This weekend has been a busy one for me, so rather than making a long entry, I thought I would post one of my favourite poems by one of my faovurite poets. Edward Arlington Robinson was a late 19th century/early 20th century poet, born in Maine. His style was very traditional and owes a lot to both William Shakespeare and Ben Johnson. While his style was traditional, however, his subject matter was very untraditional. Many of his poems took the form of short, often tragic character sketches of the sort of people he might encounter in his native New England. "Miniver Cheevy" is one of those character sketches, a poem about a man who feels he was born in the wrong time. I am sure many have had this feeling at one time or another, but very few have probably taken it to the extremes that Miniver does in the poem.
"Miniver Cheevy"
by Edwin Arlington Robinson
Miniver Cheevy, child of scorn,
Grew lean while he assailed the seasons;
He wept that he was ever born,
And he had reasons.
Miniver loved the the days of old
When swords were bright and steeds were prancing;
The vision of a warrior bold
Would set him dancing.
Miniver sighed for what was not,
And dreamed, and rested from his labors;
He dreamed of Thebes and Camelot,
And Priam's neighbors.
Miniver mourned the ripe renown
That made so many a name so fragrant;
He mourned Romance, now on the town,
And Art, a vagrant.
Miniver loved the Medici,
Albeit he had never seen one;
He would have sinned incessantly
Could he have been one.
Miniver cursed the commonplace
And eyed a khaki suit with loathing;
He missed the mediaeval grace
Of iron clothing.
Miniver scorned the gold he sought,
But sore annoyed was he without it;
Miniver thought, and thought, and thought,
And thought about it.
Miniver Cheevy, born too late,
Scratched his head and kept on thinking;
Miniver coughed, and called it fate,
And kept on drinking.
Saturday, June 10, 2006
Friday, June 9, 2006
A Few Passings
It is often said that celebrities die in threes. I am not sure that is true, but they certainly do seem to die in bunchs at times. Lately, there have been a few celebrity deaths of note. I thought I would cover them all in one post.
Among those deaths was special effects innovator Arthur Widmer. Widmer died of cancer at age 92. Widmer was born in Washington, D.C., and attended the University of Michigan. He worked for Kodak's research labs and later Clinton Laboratories (later to become the Oak Ridge National Laboratory).
At Kodak Widmer worked on colour photography, including Kodachrome. Following World War II, Kodak sent Widmer to Hollywood. There he was part of introducing Kodak Color Negative and Color Positive to the movie studios. He was at Warner Brothers when he developed the Ultra Violet Travelling Matte, an early version of what we now call "bluescreen." Quite simply, bluescreen involved the process of shooting actors against a monochromatic background (usually the colour blue, hence the name) in order to replace the background with another background or scene. Widmer was also pivotal in developing such technologies for film as 3-D and wide screen. For his contributions to the movie industry, Widmer received an Acadmey Award of Commendation for his development of the Ultra Violet Travelling Matte.
Another celebrity to die of late was comic book and animated cartoon artist Alex Toth. Toth died at age 77 in Burbank, California. He was born on June 25, 1928. At age 15 Toth started his career in illustrating comic books. He was first hired by illustrator and editor Steve Douglas to work on Famous Funnies. He would later be hired by legendary editor Sheldon Mayer to work on various titles at All-American Comics. After All-American merged with National Periodical Publications (better known, and now officially known, as DC Comics), he would continue to work with Mayer. At All-American and National, Toth worked on such titles as All-Star Comics (featuring the Justice Society of America) and Green Lantern. After a stint in the military Toth would work for Dell Comics.
While Toth worked extensively in comic books, he is perhaps best known for his work with Hanna-Barbera. He joined the animation studio in 1965. There he developed such characters as Space Ghost, the Herculoids, and Birdman. He would also work on such cartoons as Josie and the Pussycats and Superfriends. Toth's Hanna-Barbera characters, such as Space Ghost, entered American pop culture and would prove to be an influence on future comic book artists and writers (Mike Baron and Steve Rude credit Space Ghost as the inspiration for their comic book character Nexus). Following his work for Hanna-Barbera, Toth went back to work in comic books, working for such companies as DC, Dell, and Warren.
I was always a fan of Alex Toth. Although his work was often simple and uncomplicated, it was also realistic. With a few simple strokes, Toth could endow any given scene with a sense of immediacy and realism that many artists with more complex styles could not. Fittingly, Toth died at his drawing table.
The third celebrity to die of late was keyboardist Billy Preston. Preston died June 6 at age 59 after a long battle with chronic kidney disease. Preston was born in Houston, Texas, although he grew up in Los Angeles, California. He started playing piano when he was only three years of age. His first work was with the likes of Little Richard and Ray Charles. Perhaps his greatest claim to fame was his work with The Beatles. Appearing on The Beatles albums Let It Be and Abbey Road, he was the first non-Beatle to receive a credit on a Beatle record. For this reason he was sometimes called "the Fifth Beatle." Preston would work again with George Harrison on the song "My Sweet Lord."
Preston would go onto work with such artists as The Rolling Stones, Sly and the Family Stone, and the Red Hot Chili Peppers. He would also have a successful solo career of his own. Preston's first two singles went nowhere on the Billboard charts, but he had a hit and a Grammy win with his third single, "Outta Space." He would have two number one singles with "Will It Go Round in Circles" and "Nothing From Nothing."
