Talking Out of Turn #10: Ann Beattie (1986)

Author Ann Beattie in 1986.

From 1981 to 1989, I was assistant producer and co-host of the radio show, On the Arts, at CJRT-FM in Toronto. With the late Tom Fulton, who was the show's prime host and producer, we did a half-hour interview program where we talked to artists from all fields. In 1994, after I had gone to CBC, I had an idea to collate an interview anthology from some of the more interesting discussions I'd had with guests from that period. Since they all took place during the eighties, I thought I could edit the collection into an oral history of the decade from some of its most outspoken participants. The book was assembled from interview transcripts and organized thematically. I titled it Talking Out of Turn: Revisiting the '80s. With financial help from the Canada Council, I shaped the individual pieces into a number of pertinent themes relevant to the decade. By the time I began to contact publishers, though, the industry was starting to change. At one time, editorial controlled marketing. Now the reverse was taking place. Acquisition editors, who once responded to an interesting idea for a book, were soon following marketing divisions concerned with whether the person doing it was hot enough to sell it.

For a few years, I flogged the proposal to various publishers but many were worried that there were too many people from different backgrounds (i.e. Margaret Atwood sitting alongside Oliver Stone). Another publisher curiously chose to reject it because, to them, it appeared to be a book about me promoting my interviews (as if I was trying to be a low-rent Larry King) rather than seeing it as a commentary on the decade through the eyes of the guests. All told, the book soon faded away and I turned to other projects. However, when recently uncovering the original proposal and sample interviews, I felt that maybe some of them could find a new life on Critics at Large.

One area of the book concerned the legacy of the sixties. It’s difficult taking into consideration the political landscape of the eighties without examining aspects of the sixties. Many ghosts from that period (i.e. Vietnam, the Cold War, civil rights) continued to linger as unresolved arguments that underscored actions in the eighties. If cynicism became more common twenty years after the idealism sparked by JFK’s 1960 Inaugural address, the voices included in this chapter of Talking Out of Turn set to uncover what the political lessons of the sixties were.

In the work of fiction writer Ann Beattie, questions were raised as to whether those of us who were part of that decade were now trapped in nostalgic reverence for our lost youth; or, were we slowly coming to terms with the hard political lessons of that era? One of her key novels that delved deftly into those issues was Chilly Scenes of Winter (1976), which was made into a 1979 movie by Joan Micklin Silver re-titled Head Over Heels. The story revolves around Charles, a civil servant, who is struggling in the seventies with his ideals from the sixties while trying to maintain his relationship with Laura, the love of his life. With his droll best friend Sam, Charles comes to grips with the ghosts of the past which is where I began my talk with Ann Beattie.

Dreams Are Nothing More Than Wishes: Who is Harry Nilsson (And Why is Everybody Talkin’ About Him)?

There couldn't be a more apt title for John Scheinfeld’s engaging documentary on the late singer/songwriter Harry Nilsson than Who is Harry Nilsson (And Why is Everybody Talkin’ About Him)? Despite the fact that Nilsson was both a prolific pop songwriter and a gifted tenor, perhaps what made Nilsson less than a household name was that he didn't comfortably fit into the niche of a traditional pop crooner. It also took Scheinfeld almost four years to get a distributor for his movie about him. But it’s definitely worth the wait.

Who is Harry Nilsson (And Why is Everybody Talkin’ About Him)? examines with both insight and empathy the life of a pop artist whose pining voice cast a larger shadow on a tragic life. While he wrote songs that became hits for The Monkees (“Cuddly Toy”), Three Dog Night (“One”) and Blood, Sweat and Tears (“Without Her”), his only chart successes were other people’s tunes. “Everybody’s Talkin’” (made famous in Midnight Cowboy) was written by Fred Neil, while the Grammy-winning “Without You” was originally a track by the British rock group Badfinger. Nilsson never performed concert tours to promote his albums and his studio work itself became unique in that he did all his own overdubbed harmony vocals. With the help of top-notch players (from Little Feat’s Lowell George to keyboardist Nicky Hopkins), Nilsson became an insulated pop force, someone hidden away in the imagined world of a recording studio. From there, his lovely and quirky ballads and anthems could bring a youthful longing to unrequited wishes.

