seem as if they have. I often find that I would much rather watch an older film from the Forties than many films made more recently, regardless of how they performed at the box office. I have yet to watch Alvin and the Chipmunks and I doubt I ever will. Sadly, it seems to me that it is true that "They don't make them like they used to."
Wednesday, April 28, 2010
The Late, Great Allen Swift
Allen Swift, who provided the voice for both Simon Barsinister and Riff-Raff on Underdog and many other characters, passed on April 18 at the age of 87.
Allen Swift was born Ira Stadlen on January 16, 1824 in Washington Heights, New York, but was raised in Brooklyn. He attended the High School of Music and Art in Manhattan. He created his stage name by combing the names of two men he admired, Fred Allen and Jonathan Swift. In his late teens Mr. Swift began performing at hotels in the Catskills as a stand up comedian. He also worked on many radio shows. In 1941 he enlisted in the United States Army Air Corps. Following World War II, he returned to show business. He worked on Gangbusters and other radio shows. He also resumed his work as a comedian at night clubs.
It was around 1950 that Allen Swift joined the cast of the television version of The Robert Q. Lewis Show. It was in 1953 that Allen Swift joined The Howdy Doody Show. Initially he served as the replacement for Dayton Allen as the voice for the puppets Phineas T. Bluster and Flub-a-Dub, as well as playing Chief Thunderchicken, but after September 1954 when Buffalo Bob Smith had a heart attack, Mr. Swift found himself voicing Howdy Doody for a year. It was in 1954 that Mr. Swift provided his voice for a cartoon for the first time, the Famous Studios Howdy Doody short "Boo Moon." In 1956 he became the host of The Popeye Show on WPIX-TV, New York, playing Captain Allen Swift. He was host of the show for four years. In 1957 he did his first work for Terrytoons in the short "A Bum Steer." He would go onto voice several of the studio's characters, including Gaston and Clint Clobber. It was also in the Fifties that he began doing voice overs for radio and television commercials. It is estimated Mr. Swift did over 30,000 commercials in his lifetime.
It was in 1960 that Alan Swift did his first work for TTV, providing the voices of Odie Cologne, Itchy Brother, and Tooter Turtle on King Leonardo and His Short Subjects. He would go onto voice various characters on Tennessee Tuxedo and His Tales, Simon Barsinister, Riff-Raff, and many of the villains on The Underdog Show, and Tubby and Scotty on The Beagles. In 1961 he worked on the syndicated puppet show Diver Dan. He also provided voices for many of the cartoons produced by Gene Deitch, including his "Tom and Jerry" cartoons and the feature film Alice of Wonderland in Paris. In 1967 he provided most of the voices for Rankin/Bass's feature film Mad Monster Party.
The Seventies saw Allen Swift do further work for Rankin/Bass, including the specials The Enchanted World of Danny Kaye: The Emperor's New Clothes, 'Twas the Night Before Christmas, The Easter Bunny is Coming to Town, and Pinocchio's Christmas. In the Eighties Mr. Swift more or less retired, although into the Naughts he would guest star on such shows as Kate and Allie, The Equalizer, Crime Story, and Law and Order. He appeared in the feature films Seize the Day, A Price Above Rubies, and Safe Men. His last work was providing voice work for an episode of Courage the Cowardly Dog in 2000.
There can be no doubt that Allen Swift was among the greatest voice men of all time. On The Underdog Show alone he voiced such diverse characters as Simon Barsinister, Riff-Raff, and Batty Man, each one with a distinct voice. Indeed, in his work in commercials Allen Swift voiced everything from a toilet plunger in a Draino advert to the Burger King in early Burger King adverts. Although not as well known as Mel Blanc, he was arguably just as skilled, literally a man of a thousand voices.It is for that reason he left behind a plethora of cartoons and commercials bearing his talents.
Allen Swift was born Ira Stadlen on January 16, 1824 in Washington Heights, New York, but was raised in Brooklyn. He attended the High School of Music and Art in Manhattan. He created his stage name by combing the names of two men he admired, Fred Allen and Jonathan Swift. In his late teens Mr. Swift began performing at hotels in the Catskills as a stand up comedian. He also worked on many radio shows. In 1941 he enlisted in the United States Army Air Corps. Following World War II, he returned to show business. He worked on Gangbusters and other radio shows. He also resumed his work as a comedian at night clubs.