In my humble opinion, Preston was one of the greatest keyboardists of the Sixties and Seventies. His work with The Beatles was impeccable. Indeed, I don't think any of The Beatles could have done better than him when it came to playing keyboards. I also enjoyed his some of his solo work, particularly "Will It Go Round in Circles." I am truly saddened by his passing.
Among those deaths was special effects innovator Arthur Widmer. Widmer died of cancer at age 92. Widmer was born in Washington, D.C., and attended the University of Michigan. He worked for Kodak's research labs and later Clinton Laboratories (later to become the Oak Ridge National Laboratory).
At Kodak Widmer worked on colour photography, including Kodachrome. Following World War II, Kodak sent Widmer to Hollywood. There he was part of introducing Kodak Color Negative and Color Positive to the movie studios. He was at Warner Brothers when he developed the Ultra Violet Travelling Matte, an early version of what we now call "bluescreen." Quite simply, bluescreen involved the process of shooting actors against a monochromatic background (usually the colour blue, hence the name) in order to replace the background with another background or scene. Widmer was also pivotal in developing such technologies for film as 3-D and wide screen. For his contributions to the movie industry, Widmer received an Acadmey Award of Commendation for his development of the Ultra Violet Travelling Matte.
Another celebrity to die of late was comic book and animated cartoon artist Alex Toth. Toth died at age 77 in Burbank, California. He was born on June 25, 1928. At age 15 Toth started his career in illustrating comic books. He was first hired by illustrator and editor Steve Douglas to work on Famous Funnies. He would later be hired by legendary editor Sheldon Mayer to work on various titles at All-American Comics. After All-American merged with National Periodical Publications (better known, and now officially known, as DC Comics), he would continue to work with Mayer. At All-American and National, Toth worked on such titles as All-Star Comics (featuring the Justice Society of America) and Green Lantern. After a stint in the military Toth would work for Dell Comics.
While Toth worked extensively in comic books, he is perhaps best known for his work with Hanna-Barbera. He joined the animation studio in 1965. There he developed such characters as Space Ghost, the Herculoids, and Birdman. He would also work on such cartoons as Josie and the Pussycats and Superfriends. Toth's Hanna-Barbera characters, such as Space Ghost, entered American pop culture and would prove to be an influence on future comic book artists and writers (Mike Baron and Steve Rude credit Space Ghost as the inspiration for their comic book character Nexus). Following his work for Hanna-Barbera, Toth went back to work in comic books, working for such companies as DC, Dell, and Warren.
I was always a fan of Alex Toth. Although his work was often simple and uncomplicated, it was also realistic. With a few simple strokes, Toth could endow any given scene with a sense of immediacy and realism that many artists with more complex styles could not. Fittingly, Toth died at his drawing table.
The third celebrity to die of late was keyboardist Billy Preston. Preston died June 6 at age 59 after a long battle with chronic kidney disease. Preston was born in Houston, Texas, although he grew up in Los Angeles, California. He started playing piano when he was only three years of age. His first work was with the likes of Little Richard and Ray Charles. Perhaps his greatest claim to fame was his work with The Beatles. Appearing on The Beatles albums Let It Be and Abbey Road, he was the first non-Beatle to receive a credit on a Beatle record. For this reason he was sometimes called "the Fifth Beatle." Preston would work again with George Harrison on the song "My Sweet Lord."
Preston would go onto work with such artists as The Rolling Stones, Sly and the Family Stone, and the Red Hot Chili Peppers. He would also have a successful solo career of his own. Preston's first two singles went nowhere on the Billboard charts, but he had a hit and a Grammy win with his third single, "Outta Space." He would have two number one singles with "Will It Go Round in Circles" and "Nothing From Nothing."
In my humble opinion, Preston was one of the greatest keyboardists of the Sixties and Seventies. His work with The Beatles was impeccable. Indeed, I don't think any of The Beatles could have done better than him when it came to playing keyboards. I also enjoyed his some of his solo work, particularly "Will It Go Round in Circles." I am truly saddened by his passing.
Thursday, June 8, 2006
Two Hangmen
Among my favourite songs is "Two Hangmen," a song released by the band Mason Proffit in 1969. The late Fifties had seen folk music soar in popularity with the emergence of the Kingston Trio and such artists as Bob Dylan. By the mid-Sixties many artists, such as The Byrds and Simon & Garfunkel, had blended folk music with rock music to create the subgenre known as folk rock. Mason Profitt fell into this category. The band was formed by brothers Terry and John Talbot. Terry Talbot had performed with such artists as Glen Campbell, Sonny & Cher, and Chad Mitchell.
Mason Proffit developed a bit of a following, with successful tours and soldout concerts. They opened for The Grateful Dead and Janis Joplin, among others. From 1969 to 1974 they released five albums. Depsite this, they were never a huge success commercially. In 1974 the band disbanded so that John Talbot could engage in religious pursuits. His brother Terry continued to perform, even touring with The Eagles. The band was reformed in 2003 by Terry Talbot. While John's religious obligations keep him from touring with the band, he does still record with them. The band has released two albums since reforming.