FX’s Terriers: Catch a Ride with a Trickster and a Travelin’ Man

Terriers (on FX)

For Shady Kanfi

For the most part, the FX Network was good to me in 2010. By mid-summer, they had already premiered three of my favourite new series of the year: in comedy, the hilarious and deeply original Louis C.K. vehicle, Louie; in animation, the surprisingly funny, edgy, and intelligent spy spoof, Archer; and in drama, the hard-boiled contemporary Western, Justified, based on the work of Elmore Leonard and starring Timothy Olyphant. (All three shows have been renewed and will bring us second seasons in 2011.) But the folks at FX weren’t done yet: on September 8th, they premiered Terriers. Created by screenwriter Ted Griffin (Ocean's Eleven) and The Shield creator Shawn Ryan, Terriers stars Donal Logue (Life, Grounded for Life) as Hank Dolworth, an ex-cop and recovering alcoholic, who teams up with Britt Pollack, his best friend and mostly reformed thief (played by Michael Raymond-James, True Blood), to open an unlicensed private investigation firm. Based on the early promos for the series, I had initially positioned the series in relation to The Good Guys, the good-natured buddy-cop show created by Matt Nix (Burn Notice), which premiered on FOX over the summer (and was cancelled last month). But halfway through the opening credits of Terriers (and the original theme song written by the show’s composer Rob Duncan), I knew I was going to be delightfully mistaken. With substantial characters and two charismatic stars, some powerful writing and subtle serial nature, Terriers would soon rise to the level of FX’s spring season hit, Justified. While often hilarious, the show was also carefully plotted, and offered a perfect mix of compelling characters, dark humour, and genuine intrigue. Unfortunately, by early December, FX announced that due to low ratings it was not going to renew Terriers. But whatever its future, Terriers will remain one of the few bright spots in what was an often disappointing new fall TV season.

The Two Marks: The Adventures of Huckleberry Finn & Money For Nothing

Brian Gable/The Globe and Mail (Jan. 14, 2010)

If we needed further proof that the standards of literacy and education in North America have diminished rapidly, the recent decisions to censor both Mark Twain's classic novel The Adventures of Huckleberry Finn and Dire Strait's satirical song "Money For Nothing" now takes us to pretty embarrassing new depths. That these two events should bookend the current heated debate over the contribution of political rhetoric to the tragic Arizona shootings is hardly accidental. We seem to have lost touch with the true meaning of speech, so much so, that we can no longer tell the difference between what's morally offensive and what isn't.


Mark Twain

In the case of Mark Twain's 1884 novel, a book written during the post-Civil War era, Twain was addressing the turbulent racial tensions that had escalated due to Lincoln's Emancipation Proclamation to end black slavery. He created a narrative about a young white American in conflict with his culture, one who sought a new form of freedom while journeying down the Mississippi River. Twain also introduced into the story the black character, Jim, a former slave who Finn befriends and learns from. In doing so, Twain sought to attack the growing problems of segregation, prejudice and the continued lynchings by having this main character refute the accepted norms. As Twain once said after the book was published, "A sound heart is a surer guide than an ill-trained conscience." To achieve this, Twain had to write in the context of the times, from what he knew and the language that he heard, in order to create an authenticity of both character and place. One of the offensive words, of course, was the use of the word "nigger" which was common coin at that time. (Since Jim was also once a slave, he could hardly sound like a Harvard grad in the book either.) None of Twain's nuances seemed to get through to NewSouth Books, however, who have now published an edition of The Adventures of Huckleberry Finn that replaces the word "nigger" with "slave" and changes the character Injun' Joe's name to Indian Joe. Besides formalizing American slang in the case of Injun' Joe, which then unwittingly makes Indian Joe seem even more derogatory than Injun' Joe, the use of the word "slave" for "nigger" is hardly the proper term for a character who has just earned his freedom. Oh art, where is thy sting?

The Way They Were: Patti Smith's Just Kids

In a burst of youthful enthusiasm during the late 1970s, Rickie Lee Jones once famously  proclaimed the sensibility she shared with boyfriend and fellow musician Tom Waits: ”We’re living on the jazz side of life.” A decade earlier, another couple in their 20s had a similarly bohemian, improvisational relationship that was devoted as much to art as to romance. If not more so. Singer Patti Smith has now chronicled the years she spent with the late photographer Robert Mapplethorpe in Just Kids (HarperCollins, 2010), a riveting memoir that recently won America’s National Book Award.