It was around 1950 that Allen Swift joined the cast of the television version of The Robert Q. Lewis Show. It was in 1953 that Allen Swift joined The Howdy Doody Show. Initially he served as the replacement for Dayton Allen as the voice for the puppets Phineas T. Bluster and Flub-a-Dub, as well as playing Chief Thunderchicken, but after September 1954 when Buffalo Bob Smith had a heart attack, Mr. Swift found himself voicing Howdy Doody for a year. It was in 1954 that Mr. Swift provided his voice for a cartoon for the first time, the Famous Studios Howdy Doody short "Boo Moon." In 1956 he became the host of The Popeye Show on WPIX-TV, New York, playing Captain Allen Swift. He was host of the show for four years. In 1957 he did his first work for Terrytoons in the short "A Bum Steer." He would go onto voice several of the studio's characters, including Gaston and Clint Clobber. It was also in the Fifties that he began doing voice overs for radio and television commercials. It is estimated Mr. Swift did over 30,000 commercials in his lifetime.
It was in 1960 that Alan Swift did his first work for TTV, providing the voices of Odie Cologne, Itchy Brother, and Tooter Turtle on King Leonardo and His Short Subjects. He would go onto voice various characters on Tennessee Tuxedo and His Tales, Simon Barsinister, Riff-Raff, and many of the villains on The Underdog Show, and Tubby and Scotty on The Beagles. In 1961 he worked on the syndicated puppet show Diver Dan. He also provided voices for many of the cartoons produced by Gene Deitch, including his "Tom and Jerry" cartoons and the feature film Alice of Wonderland in Paris. In 1967 he provided most of the voices for Rankin/Bass's feature film Mad Monster Party.
The Seventies saw Allen Swift do further work for Rankin/Bass, including the specials The Enchanted World of Danny Kaye: The Emperor's New Clothes, 'Twas the Night Before Christmas, The Easter Bunny is Coming to Town, and Pinocchio's Christmas. In the Eighties Mr. Swift more or less retired, although into the Naughts he would guest star on such shows as Kate and Allie, The Equalizer, Crime Story, and Law and Order. He appeared in the feature films Seize the Day, A Price Above Rubies, and Safe Men. His last work was providing voice work for an episode of Courage the Cowardly Dog in 2000.
There can be no doubt that Allen Swift was among the greatest voice men of all time. On The Underdog Show alone he voiced such diverse characters as Simon Barsinister, Riff-Raff, and Batty Man, each one with a distinct voice. Indeed, in his work in commercials Allen Swift voiced everything from a toilet plunger in a Draino advert to the Burger King in early Burger King adverts. Although not as well known as Mel Blanc, he was arguably just as skilled, literally a man of a thousand voices.It is for that reason he left behind a plethora of cartoons and commercials bearing his talents.
Sunday, April 25, 2010
Actor Peter Haskell R.I.P.
Actor Peter Haskell, who starred in the short lived series Bracken's World, passed on April 12 at the age of 75.
Peter Haskell was born in Boston, Massachusetts on October 15, 1934. His father was noted geophysicist Norman Haskell. He attended Buckingham Browne and Nichols School in Cambridge, Massachusetts. He served in the United States Army from 1954 to 1956. Afterwards he earned a Bachelor in Arts at Harvard University. It was while at Harvard that he became interested in acting. He was about to enter Columbia University to major in Law, but when a Harvard professor referreded him to playwright Derek Washburn, he found himself cast in the off Broadway play The Love Nest.
Peter Haskell made his television debut in an episode of Death Valley Days. He would become a frequent performer on television. In the Sixties he appeared in guest appearances on The Outer Limits, Dr. Kildare, The Man From U.N.C.L.E., The Fugitive, Twelve o'Clock High, Rawhide, Ben Casey, Combat, Lassie, and The Big Valley. In 1969 he was cast as a lead character in the night time soap opera Bracken's World. The series lasted a season and a half. Haskell made his movie debut in Passages from James Joyce's Finnegan's Wake in 1966.