"Two Hangmen" was perhaps their biggest hit. To this day it still receives airplay on radio stations across the country. For me the appeal of the song is that it tells a story which can be interpreted on many levels. The lyrics are below:
As I rode into Tombstone on my horse whose name was Mac
I saw what I'll relate to you goin' on behind my back
It seems the folks were up in arms a man now had to die
For believin' things that didn't fit the laws they'd set aside
The man's name was I'm a freak the best that I could see
He was the executioner a hangman just like me
I guess that he'd seen loopholes from workin' with his rope
He'd hung the wrong man many times so now he turned to hope
He'd talk to all the people from his scaffold in the square
He told them of the things he found;
But they didn't seem to care
He said the laws were obsolete, a change they should demand
But the people only walked away, he couldn't understand
The Marshall's name was Uncle Sam he said he'd right this wrong
He'd make the hangman shut his mouth if it took him all year long
He finally arrested Freak and then he sent for me
To hang a fellow hangman from a fellow hangman's tree
It didn't take them long to try him in their court of law
He was guilty then of thinking a crime much worse than all
They sentenced him to die so his seed of thought can't spread
And infect the little children; that's what the law had said
So the hangin' day came 'round and he walked up to the noose
I pulled the lever but before he fell I cut him loose
They called it all conspiracy and that I had to die
So to close our mouths and kill our minds they hung us side by side
And now we're two hangmen hangin' from a tree
That don't bother me at all
Two hangmen hangin' from a tree
That don't bother me at all
At its most basic level, "Two Hangmen" is a protest song. The song is ostenisbly set in the Old West. The narrator rides into town on a horse. There is a reference to Tombstone (presumably, Tombstone, Arizona, where the gunfight at the O.K. Corral took place). There is also a reference to a marshall (the profession commonly held by heroes in Westerns). Despite this, the lyrics would seem to be directed against the Vietnam War and perhaps other percieved injustices of the time. Freak speaks from his gallows, telling the folks of the injustices that he has seen. Sadly for Freak, the people do not wish to listen. This reflects the situtation as percieved by many protesters in the late Sixties. For all their protests, many of them could not help but feel that the general populace did not want to hear what they had to say. Furthermore, many felt as if they were being condemned for their views; not condemned to death, as Freak was, but condemned nonetheless.
One thing I find signficant about "Two Hangmen" is that the protagonists are both hangmen. Hanging was the traditional method of executing criminals going back to the times of the Anglo-Saxon kings. In Anglo-Saxon paganism it may well have been associated with the god Woden, who was known to the Vikings as Odhinn, whom the Vikings did associate with hanging. According to myth Odhinn hanged on the World Tree and obtained knowledge of the runes. He was further said to sit beneath the gallows to get knowledge from hanged men. As Odhinn was the god of wisdom and was associated with hanging, it is perhaps signficant that Freak's crime was "thinking" and that he was condemned to death so that he would not spread his thoughts. The song would then seem to be rooted in views possibly held by the ancient Germanic peoples (to which both the Anglo-Saxon peoples and Vikings belonged) on a link between arcane knowledge and hanging.
The link between hanging and knowledge doesn't seem to have been limited to the ancient Germanic peoples. While interpretations of Tarot cards vary greatly, I seem to recall that many associated the Tarot card called the Hanged Man with the pursuit of knowledge. The poet Maurice Ogden also associated hangmen with mysterious knowledge, as well as dealing out justice, in his poem "The Hangman."
Regardless, the general theme of "Two Hangmen" would seem to be that many people consider knowledge to be dangerous and are willing to silence those who possess such knowledge. At the same time, however, given that the two hangmen die for their beliefs, it is a statement on the importance of remaining faithful to one's beliefs regardless of the costs. In this respect, the meaning of "Two Hangmen" goes well beyond that of the typical Vietnam War protest song. It is a song about the importance of belief that can have meaning for nearly anyone of any faith or creed. While I can see that the song links to myths and folklore, its most important message is one that is ageless and universal.
On their latest album, Mason Proffit has a remake of "Two Hangmen." It is good, as might be expected, but it doesn't nearly match the original.
Mason Proffit developed a bit of a following, with successful tours and soldout concerts. They opened for The Grateful Dead and Janis Joplin, among others. From 1969 to 1974 they released five albums. Depsite this, they were never a huge success commercially. In 1974 the band disbanded so that John Talbot could engage in religious pursuits. His brother Terry continued to perform, even touring with The Eagles. The band was reformed in 2003 by Terry Talbot. While John's religious obligations keep him from touring with the band, he does still record with them. The band has released two albums since reforming.