Based in Los Angeles, Jones and Waits may have been the West Coast counterparts of Smith and Mapplethorpe, who called New York home. Smith describes the dynamic metropolis and extraordinary times in stunning detail: “Nothing was more wonderful to me than Coney Island. with its gritty innocence. It was our kind of place: the fading arcades, the peeling signs of bygone days, cotton candy and Kewpie dolls on a stick...” The focus for all four of them was on the demimondes of their respective cities, along with almost everywhere they visited in between. It’s an aesthetic that’s edgy and suffused with pain.

A Smith melody addresses the philosophy of scraping by that she and Mapplethorpe adhered to: “Every night before I rest my head, / see those dollar bills go swirling 'round my bed./ I know they're stolen, but I don't feel bad./ I take that money, buy you things you never had.” Jones composed these lyrics: “Zero quit school/ and she lost her job again/ and then her boyfriend beat her up/ and now he won't let her in.” A snippet from a tango-flavored Waits song: “I like my town with a little drop of poison.” 

Spellbinding: Dmitry Shostakovich’s Symphony No.10 (RLPO conducted by Vasily Petrenko)

Shostakovich's Symphony No.10 is a jewel in the composer's life. Considered his most autobiographical work, this recording by the Royal Liverpool Philharmonic Orchestra, conducted by Vasily Petrenko (Naxos, 2011), is a tour de force. Led by Petrenko since 2005, the RLPO (Royal Liverpool Philharmonic Orchestra) has now set a new standard in the performance of Russian music.

The RLPO are no strangers to Shostakovich having recorded his Symphonies No.5, No.9, No.8, and No.11 already. But this experience has truly challenged the musicians and the audience in ways they couldn't possibly have imagined. Featuring an introspective opening movement that’s followed by a buoyant second, a reflective third and a fourth that opens with an andante tempo (followed by a spirited allegro), No. 10 avoids the accessible approach most orchestras would take for commercial success. The Naxos label, which continues to release as many different types of music as possible, has given Petrenko, a young, unproven Russian conducting a British orchestra, a daring opportunity. And we, as listeners, are truly rewarded for it.

Lust at First Sound: Ryan Adams & The Cardinals: III/IV

The first time I heard Ryan Adams it was lust at first sound. I remember arriving to meet a beau one crisp autumn evening when a flood of warmth and the refrain of “Firecracker,” from the 2001 Gold album, embraced me at the door. “Who is this?” I insisted. “Ryan Adams,” I was told. Thinking I must have misheard, “Bryan Adams,” I politely concealed my eye rolling. “No. R-R-Ryan Adams,” he said. So it began: my affair with the tortured genius of alternative country. The Americana meets 70s pop/rock sound, artfully accompanied with poignant lyrics became a solid favorite.

Last year it was announced that Ryan Adams and his former backing band, the Cardinals, were releasing a two-disc album of shelved sessions from their 2007 Easy Tiger recording in December. The fact that Adams had been in a state of “retirement” since 2008, added another layer of expectancy to the 2-disc collection. Perhaps I held my bated breath a bit too long, for upon listening to III/IV I was sorely disappointed. It sounded nothing like Easy Tiger. This so-called “rock-opera” blended together into almost inaudible noise. There were so many electric guitars, so few acoustics; so many pointless instrumental solos, no harmonicas to be heard of. A little perturbed, and having nobody to blame (it was recorded before meeting Mandy Moore); I saw that my knee jerk reaction was shared online amongst music critics. Then I did something that usually causes me regret: I gave it a second chance.

Getting It Right #2: Joel and Ethan Coen's True Grit

My issue over the years with filmmakers Joel and Ethan Coen is that they hate people. Not in a misanthropic or curmudgeonly manner (I have always found misanthropes fascinating and curmudgeons amusing), but in a smug 'people are idiots' mindset. Look at pictures such as the reprehensible Fargo where every character, including the supposed heroine Marge (Frances McDormand), is treated with complete contempt because of their 'funny accent' or their 'stupid' actions (Marge doesn't even solve the crime, she stumbles across the solution by accident). The Coens are the worst sort of people-haters because, based on the evidence in several of their films, they think they're better than everybody else.