Throughout the Seventies Peter Haskell guest starred on such shows as McCloud, Mary Tyler Moore, Longstreet, Mission: Impossible, Mannix, Cannon, and Barnaby Jones. He appeared in the film Christina in 1974. In the Eighties he guest starred on Vega$, The A-Team, Too Close for Comfort, Hunter, the revival of Alfred Hitchock Presents, and Murder, She Wrote. From 1982 to 1983 he was a regular on Ryan's Hope. It was during this period that he attended the New York Law School. He also appeared in the film Child's Play 2.
The Nineties saw Peter Haskell guest star on Matlock, Diagnosis Murder, and Frasier. He also appeared in the films Child's Play 3 and Robot Wars. In the Naughts he guest starred on JAG, The Closer, and ER (his last appearance on screen).
Peter Haskell was born in Boston, Massachusetts on October 15, 1934. His father was noted geophysicist Norman Haskell. He attended Buckingham Browne and Nichols School in Cambridge, Massachusetts. He served in the United States Army from 1954 to 1956. Afterwards he earned a Bachelor in Arts at Harvard University. It was while at Harvard that he became interested in acting. He was about to enter Columbia University to major in Law, but when a Harvard professor referreded him to playwright Derek Washburn, he found himself cast in the off Broadway play The Love Nest.
Peter Haskell made his television debut in an episode of Death Valley Days. He would become a frequent performer on television. In the Sixties he appeared in guest appearances on The Outer Limits, Dr. Kildare, The Man From U.N.C.L.E., The Fugitive, Twelve o'Clock High, Rawhide, Ben Casey, Combat, Lassie, and The Big Valley. In 1969 he was cast as a lead character in the night time soap opera Bracken's World. The series lasted a season and a half. Haskell made his movie debut in Passages from James Joyce's Finnegan's Wake in 1966.
Throughout the Seventies Peter Haskell guest starred on such shows as McCloud, Mary Tyler Moore, Longstreet, Mission: Impossible, Mannix, Cannon, and Barnaby Jones. He appeared in the film Christina in 1974. In the Eighties he guest starred on Vega$, The A-Team, Too Close for Comfort, Hunter, the revival of Alfred Hitchock Presents, and Murder, She Wrote. From 1982 to 1983 he was a regular on Ryan's Hope. It was during this period that he attended the New York Law School. He also appeared in the film Child's Play 2.
The Nineties saw Peter Haskell guest star on Matlock, Diagnosis Murder, and Frasier. He also appeared in the films Child's Play 3 and Robot Wars. In the Naughts he guest starred on JAG, The Closer, and ER (his last appearance on screen).
Saturday, April 24, 2010
American Anime Pioneer Carl Macek R.I.P.
Carl Macek, the man who produced Robotech and later as part of Streamline Productions brought such anime as Lensmen, Wicked City, and the original, dubbed version of Akira to America, passed on April 17 at the age of 58. The cause was a heart attack.
Carl Macek was born on October 12, 1951 in Pittsburgh, Pennsylvania. He attended California State University at Fullerton, the University of California at Irvine, and Chapman College in Orange California. While at California State University in Fullerton he served as a librarian, which would lead him to a career as a writer in the field of pop culture. He wrote several articles and he was co-editor of McGill’s Survey of the Cinema and in 1979 Film Noir—An Encyclopedic Reference to the American Style. It was in 1979 that he first worked with anime, as a producer on the American version of Rupan sensei: Kariosutoro no shiro (Lupin the Third The Castle of Cagliostro). In 1983 he served as a producer on the English version of Golgo 13. He was also a publicist for The Creature Wasn't Nice.
It was in 1985 that Carl Macek served as a producer, story editor, and writer on the series Robotech. Robotech took material from three distinct, unrelated, Japanese animated series (Chōjikū Yōsai Makurosu "Super Dimension Fortress Macross," Chōjikū Kidan Sazan "Super Dimension Cavalry Southern Cross," and Kikō Sōseiki Mosupīda, "Genesis Climber MOSPEADA") and blended them into a continuous storyline that spanned three generations. The series was produced by Harmony Gold in conjunction with Tatsunoko Production. At the time Harmony Gold's reasoning for combining the three different series was that it was necessary to create the number of episodes for the series to be shown daily in American syndication. Regardless, the series proved popular, resulting in several failed attempts at sequel series and movies.