"Two Hangmen" was perhaps their biggest hit. To this day it still receives airplay on radio stations across the country. For me the appeal of the song is that it tells a story which can be interpreted on many levels. The lyrics are below:
As I rode into Tombstone on my horse whose name was Mac
I saw what I'll relate to you goin' on behind my back
It seems the folks were up in arms a man now had to die
For believin' things that didn't fit the laws they'd set aside
The man's name was I'm a freak the best that I could see
He was the executioner a hangman just like me
I guess that he'd seen loopholes from workin' with his rope
He'd hung the wrong man many times so now he turned to hope
He'd talk to all the people from his scaffold in the square
He told them of the things he found;
But they didn't seem to care
He said the laws were obsolete, a change they should demand
But the people only walked away, he couldn't understand
The Marshall's name was Uncle Sam he said he'd right this wrong
He'd make the hangman shut his mouth if it took him all year long
He finally arrested Freak and then he sent for me
To hang a fellow hangman from a fellow hangman's tree
It didn't take them long to try him in their court of law
He was guilty then of thinking a crime much worse than all
They sentenced him to die so his seed of thought can't spread
And infect the little children; that's what the law had said
So the hangin' day came 'round and he walked up to the noose
I pulled the lever but before he fell I cut him loose
They called it all conspiracy and that I had to die
So to close our mouths and kill our minds they hung us side by side
And now we're two hangmen hangin' from a tree
That don't bother me at all
Two hangmen hangin' from a tree
That don't bother me at all
At its most basic level, "Two Hangmen" is a protest song. The song is ostenisbly set in the Old West. The narrator rides into town on a horse. There is a reference to Tombstone (presumably, Tombstone, Arizona, where the gunfight at the O.K. Corral took place). There is also a reference to a marshall (the profession commonly held by heroes in Westerns). Despite this, the lyrics would seem to be directed against the Vietnam War and perhaps other percieved injustices of the time. Freak speaks from his gallows, telling the folks of the injustices that he has seen. Sadly for Freak, the people do not wish to listen. This reflects the situtation as percieved by many protesters in the late Sixties. For all their protests, many of them could not help but feel that the general populace did not want to hear what they had to say. Furthermore, many felt as if they were being condemned for their views; not condemned to death, as Freak was, but condemned nonetheless.
One thing I find signficant about "Two Hangmen" is that the protagonists are both hangmen. Hanging was the traditional method of executing criminals going back to the times of the Anglo-Saxon kings. In Anglo-Saxon paganism it may well have been associated with the god Woden, who was known to the Vikings as Odhinn, whom the Vikings did associate with hanging. According to myth Odhinn hanged on the World Tree and obtained knowledge of the runes. He was further said to sit beneath the gallows to get knowledge from hanged men. As Odhinn was the god of wisdom and was associated with hanging, it is perhaps signficant that Freak's crime was "thinking" and that he was condemned to death so that he would not spread his thoughts. The song would then seem to be rooted in views possibly held by the ancient Germanic peoples (to which both the Anglo-Saxon peoples and Vikings belonged) on a link between arcane knowledge and hanging.
The link between hanging and knowledge doesn't seem to have been limited to the ancient Germanic peoples. While interpretations of Tarot cards vary greatly, I seem to recall that many associated the Tarot card called the Hanged Man with the pursuit of knowledge. The poet Maurice Ogden also associated hangmen with mysterious knowledge, as well as dealing out justice, in his poem "The Hangman."
Regardless, the general theme of "Two Hangmen" would seem to be that many people consider knowledge to be dangerous and are willing to silence those who possess such knowledge. At the same time, however, given that the two hangmen die for their beliefs, it is a statement on the importance of remaining faithful to one's beliefs regardless of the costs. In this respect, the meaning of "Two Hangmen" goes well beyond that of the typical Vietnam War protest song. It is a song about the importance of belief that can have meaning for nearly anyone of any faith or creed. While I can see that the song links to myths and folklore, its most important message is one that is ageless and universal.
On their latest album, Mason Proffit has a remake of "Two Hangmen." It is good, as might be expected, but it doesn't nearly match the original.
Sunday, June 4, 2006
A Shroud of Thoughts 2nd Anniversary
It was two years ago today that I first started writing this blog. A lot has happened since then. In fact, I think there may well have been more changes in my life in the past two years than in the four years before that. Some of it has been good. I have a decent job making decent money. I finally got a new PC after my old one was threatening to give up the ghost. For the most part my family is doing well. Of course, that is not to say that my life has not had its share of sorrows. Two of my aunts passed on (although it must be pointed out that one was in her eighties and the other was in her nineties). We've had our share of family crises. And one dream I'd held for a few years (the one closest to my heart, in fact) just came crashing down in flames. I haven't quite been happy ever since. Life, as ever, is a very mixed bag.
I suppose many of you might be wondering where the title of this blog comes from. I got it from Lord Byron's Childe Harold's Pilgrimage canto iii stanza 113, which is below:
I have not loved the world, nor the world me;
I have not flattered its rank breath, nor bow'd
To its idolatries a patient knee,
Nor coin'd my cheek to smiles, nor cried aloud
In worship of an echo; in the crowd
They could not deem me one of such; I stood
Among them, but not of them; in a shroud
Of thoughts which were not their thoughts, and still could,
Had I not filed my mind, which thus itself subdued.