And yet, when they get it right, they have created, if not great pictures, ones where I've come away feeling amused/entertained/satisfied. Pictures like Blood Simple, Raising Arizona, The Big Lebowski and Miller's Crossing fall into this category for me. Most of the others are either 'god, I hate this movie' or 'yawn'. Even their Oscar-winning No Country for Old Men is a bit pointless when you get right down to it. This brings me to their biggest hit in their careers: the remake of True Grit, now in theatres and this past weekend’s number one at the box office. I'd heard very good things about True Grit, so I was interested in seeing it. But people had also said wonderful things about Fargo, Barton Fink, and The Ladykillers. The picture seemed right up the 'aren't people stupid' alley that the Coens have mined over the years. It's a western, so lots of chances for: funny accents, ill-bred idiots, numb-nutted gunslingers and dumb-as-dirt cowpokes. So imagine my surprise when I came out of the theatre, well, moved (an emotion I'd never felt in any of the Coen brothers' movies).

Getting it Right #1: Unstoppable

Unstoppable stars Denzel Washington

As Hollywood movies become more expensive to make and promote – with many films, shockingly, costing upwards of $100 million – Tinseltown continues to retreat into ‘safe’ projects, either sequels or remakes, such as Little Fockers or True Grit, or large event movies like Inception that garner buzz because of the massive hype attached to them. That doesn’t leave much room for so-called B movies, films with lesser known actors or directors or unusual subject matter, which simply aren’t being made much anymore and thus often fly under the media's radar when they're finally released. The Tony Scott thriller Unstoppable isn’t exactly a B movie (neither Scott (Top Gun, The Taking of Pelham 123) nor the film’s star, Denzel Washington (Malcolm X, American Gangster) are unknowns), but by any other measure, the film is a comparatively low budget, modest enterprise that stands out by virtue of what it isn’t: overblown, loud and empty headed. It’s also the rare Hollywood movie that does what it sets out to do very well, indeed.

Righteous Reconfiguration: Emilie-Claire Barlow's The Beat Goes On

Emilie-Clair Barlow and bassist Ross MacIntyre, (Photo: Greg King)

In December 2008, my wife and I saw Canadian jazz singer, Emilie-Claire Barlow, perform a Christmas-centric concert at Markham Theatre north of Toronto. Markham Theatre is a wonderful place to see concerts because the acoustics are great and the space is relatively intimate. Barlow on that night was in a fine fettle. She sang wonderfully (in English and French) and had a great deal of off-the-cuff fun with the audience. As befits a concert in Markham, afterwards Barlow spent another hour in the lobby signing CDs for audience members. When we got to the front of the line my wife, who is trilingual (English, French and Spanish), asked Barlow if she spoke French. Barlow admitted she did not and that she always sang the songs phonetically.

Talking afterwards, my wife and I were astonished how near perfect her phrasing was, not just in her English-language songs, but her French ones too. This near-perfect phrasing is evident all over her new CD, The Beat Goes On. The CD is Barlow's jazz tribute to the pop songs of the 1960s. She's not the first jazz singer to do this, but this might be the best. Ranging from Burt Bacharach to Buffy Sainte-Marie to Sonny Bono to Bob Dylan, Barlow's choices are frequently inspired. She has taken many very recognizable tunes and, with skilful rearrangements, crafted songs I may have liked at one time, but since have grown tired of (Bacharach's “Raindrops Keep Falling On My Head”), or songs I never liked to begin with (Neil Sedaka's “Breaking Up Is Hard To Do”) and given them a spin that makes them fresh and rejuvenated.

No Direction Home: Sofia Coppola's Somewhere

Stephen Dorff and Elle Fanning in Somewhere

In the opening moments of Sofia Coppola's new film, Somewhere, action star Johnny Marco (Stephen Dorff) either spends his days and nights in L.A.'s famous Chateau Marmont just going through the motions (or driving his Ferrari – literally – in circles). As Coppola documents Marco's redundant daily routines of parties and strippers, the picture appears to be going through the motions as well. With Somewhere seemingly going nowhere, I was tempted to bail. Luckily, I didn't. For when Marco's ex-wife suddenly unloads their 11-year-old daughter, Cleo (Elle Fanning), on his doorstep, Marco awakens from his stupor and so does the movie. Somewhere turns into an affecting story of a father and daughter in the process of discovering each other and it has a bittersweet fragrance that lingers long after you leave the theatre.