In 1988 Carl Macek was a writer on the American animated series C.O.P.S. It was that same year that he co-founded Streamline Pictures with Jerry Beck. Over the years Streamline Pictures would release dubbed versions of such anime as Vampire Hunter D, Robotto Kãnibaru (Robot Carnival), Yōjū Toshi (Wicked City), Kuraingu Furiiman (Crying Freeman), and the original dubbed version of Akira. Streamline Pictures lasted until 2002.
Carl Macek also adapted Casshan to English and wrote the screenplays for Heavy Metal 2000 and Lady Death. He also wrote the book The Art of Heavy Metal (published in 1981) and the novel War Eagles, based on an idea for a movie by Merian C. Cooper of King Kong fame.
Over the years Carl Macek has had his share of detractors. Although popular, Robotech was controversial among anime fans for taking three different Japanese series and combining into one. As part of Streamline Pictures, Macek met with controversy again as Streamline only released anime dubbed in English rather than in the original Japanese with subtitles. Indeed, I must confess that I prefer to watch anime with subtitles over anime that has been dubbed. And while I was a Robotech fan in its day, part of me wonders how well known Macross might be in the United States now if it had only been released in something close to its original form.
That having been said, while I can see the points of Macek's detractors, I think they ignore the fact that over all Carl Macek did an enormous service to anime fans in the United States. After the first wave of anime series (Astro Boy, Kimba the White Lion, Speed Racer) in the Sixties ended, very little in the way of anime was to be seen in the United States throughout the Seventies and into the early Eighties. What few anime series did air in the United States during that time were hardly successful, not to mention few and far between. This changed in the mid-Eighties when Voltron (another American series created out of two different anime shows) debuted in 1984 and Robotech followed it a few months later. While Voltron attained some level of popular, it would be Robotech that would put anime back on the map in the United States. It became the most successful anime series since Speed Racer.
As part of Streamline Pictures, Carl Macek also did a great service for anime fans. Streamline Pictures was one of the first companies to bring anime movies to the United States, even if they were dubbed. It opened the way for other companies which would import anime to the United States, many of which was not dubbed (or at least was available in both dubbed and subtitled versions). To a large degree Streamline Pictures was responsible for the acceptance anime would finally find in the American mainstream. In many respects, if it had not been for Carl Macek, Spirited Away might not have won the 2002 Oscar for Best Animated Movie and Howl's Moving Castle might not have been nominated for the 2005 Oscar. Quite simply, Carl Macek paved the way for anime's general acceptance among American audiences. And for anime fans, that can only be a good thing.
Carl Macek was born on October 12, 1951 in Pittsburgh, Pennsylvania. He attended California State University at Fullerton, the University of California at Irvine, and Chapman College in Orange California. While at California State University in Fullerton he served as a librarian, which would lead him to a career as a writer in the field of pop culture. He wrote several articles and he was co-editor of McGill’s Survey of the Cinema and in 1979 Film Noir—An Encyclopedic Reference to the American Style. It was in 1979 that he first worked with anime, as a producer on the American version of Rupan sensei: Kariosutoro no shiro (Lupin the Third The Castle of Cagliostro). In 1983 he served as a producer on the English version of Golgo 13. He was also a publicist for The Creature Wasn't Nice.
It was in 1985 that Carl Macek served as a producer, story editor, and writer on the series Robotech. Robotech took material from three distinct, unrelated, Japanese animated series (Chōjikū Yōsai Makurosu "Super Dimension Fortress Macross," Chōjikū Kidan Sazan "Super Dimension Cavalry Southern Cross," and Kikō Sōseiki Mosupīda, "Genesis Climber MOSPEADA") and blended them into a continuous storyline that spanned three generations. The series was produced by Harmony Gold in conjunction with Tatsunoko Production. At the time Harmony Gold's reasoning for combining the three different series was that it was necessary to create the number of episodes for the series to be shown daily in American syndication. Regardless, the series proved popular, resulting in several failed attempts at sequel series and movies.