As with last year, I thought I would give you a list of what I think are the best posts I have made over the past year. The exception is "The Blonde Mystique." I do think it is one of the best posts I've ever written, but technically it belongs to the first year of publishing A Shroud of Thoughts. That having been said, I made it right before the first anniversary of the blog and didn't include it in last year's "Greatest Hits" for that reason. Anyhow, here are the best posts of the past year (and one week, counting "The Blonde Mystique," I guess) in chronological order:
The Blonde Mystique
A Night at the Movies
Simon and Garfunkel
The Rise and Fall of the Independent Televison Station
Words From Pop Culture
Les Belles Dames Sans Merci: Elf Maidens and Men
From the Small Screen to the Big Screen
The Fleischer Superman Cartoons
Blondie Turns 75
Forty Years of The Wild Wild West
The Name Game
Dracula on Film
Roald Dahl's Critics
Macy's Thanksgiving Day Parade Balloons
Days in a Life: John Lennon Remembered
The Week of December 18, 2005 (one of my better weeks this past year)
The Nostalgia Wave of the Seventies
The Week of January 8, 2006 (another good week)
The History of Heavy Metal (all five parts and another entry thrown in for good measure)
Vikings on Film
Mary Ann Versus Ginger
The Week of February 26 ("The Dramatic Roles of Gene Kelly," "Great Expectations," and eulogies for three of my favourite actors)
The Music of the Monkees
Star Wars
The Harry Potter Movies
Kellogs' 100th Anniversary
Men and Musicals
And Now a Word From Our Sponsor...
Anyhow, I think I've done fairly well with this blog over the past year. I hope to do better in this next year. And I hope this coming year is even happier than the past one!
I suppose many of you might be wondering where the title of this blog comes from. I got it from Lord Byron's Childe Harold's Pilgrimage canto iii stanza 113, which is below:
I have not loved the world, nor the world me;
I have not flattered its rank breath, nor bow'd
To its idolatries a patient knee,
Nor coin'd my cheek to smiles, nor cried aloud
In worship of an echo; in the crowd
They could not deem me one of such; I stood
Among them, but not of them; in a shroud
Of thoughts which were not their thoughts, and still could,
Had I not filed my mind, which thus itself subdued.
As with last year, I thought I would give you a list of what I think are the best posts I have made over the past year. The exception is "The Blonde Mystique." I do think it is one of the best posts I've ever written, but technically it belongs to the first year of publishing A Shroud of Thoughts. That having been said, I made it right before the first anniversary of the blog and didn't include it in last year's "Greatest Hits" for that reason. Anyhow, here are the best posts of the past year (and one week, counting "The Blonde Mystique," I guess) in chronological order:
The Blonde Mystique
A Night at the Movies
Simon and Garfunkel
The Rise and Fall of the Independent Televison Station
Words From Pop Culture
Les Belles Dames Sans Merci: Elf Maidens and Men
From the Small Screen to the Big Screen
The Fleischer Superman Cartoons
Blondie Turns 75
Forty Years of The Wild Wild West
The Name Game
Dracula on Film
Roald Dahl's Critics
Macy's Thanksgiving Day Parade Balloons
Days in a Life: John Lennon Remembered
The Week of December 18, 2005 (one of my better weeks this past year)
The Nostalgia Wave of the Seventies
The Week of January 8, 2006 (another good week)
The History of Heavy Metal (all five parts and another entry thrown in for good measure)
Vikings on Film
Mary Ann Versus Ginger
The Week of February 26 ("The Dramatic Roles of Gene Kelly," "Great Expectations," and eulogies for three of my favourite actors)
The Music of the Monkees
Star Wars
The Harry Potter Movies
Kellogs' 100th Anniversary
Men and Musicals
And Now a Word From Our Sponsor...
Anyhow, I think I've done fairly well with this blog over the past year. I hope to do better in this next year. And I hope this coming year is even happier than the past one!
Saturday, June 3, 2006
The Greatest Superhero Movies of All Time (IMHO)
Although they have dominated comic books for over sixty years, there was a time when superheros had problems when it came to the movies. During the Golden Age of comic books (about 1939 to 1949), the only way in which a superhero could be seen on the big screen was in serials. And while some of the serials were quite well done (for instance, The Adventures of Captain Marvel), most were strictly kid's fare and some were downright atrocious (the two Batman serials are examples of these). I am not sure what the first superhero feature film was, but it may well have been Superman and the Mole Man, released in 1951. Superman and the Mole Men was the pilot for the classic Adventures of Superman TV series, released to theatres prior to the series' debut. Although it has the advantage of having George Reeves in the title role, the movie does not play nearly as well as the show did. Shot on the cheap, it is burdened with a script that simply cannot sustain itself for its 58 minutes length. Batman: the Movie, the 1966 feature film spun off from the TV series, was entertaining, but like the TV show it played the Caped Crusader for comedy.
It would not be until Superman (released in 1978), Superman II (released in 1980), and Batman (released in 1989) that superheroes really got their due on the big screen. Since then there have many superhero movies released and many of them are actually good. I thought it might be interesting to do a run down of what I consider to be the five best.
I. Batman Begins: If superhero movies have suffered one fatal flaw over the years, it is that they have tended to focus too much on the heroic alter ego than the secret identity they keep most of the time. This is not the case with Batman Begins. The movie actually explores the inner demons of Bruce Wayne which drive him to dress up like a bat and fight crime. With the exception of the Spider-Man films, no other superhero movie has spent as much time exploring the inner man as Batman Begins did. Fortunately, Batman Begins is not all character study, as it also features some of the best action scenes ever seen in a superhero movie.