Random Viewing II: Beauty and the Brute

As an adolescent, I was glued to CBS every Friday night for The Twilight Zone. After weaning myself from the addiction to attend college and then live without a television in young adulthood, it’s been possible to catch up with missed episodes whenever the US network SyFy holds a marathon – which the cable channel did during the recent holidays. Although thinking that by now I’ve seen the entire Rod Serling oeuvre, I tuned in and found one of the best stories the show ever produced: “Two,” which first aired in mid-September 1961, addresses the issue of mutually assured destruction. Such topics apparently were popular with the peacenik intellectuals who penned and directed these scripts during a Cold War era marked by nuclear weapons proliferation.

The spare “Two” is set in a post-apocalyptic world, where a man and a woman, quite possibly the last people left on Earth, cross paths in a badly damaged town that’s devoid of all other living things. They’re soldiers from disparate armies, dressed in different military uniforms, not able to understand each other’s language. Hers might be Russian, though it’s difficult to say since she utters only one word throughout the half-hour they’re on screen. Both are searching desperately for food and struggling to survive. They fight. He slugs her. She’s knocked out. A simple desire for companionship then begins to supplant his wariness, and the former enemies edge their way into an uneasy truce that might ensure survival of the human race.

Bronson and Montgomery in "Two"

At first, I thought these were unknown young thespians until realizing – Yikes! – it was Charles Bronson and an uncharacteristically brunette Elizabeth Montgomery, who was best known in the late 1960s for appearing as a kooky blonde housewife with special powers on the ABC sit-com Bewitched. He looks incredibly handsome, before his face became so weathered and morose under that menacing mustache. More importantly, their Twilight Zone performances are surprisingly subtle in a series that too often would opt for stilted theatrics. He could really act, something I never would have suspected given his thuggish roles in the subsequent quartet of vigilante Death Wish movies (1974, 1982, 1985 and 1987). Then again, I always tended to steer clear of any release with Bronson’s name in the credits.

Justifiable Paranoia: Every Man Dies Alone by Hans Fallada

On the first anniversary of the launch of Critics at Large, we welcome a new critic, Laura Warner, to our group.

For the first 18 years of my life, I was trapped in the thick of an essence that paralyzed half of my family. One that confused and frustrated me: senseless fear. (Or, at least, what I had thought to be senseless all this time.) The cynicism, the distrust of one’s neighbours, the paranoia, and the reluctance to try anything out of the ordinary (or off the straight and narrow) was suffocating. The family members I speak of, my mother and grandparents, who escaped East Germany in 1958 and immigrated to Canada soon afterward, were not overly religious or political, there was no identifiable set of values that anchored them to this crippling existence. So what was wrong?

Two winters ago I stumbled upon the answer to this question. There had been a significant buzz about a recent literary phenomenon, the translation of Hans Fallada’s Every Man Dies Alone (Melville House, 2009). Originally published in Germany in 1947, Fallada’s novel captures the perils experienced by a populace who have been often, due to their unfortunate national affiliation, overlooked through wartime literature: the German citizens of Berlin. Based on a true story, Every Man Dies Alone examines the variety of human reactions to war’s most infectious epidemic, fear, and one couples’ mission of resistance. In my incessant quest to understand more of a culture that was so deeply imbedded in my mother and my grandparents I purchased the book. From it, I discovered not only a literary breakthrough, but saw the shareholders of my childhood in a new light.

Steady Hands: Robby Krieger's Singularity

Released last year and nominated for a Grammy Award for Best Pop Instrumental Album, Robby Krieger’s Singularity is an fascinating mix of rock instrumentals that show a real feel for jazz rhythm. The album features Krieger on different guitars tapping into flamenco, classical and electric instruments and featuring some very interesting alumni who once played with Frank Zappa. Namely bassist Arthur Barrow, keyboardist Tommy Mars, horn players Walt Fowler, Bruce Fowler, Sal Marquez, and percussionist Vinnie Colaiuta. I was immediately struck by the line-up on paper and thrilled to hear the ensemble on record. While the album features some bombastic titles such as, “Russian Caravan,” “Event Horizon” and “Solar Wind,” the sound is anything but overbearing. Krieger and company perform without pretense and in a highly structured way. Consequently, Krieger’s participation as leader is folded into the music rather than being the front & center man with his back-up band.