In 1988 Carl Macek was a writer on the American animated series C.O.P.S. It was that same year that he co-founded Streamline Pictures with Jerry Beck. Over the years Streamline Pictures would release dubbed versions of such anime as Vampire Hunter D, Robotto Kãnibaru (Robot Carnival), Yōjū Toshi (Wicked City), Kuraingu Furiiman (Crying Freeman), and the original dubbed version of Akira. Streamline Pictures lasted until 2002.
Carl Macek also adapted Casshan to English and wrote the screenplays for Heavy Metal 2000 and Lady Death. He also wrote the book The Art of Heavy Metal (published in 1981) and the novel War Eagles, based on an idea for a movie by Merian C. Cooper of King Kong fame.
Over the years Carl Macek has had his share of detractors. Although popular, Robotech was controversial among anime fans for taking three different Japanese series and combining into one. As part of Streamline Pictures, Macek met with controversy again as Streamline only released anime dubbed in English rather than in the original Japanese with subtitles. Indeed, I must confess that I prefer to watch anime with subtitles over anime that has been dubbed. And while I was a Robotech fan in its day, part of me wonders how well known Macross might be in the United States now if it had only been released in something close to its original form.
That having been said, while I can see the points of Macek's detractors, I think they ignore the fact that over all Carl Macek did an enormous service to anime fans in the United States. After the first wave of anime series (Astro Boy, Kimba the White Lion, Speed Racer) in the Sixties ended, very little in the way of anime was to be seen in the United States throughout the Seventies and into the early Eighties. What few anime series did air in the United States during that time were hardly successful, not to mention few and far between. This changed in the mid-Eighties when Voltron (another American series created out of two different anime shows) debuted in 1984 and Robotech followed it a few months later. While Voltron attained some level of popular, it would be Robotech that would put anime back on the map in the United States. It became the most successful anime series since Speed Racer.
As part of Streamline Pictures, Carl Macek also did a great service for anime fans. Streamline Pictures was one of the first companies to bring anime movies to the United States, even if they were dubbed. It opened the way for other companies which would import anime to the United States, many of which was not dubbed (or at least was available in both dubbed and subtitled versions). To a large degree Streamline Pictures was responsible for the acceptance anime would finally find in the American mainstream. In many respects, if it had not been for Carl Macek, Spirited Away might not have won the 2002 Oscar for Best Animated Movie and Howl's Moving Castle might not have been nominated for the 2005 Oscar. Quite simply, Carl Macek paved the way for anime's general acceptance among American audiences. And for anime fans, that can only be a good thing.
Friday, April 23, 2010
The Late, Great Peter Steele
(WARNING If you are a bit uncomfortable with content that is rated at least PG-13, you might want to pass this blog entry by....)
Peter Steele, the leader, lead vocalist, bassist, and lead songwriter of the Gothic metal band Type O Negative, passed on Wednesday, April 14, 2010. The cause was heart failure. He was 48 years old.
Peter Steele was born Petrus T. Ratajczyk in Brooklyn on January 4, 1962. Prior to forming Type O Negative, Mr. Steele was employed by the New York City Parks Department. In 1979 he became a founding member of the heavy metal band Fallout alongside future Type O Negative member Josh Silver. Fallout only released one single ("Rock Hard/Batteries Not Included"). Fallout evolved into the heavy metal band Carnivore, which consisted of Mr. Steele on bass guitar and vocals, Louie Beato on drums, and Keith Alexander on lead guitar. Carnivore released two albums before breaking up in 1987.
It was not long after the break up of Carnivore that Peter Steele formed a band with drummer Sal Abruscato, keyboardist Josh Silver, and guitarist Kenny Hickey. Initially calling themselves "Repulsion," they renamed themselves "Subzero." After realising that name was taken, they renamed themselves "Type O Negative." As Type O Negative they released a demo, which came to the attention of Road Racer Records (now Roadrunner Records), who signed them. In 1991 they released their debut album, Slow Deep and Hard. That first album blended elements of thrash metal, industrial music, and New Wave with Gothic themes. For their second album Roadrunner Records insisted that Type O Negative fulfil a contractual obligation to record a live album. Instead the band simply re-recorded Slow Deep and Hard, along with covers of Jii Hendrix's "Hey, Joe (redone as "Hey, Pete)" and Black Sabbath's "Paranoid," and dubbed in crowd noises, even going so far as to create a fake fight with the non-existent audience. While Roadrunner was not happy with Type O Negative's joke, they released the fake live album, entitled The Origin of the Faeces, in 1992 anyway.