II. Spider-Man 2: Like its predecessor (and Batman Begins, for that matter), Spider-Man II explores the inner demons of Peter Parker. Where Spider-Man II goes even further is that it features what may be the greatest portrayl of a supervillain on film. Played by Alfred Molina, Dr. Octopus is a complex, sophisticated character. Indeed, he becomes a supervillain not by choice, but by accident, making him an altogether tragic character. Between the potrayal of Peter Parker and the portrayal of Dr. Octopus, Spider-Man 2 is lifted above the average superhero film.
III. Spider-Man: Moreso than any superhero movie made before it, Spider-Man explored the man behind the mask. In fact, Spider-Man does not even appear for nearly forty minutes into the film! The movie is as much about the impact (both positive and negative) Peter Parker's super powers have on his life as it is about fighting the Green Goblin. In the end, Peter Parker as he is portrayed in Spider-Man is the most complex superhero to appear on screen until the release of Batman Begins. The movie only has two weaknesses, in my humble opinion. First, the Green Goblin is not nearly as well developed as he should be. The character lacks much of the depth that he had in the comic books. Second, why did they choose to use Mary Jane Watson instead of Gwen Stacy>?! To me this would be like doing a Superman movie where the love interest is Lana Lang rather than Lois Lane....
IV. X-2: X-Men United: Like the films in the Spider-Man franchise, this is another case where the sequel was better than the original. Part of what is so impresive about this movie is that it features an ensemble of characters while at the same time insuring all of them are three dimensional. Despite whatever super powers they might have, each one of the X-Men are fully realised characters who could concievably exist. Beyond the fact that the movie does quite well in its portrayls of the characters, it is among the best movies at capturing the look and feel of comic books on film. There is plenty of action to be had, including the best fight scene Woverine has had so far in the series. And I must say that I am impressed with the way they handled Nightcrawler's powers.
V. Superman II: For me, Superman II was the first superhero movie to capture the look and feel of comic books on film. Indeed, the knockdown, dragout fight between Superman and his Kryptonian opponents (General Zod, Ursa, and Non) is one of the best superhero battles ever filmed. It could have been ripped straight from the pages of any comic book. Of course, this is not to say that Superman II is all comic book action. One of the attractions of the film is the relationship between Clark Kent and Lois Lane, finally allowed to develop after forty years of flirting. For me Superman II is a movie that is still charming 25 years after its release.
Well, those are what I consider the five greatest superhero films of all time. This summer has seen the release of X-Men III and will see the release of Superman Returns. It will be interesting to see if those films measure up to these.
It would not be until Superman (released in 1978), Superman II (released in 1980), and Batman (released in 1989) that superheroes really got their due on the big screen. Since then there have many superhero movies released and many of them are actually good. I thought it might be interesting to do a run down of what I consider to be the five best.
I. Batman Begins: If superhero movies have suffered one fatal flaw over the years, it is that they have tended to focus too much on the heroic alter ego than the secret identity they keep most of the time. This is not the case with Batman Begins. The movie actually explores the inner demons of Bruce Wayne which drive him to dress up like a bat and fight crime. With the exception of the Spider-Man films, no other superhero movie has spent as much time exploring the inner man as Batman Begins did. Fortunately, Batman Begins is not all character study, as it also features some of the best action scenes ever seen in a superhero movie.
II. Spider-Man 2: Like its predecessor (and Batman Begins, for that matter), Spider-Man II explores the inner demons of Peter Parker. Where Spider-Man II goes even further is that it features what may be the greatest portrayl of a supervillain on film. Played by Alfred Molina, Dr. Octopus is a complex, sophisticated character. Indeed, he becomes a supervillain not by choice, but by accident, making him an altogether tragic character. Between the potrayal of Peter Parker and the portrayal of Dr. Octopus, Spider-Man 2 is lifted above the average superhero film.
III. Spider-Man: Moreso than any superhero movie made before it, Spider-Man explored the man behind the mask. In fact, Spider-Man does not even appear for nearly forty minutes into the film! The movie is as much about the impact (both positive and negative) Peter Parker's super powers have on his life as it is about fighting the Green Goblin. In the end, Peter Parker as he is portrayed in Spider-Man is the most complex superhero to appear on screen until the release of Batman Begins. The movie only has two weaknesses, in my humble opinion. First, the Green Goblin is not nearly as well developed as he should be. The character lacks much of the depth that he had in the comic books. Second, why did they choose to use Mary Jane Watson instead of Gwen Stacy>?! To me this would be like doing a Superman movie where the love interest is Lana Lang rather than Lois Lane....
IV. X-2: X-Men United: Like the films in the Spider-Man franchise, this is another case where the sequel was better than the original. Part of what is so impresive about this movie is that it features an ensemble of characters while at the same time insuring all of them are three dimensional. Despite whatever super powers they might have, each one of the X-Men are fully realised characters who could concievably exist. Beyond the fact that the movie does quite well in its portrayls of the characters, it is among the best movies at capturing the look and feel of comic books on film. There is plenty of action to be had, including the best fight scene Woverine has had so far in the series. And I must say that I am impressed with the way they handled Nightcrawler's powers.
V. Superman II: For me, Superman II was the first superhero movie to capture the look and feel of comic books on film. Indeed, the knockdown, dragout fight between Superman and his Kryptonian opponents (General Zod, Ursa, and Non) is one of the best superhero battles ever filmed. It could have been ripped straight from the pages of any comic book. Of course, this is not to say that Superman II is all comic book action. One of the attractions of the film is the relationship between Clark Kent and Lois Lane, finally allowed to develop after forty years of flirting. For me Superman II is a movie that is still charming 25 years after its release.
Well, those are what I consider the five greatest superhero films of all time. This summer has seen the release of X-Men III and will see the release of Superman Returns. It will be interesting to see if those films measure up to these.
Friday, June 2, 2006
Robert Sterling R.I.P.
Actor Robert Sterling, best known for his roles in the TV series Topper and such movies as Show Boat and Voyage to the Bottom of the Sea, died Tuesday at age 88.
Sterling was born William Sterling Hart in New Castle, Pennsylvania. He attended the University of Pittsburgh. Before taking up acting, he had worked as a clothing salesman. In 1939 he signed a contract with Columbia Pictures. He took the stage name "Robert Sterling" to keep from being confused with silent Western star William S. Hart. At Columbia his film career was lacklustre at best; Sterling appeared only in a few small parts in even smaller films.
Fortunately, in 1941 he was signed to MGM as a possible replacement for Robert Taylor, who had entered the U. S. Navy. Although Sterling was usually not the leading man, he did play supporting roles in several major feature films. He appeared in such films as Two Faced Woman, Somewhere I'll Find You, Show Boat, and The Sundowners.
Sterling also appeared on the Broadway stage. He appeared in the play Gramercy Ghost in 1951 and Roman Candle in 1960. It was through the former that he met his wife, actress Anne Jeffreys, who was playing in Kiss Me Kate just across the street. Sterling and Jeffreys started a stage act not long after their marriage, which led to the two of them being cast as George and Marion Kerby, the two fun loving ghosts who haunted the title character in the classic TV series Topper (based on the novel by Thorne Smith, which also inspired three classic films made in the late Thirties and early Forties). Topper ran from 1953 to 1956, with a healthy afterlife in reruns following its network run. Sterling and Jeffreys later appeared in their own short lived TV series, Love That Jill. Without his wife, Sterling starred in another short lived series, Ichabod and Me.
With the exception of the films Voyage to the Bottom of the Sea and Global Affair, most of Sterling's work was in television. He guest starred on many shows, among them The Loretta Young Show, Wagon Train, The Twilight Zone, and Murder, She Wrote.
I always liked Robert Sterling. He was a talented actor with a gift for comedy. Indeed, it must be pointed out that in Topper he stepped into a role originally played by Cary Grant (who portrayed George Kerby in the 1937 feature film Topper) and nearly matched Grant in the role. It is sad that he was generally cast in secondary roles and never saw much success (beyond Topper) on television. He not only had the looks of a leading man, but he also had the talent. I rather suspect that with the proper vehicle, he could have had a very successful career.
Sterling was born William Sterling Hart in New Castle, Pennsylvania. He attended the University of Pittsburgh. Before taking up acting, he had worked as a clothing salesman. In 1939 he signed a contract with Columbia Pictures. He took the stage name "Robert Sterling" to keep from being confused with silent Western star William S. Hart. At Columbia his film career was lacklustre at best; Sterling appeared only in a few small parts in even smaller films.
Fortunately, in 1941 he was signed to MGM as a possible replacement for Robert Taylor, who had entered the U. S. Navy. Although Sterling was usually not the leading man, he did play supporting roles in several major feature films. He appeared in such films as Two Faced Woman, Somewhere I'll Find You, Show Boat, and The Sundowners.
Sterling also appeared on the Broadway stage. He appeared in the play Gramercy Ghost in 1951 and Roman Candle in 1960. It was through the former that he met his wife, actress Anne Jeffreys, who was playing in Kiss Me Kate just across the street. Sterling and Jeffreys started a stage act not long after their marriage, which led to the two of them being cast as George and Marion Kerby, the two fun loving ghosts who haunted the title character in the classic TV series Topper (based on the novel by Thorne Smith, which also inspired three classic films made in the late Thirties and early Forties). Topper ran from 1953 to 1956, with a healthy afterlife in reruns following its network run. Sterling and Jeffreys later appeared in their own short lived TV series, Love That Jill. Without his wife, Sterling starred in another short lived series, Ichabod and Me.
With the exception of the films Voyage to the Bottom of the Sea and Global Affair, most of Sterling's work was in television. He guest starred on many shows, among them The Loretta Young Show, Wagon Train, The Twilight Zone, and Murder, She Wrote.
I always liked Robert Sterling. He was a talented actor with a gift for comedy. Indeed, it must be pointed out that in Topper he stepped into a role originally played by Cary Grant (who portrayed George Kerby in the 1937 feature film Topper) and nearly matched Grant in the role. It is sad that he was generally cast in secondary roles and never saw much success (beyond Topper) on television. He not only had the looks of a leading man, but he also had the talent. I rather suspect that with the proper vehicle, he could have had a very successful career.
Thursday, June 1, 2006
Oasis Produced the Greatest Album of All Time?!
The annual publication, British Hit Singles & Albums, recently conducted a vote for the greatest albums of all time. Individuals could vote for up to 10 albums. Around 40,000 people voted, with 95% of the votes coming from the United Kingdom.