It would be with Type O Negative's second original album that the band finally achieved success. Bloody Kisses featured the cult songs "Christian Woman," which dealt with sexuality and religion, and "Black No. 1 (Little Miss Scare-All), which parodied Goth stereotypes. Another well known cut from Bloody Kisses was a Gothic metal rendition of Seals and Croft's "Summer Breeze." The album was the first in which Type O Negative really came into their own, characterised as it was by Gothic imagery and rather dry, but very black humour. It became Roadrunner's first album to go gold and then its first to go platinum. On the heels of the success of Bloody Kisses, Mr. Steele posed for Playgirl, a decision he later regretted.
Bloody Kisses was followed by October Rust in 1996. The album featured Type O Negative's Gothic remake of Neil Young's "Cinnamon Girl," as well as the cult songs "My Girlfriend's Girlfriend," "Love You To Death" and "Green Man." The album did not do as well as its predecessor, peaking at #42 on the Billboard albums chart, but went gold. It was also around this time that Type O Negative became involved in a bit of controversy, after Mr. Steele confessed on The Howard Stern Show to having murder-suicide fantasies and even admiring Kurt Cobain for having taken his own life. It was in the wake of the release of October Rust that several of Peter Steele's family members died. In his grief he began drinking heavily. The result of this was the album World Coming Down, an album which dealt with death, addiction, and self loathing. Strangely enough, the album ended with a medley of The Beatles songs "Day Tripper," "If I Needed You," and "I Want You (She's So Heavy)." In 2000 a "greatest hits" album was released, entitled The Least Worst of Type O Negative.
It was in 2003 that Life is Killing Me was released. The album was much lighter than World Coming Down, even featuring music from the TV show The Munsters and a cover of "Angry Inch" from the musical Hedwig and the Angry Inch, as well as the humorous "I Like Goils." The songs on the album were also much shorter, "...A Dish Best Served Coldly" being the longest, clocking in at seven minutes and two seconds. It was following the release of Life is Killing Me that Peter Steele served a short time in prison for possession of narcotics. Afterwards he went into drug rehabilitation. It was at this time that Roadrunner Records released The Best of Type O Negative in 2006 without the band's permission. Unhappy that the label would released a compilation album without their permission and receiving a better offer from SPV Records, Type O Negative left Roadrunner for SPV.
It was in 2007 that the band released Dead Again, their final album. The album featured the epic ballad of lost love "September Sun," the comedic "Halloween in Heaven," and the Black Sabbath influenced title track. The album did very well , reaching #27 on the Billboard album chart.
Peter Steele was also a guest on The Jerry Springer Show. At the time of his death he had reportedly been sober for years. After being a self confessed atheist for many years, he confessed to being drawn to Roman Catholicism.
There can be no doubt that Peter Steele had more than his fair share of problems. He coped with alcoholism and other addictions, and even suffered from clinical depression at one point. When it came to Gothic metal, however, he was a true artist. He composed some of the most powerful songs in the genre, many of which are now considered classics. His songs could often be very, very dark, but at the same time tinged with a wry sense of humour. His lyrics were emotional, intelligent, and at times even poetic. If Type O Negative became the foremost band, short of Sisters of Mercy, in the Goth genre, it is largely because of Mr. Steele's talent as a composer.
Peter Steele, the leader, lead vocalist, bassist, and lead songwriter of the Gothic metal band Type O Negative, passed on Wednesday, April 14, 2010. The cause was heart failure. He was 48 years old.Peter Steele was born Petrus T. Ratajczyk in Brooklyn on January 4, 1962. Prior to forming Type O Negative, Mr. Steele was employed by the New York City Parks Department. In 1979 he became a founding member of the heavy metal band Fallout alongside future Type O Negative member Josh Silver. Fallout only released one single ("Rock Hard/Batteries Not Included"). Fallout evolved into the heavy metal band Carnivore, which consisted of Mr. Steele on bass guitar and vocals, Louie Beato on drums, and Keith Alexander on lead guitar. Carnivore released two albums before breaking up in 1987.
It was not long after the break up of Carnivore that Peter Steele formed a band with drummer Sal Abruscato, keyboardist Josh Silver, and guitarist Kenny Hickey. Initially calling themselves "Repulsion," they renamed themselves "Subzero." After realising that name was taken, they renamed themselves "Type O Negative." As Type O Negative they released a demo, which came to the attention of Road Racer Records (now Roadrunner Records), who signed them. In 1991 they released their debut album, Slow Deep and Hard. That first album blended elements of thrash metal, industrial music, and New Wave with Gothic themes. For their second album Roadrunner Records insisted that Type O Negative fulfil a contractual obligation to record a live album. Instead the band simply re-recorded Slow Deep and Hard, along with covers of Jii Hendrix's "Hey, Joe (redone as "Hey, Pete)" and Black Sabbath's "Paranoid," and dubbed in crowd noises, even going so far as to create a fake fight with the non-existent audience. While Roadrunner was not happy with Type O Negative's joke, they released the fake live album, entitled The Origin of the Faeces, in 1992 anyway.
It would be with Type O Negative's second original album that the band finally achieved success. Bloody Kisses featured the cult songs "Christian Woman," which dealt with sexuality and religion, and "Black No. 1 (Little Miss Scare-All), which parodied Goth stereotypes. Another well known cut from Bloody Kisses was a Gothic metal rendition of Seals and Croft's "Summer Breeze." The album was the first in which Type O Negative really came into their own, characterised as it was by Gothic imagery and rather dry, but very black humour. It became Roadrunner's first album to go gold and then its first to go platinum. On the heels of the success of Bloody Kisses, Mr. Steele posed for Playgirl, a decision he later regretted.
Bloody Kisses was followed by October Rust in 1996. The album featured Type O Negative's Gothic remake of Neil Young's "Cinnamon Girl," as well as the cult songs "My Girlfriend's Girlfriend," "Love You To Death" and "Green Man." The album did not do as well as its predecessor, peaking at #42 on the Billboard albums chart, but went gold. It was also around this time that Type O Negative became involved in a bit of controversy, after Mr. Steele confessed on The Howard Stern Show to having murder-suicide fantasies and even admiring Kurt Cobain for having taken his own life. It was in the wake of the release of October Rust that several of Peter Steele's family members died. In his grief he began drinking heavily. The result of this was the album World Coming Down, an album which dealt with death, addiction, and self loathing. Strangely enough, the album ended with a medley of The Beatles songs "Day Tripper," "If I Needed You," and "I Want You (She's So Heavy)." In 2000 a "greatest hits" album was released, entitled The Least Worst of Type O Negative.
It was in 2003 that Life is Killing Me was released. The album was much lighter than World Coming Down, even featuring music from the TV show The Munsters and a cover of "Angry Inch" from the musical Hedwig and the Angry Inch, as well as the humorous "I Like Goils." The songs on the album were also much shorter, "...A Dish Best Served Coldly" being the longest, clocking in at seven minutes and two seconds. It was following the release of Life is Killing Me that Peter Steele served a short time in prison for possession of narcotics. Afterwards he went into drug rehabilitation. It was at this time that Roadrunner Records released The Best of Type O Negative in 2006 without the band's permission. Unhappy that the label would released a compilation album without their permission and receiving a better offer from SPV Records, Type O Negative left Roadrunner for SPV.
It was in 2007 that the band released Dead Again, their final album. The album featured the epic ballad of lost love "September Sun," the comedic "Halloween in Heaven," and the Black Sabbath influenced title track. The album did very well , reaching #27 on the Billboard album chart.
Peter Steele was also a guest on The Jerry Springer Show. At the time of his death he had reportedly been sober for years. After being a self confessed atheist for many years, he confessed to being drawn to Roman Catholicism.