Quite frankly, I am a bit shocked at the results. Oasis' debut album, Definite Maybe, was voted the greatest album of all time. It beat out The Beatles' Revolver, which came in at #2, and The Beatles' Sgt. Pepper's Lonely Hearts Club Band, which came in at #3. The rest of the top ten was filled out by: Radiohead's OK Computer at #4; Oasis' (What's the Story)Morning Glory? at #5; Nirvana's Nevermind at #6; The Stone Roses' self titlted album at #7; Pink Floyd's Dark Side of the Moon at #8; The Smiths' The Queen is Dead at #9; and Radiohead's The Bends at #10.
As I said above, I am a bit shocked at the results. It is extremely difficult for me to see how anyone could honestly believe that Definite Maybe by Oasis is a greater album than either Revovler (my pick for the greatest album of all time) or Sgt. Pepper's Lonely Hearts Club Band by The Beatles. These two albums transformed rock music in the way that no other ablums have before or since. Quite simply, they were revolutionary. While I love Oasis and Definite Maybe is their best album, I am not sure that I would even rank it in the top ten, let alone name it the greatest album of all time. As to the rest of the top ten, I would have ranked Dark Side of the Moon by Pink Floyd a good deal higher--at #3, right behind Revolver and Sgt. Pepper's Lonely Hearts Club Band. OK Computer by Radiohead probably would make my top ten, although I would probably rank it quite a bit lower. (What's the Story)Morning Glory? by Oasis, Nevermind by Nirvana, and The Queen is Dead by The Smiths would not have even made my top ten. The Stone Roses would not even have made my top one hundred...
Indeed, I am amazed that some of these albums made British Hit Singles & Albums's top ten greatest albums of all time when other classic rock albums did not. In my humble opinion Days of Future Past by The Moody Blues is the greatest concept album ever made besides Sgt. Pepper's Lonely Hearts Club Band. Besides Dark Side of the Moon by Pink Floyd, I would include A Night at the Opera by Queen, Who's Next by The Who, Ziggy Stardust & the Spiders of Mars by David Bowie, and Led Zeppelin IV as the seminal albums of the Seventies. Looking back to the days of Swinging London, Aftermath stands out in my mind as the greatest album made by The Rolling Stones and one of the greastest albums of all time. It is hard for me to understand how these albums did not make the top ten when they obviously seem superior to many of the albums that did.
While I do have some very big complaints with the results of this vote, I guess I should be thankful that it was not worse. With the exception of The Stone Roses, I like every album in the top ten. I could see Thriller by Michael Jackson or Madonna's debut album making some people's lists....
Quite frankly, I am a bit shocked at the results. Oasis' debut album, Definite Maybe, was voted the greatest album of all time. It beat out The Beatles' Revolver, which came in at #2, and The Beatles' Sgt. Pepper's Lonely Hearts Club Band, which came in at #3. The rest of the top ten was filled out by: Radiohead's OK Computer at #4; Oasis' (What's the Story)Morning Glory? at #5; Nirvana's Nevermind at #6; The Stone Roses' self titlted album at #7; Pink Floyd's Dark Side of the Moon at #8; The Smiths' The Queen is Dead at #9; and Radiohead's The Bends at #10.
As I said above, I am a bit shocked at the results. It is extremely difficult for me to see how anyone could honestly believe that Definite Maybe by Oasis is a greater album than either Revovler (my pick for the greatest album of all time) or Sgt. Pepper's Lonely Hearts Club Band by The Beatles. These two albums transformed rock music in the way that no other ablums have before or since. Quite simply, they were revolutionary. While I love Oasis and Definite Maybe is their best album, I am not sure that I would even rank it in the top ten, let alone name it the greatest album of all time. As to the rest of the top ten, I would have ranked Dark Side of the Moon by Pink Floyd a good deal higher--at #3, right behind Revolver and Sgt. Pepper's Lonely Hearts Club Band. OK Computer by Radiohead probably would make my top ten, although I would probably rank it quite a bit lower. (What's the Story)Morning Glory? by Oasis, Nevermind by Nirvana, and The Queen is Dead by The Smiths would not have even made my top ten. The Stone Roses would not even have made my top one hundred...
Indeed, I am amazed that some of these albums made British Hit Singles & Albums's top ten greatest albums of all time when other classic rock albums did not. In my humble opinion Days of Future Past by The Moody Blues is the greatest concept album ever made besides Sgt. Pepper's Lonely Hearts Club Band. Besides Dark Side of the Moon by Pink Floyd, I would include A Night at the Opera by Queen, Who's Next by The Who, Ziggy Stardust & the Spiders of Mars by David Bowie, and Led Zeppelin IV as the seminal albums of the Seventies. Looking back to the days of Swinging London, Aftermath stands out in my mind as the greatest album made by The Rolling Stones and one of the greastest albums of all time. It is hard for me to understand how these albums did not make the top ten when they obviously seem superior to many of the albums that did.
While I do have some very big complaints with the results of this vote, I guess I should be thankful that it was not worse. With the exception of The Stone Roses, I like every album in the top ten. I could see Thriller by Michael Jackson or Madonna's debut album making some people's lists....
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