There can be no doubt that Peter Steele had more than his fair share of problems. He coped with alcoholism and other addictions, and even suffered from clinical depression at one point. When it came to Gothic metal, however, he was a true artist. He composed some of the most powerful songs in the genre, many of which are now considered classics. His songs could often be very, very dark, but at the same time tinged with a wry sense of humour. His lyrics were emotional, intelligent, and at times even poetic. If Type O Negative became the foremost band, short of Sisters of Mercy, in the Goth genre, it is largely because of Mr. Steele's talent as a composer.
Thursday, April 22, 2010
Actor James Aubrey R.I.P.
Actor James Aubrey, who played Ralph in Lord of the Flies (the one boy who maintains his wits while the others descended into savagery) passed on 8 April at the age of 62. The cause was pancreatitus.
James Aubrey was born James Aubrey Tregido in Klagenfurt, Austria on 28 August, 1947. His father was a career military man serving with the British army in Austria at the time. The family going wherever his father was assigned, Aubrey was educated in Jamaica, Germany, and Singapore. He was in Jamaica when director Peter Brook found him at a swimming pool and cast him as the lead in the movie Lord of the Flies. The movie was shot during the summer of 1961 and took a year to edit, being released in 1963. In that time he had appeared in the play Isle of Children at the Wilmington Playhouse. He would make his only appearance on Broadway in the play, reprising the role he originally played.
Aubrey trained at the Drama Centre in London. Afterwards he was a regular on the British stage. He played at the Citizens Theatre in Glasgow, the Royal Court Theatre, the Birmingham Repertory Theatre, the Comedy Theatre, and the Old Vic. He toured with the the Cambridge Theatre Company and performed with the Royal Shakespeare Company.
Beginning in the Seventies, Aubrey regularly appeared on television. His TV debut was a guest appearance on Z Cars in 1974. He was a regular on the series Bouquet of Barbed Wire and its sequel Another Bouquet. He guest starred on the series Return of the Saint, Murder, The Sweeney, and Minder. He appeared in the films Galileo, Home Before Midnight, and The Great Rock 'n' Roll Swindle. In the Eighties he was a regular on Emmerdale Farm. He appeared in such series as Tales of the Unexpected, The Last Place on Earth, and Lovejoy. He appeared in the films The Hunger, The American Way, Cry Freedom, and The Rift. From the Nineties into the Naughts he appeared in such shows as Inspector Morse, Causality, The Apocalpyse Watch, The Bill, Doctors, and Brief Encounters. He appeared in such films as Buddy's Song and Spy Game.
James Aubrey was born James Aubrey Tregido in Klagenfurt, Austria on 28 August, 1947. His father was a career military man serving with the British army in Austria at the time. The family going wherever his father was assigned, Aubrey was educated in Jamaica, Germany, and Singapore. He was in Jamaica when director Peter Brook found him at a swimming pool and cast him as the lead in the movie Lord of the Flies. The movie was shot during the summer of 1961 and took a year to edit, being released in 1963. In that time he had appeared in the play Isle of Children at the Wilmington Playhouse. He would make his only appearance on Broadway in the play, reprising the role he originally played.
Aubrey trained at the Drama Centre in London. Afterwards he was a regular on the British stage. He played at the Citizens Theatre in Glasgow, the Royal Court Theatre, the Birmingham Repertory Theatre, the Comedy Theatre, and the Old Vic. He toured with the the Cambridge Theatre Company and performed with the Royal Shakespeare Company.
Beginning in the Seventies, Aubrey regularly appeared on television. His TV debut was a guest appearance on Z Cars in 1974. He was a regular on the series Bouquet of Barbed Wire and its sequel Another Bouquet. He guest starred on the series Return of the Saint, Murder, The Sweeney, and Minder. He appeared in the films Galileo, Home Before Midnight, and The Great Rock 'n' Roll Swindle. In the Eighties he was a regular on Emmerdale Farm. He appeared in such series as Tales of the Unexpected, The Last Place on Earth, and Lovejoy. He appeared in the films The Hunger, The American Way, Cry Freedom, and The Rift. From the Nineties into the Naughts he appeared in such shows as Inspector Morse, Causality, The Apocalpyse Watch, The Bill, Doctors, and Brief Encounters. He appeared in such films as Buddy's Song and Spy Game.
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