Great Stars: Ingrid Bergman, Humphrey Bogart, Gary Cooper and Bette Davis

I call it serendipity. When you write a blog with six other talented critics, sometimes you are going to hit on a similar theme at the same time. A couple of days ago, Shlomo Schwartzberg wrote about character actors, focused around the passing of the great Pete Postlethwaite. I had no idea he was planning the piece as I began to formulate an item on some of the Golden Era of Hollywood's finest actors. But, so it goes. Over the holidays, I was in a bookstore in Kelowna, British Columbia plowing through the discount bin when I chanced upon a short book called Ingrid Bergman by one of the preeminent film writers working today: David Thomson (who is also the author of Suspects). Topping out at only 113 pages, the paperback, from Penguin Books and first published in 2009, sold originally for $18.95 Canadian. It was in the reduced bin, a year after it came out, for $2.00. I eagerly tucked it under my arm and kept digging. Another popped out, this one called Gary Cooper, same original price, but 122 pages. I turned over this second $2.00 treasure and saw that, under the overall title of Great Stars, there were four books in the series all written by Thomson. The other two were on Humphrey Bogart and Bette Davis. Could I be lucky? (Right now, my colleague Kevin Courrier is probably laughing his ass off, because he knows about my uncanny knack for finding book and/or DVD treasures like this for next to no money.) I kept digging and out came Davis, and shortly after, as I dug near the end of this bin, there was Bogart looking at me. For $8.00 I had four promising short biographies of some of Hollywood's best actors written by one of film criticdom's finest writers.

Random Viewing: A Walk On the Moon (1999)

Among the least significant films released in 2010, Conviction is about a high school dropout who completes undergraduate studies and earns a law degree in a two-decade effort to free her innocent brother (Sam Rockwell) from prison. In the lead role, Hilary Swank gives her usual earnestly heroic performance. Nuance is nowhere to be found.

But the disappointing drama marked a reunion of director Tony Goldwyn and screenwriter Pamela Gray, who had worked together with far greater success to create 1999’s A Walk on the Moon. While surfing the 200-plus channels available on my television in the early hours of New Years Eve, I decided to revisit the autobiographical movie, not seen by me since the previous century and millennium. One compelling reason: a comparison with Taking Woodstock, Ang Lee’s 2009 saga from the perspective of a young man who leads organizers to a potential site for their fabled music festival – Max Yasgur’s farm – in hopes that the extravaganza will rally the local economy and save his elderly parents’ failing nearby motel.

Pete Postlethwaite: The Value of the Character Actor

The untimely death of British actor Pete Postlethwaite, at the age of 64 of cancer, was a loss for moviegoers, not least because Postlethwaite (In the Name of the Father, The Lost World: Jurassic Park, The Usual Suspects) was one of those skilled character actors, who often enliven dull or mediocre movies when they appear on screen.

William Demarest in The Miracle of Morgan's Creek

It’s a tradition that goes back to the beginning of the talkies, when stalwarts like Edward Everett Horton (Trouble in Paradise, Top Hat, Shall We Dance), William Demarest, (best known as Uncle Charley on TV’s My Three Sons, but a delightful regular in most of Preston Sturges’s stellar comedies, including The Lady Eve, The Palm Beach Story, The Miracle of Morgan’s Creek and Hail the Conquering Hero) and Thelma Ritter (Pickup on South Street, Rear Window), amongst many others, often stole the film whenever they appeared on screen.

In more recent years, Dan Hedeya (Blood Simple, Clueless), Tony Shalhoub (Quick Change, Galaxy Quest), Hank Azaria (The Birdcage, Mystery Men), Oliver Platt (Pieces of April, Frost/Nixon), Richard Jenkins (Flirting with Disaster; Me, Myself & Irene) and Parker Posey (Kicking & Screaming, A Mighty Wind) have filled that bill nicely. Last summer, we also lost Maury Chaykin (War Games, Unstrung Heroes), one of the great character actors of all time.

Talking Out of Turn #9: Josef Skvorecky (1988)

From 1981 to 1989, I was assistant producer and co-host of the radio show, On the Arts, at CJRT-FM in Toronto. With the late Tom Fulton, who was the show's prime host and producer, we did a half-hour interview program where we talked to artists from all fields. In 1994, after I had gone to CBC, I had an idea to collate an interview anthology from some of the more interesting discussions I'd had with guests from that period. Since they all took place during the eighties, I thought I could edit the collection into an oral history of the decade from some of its most outspoken participants. The book was assembled from interview transcripts and organized thematically. I titled it Talking Out of Turn: Revisiting the '80s. With financial help from the Canada Council, I shaped the individual pieces into a number of pertinent themes relevant to the decade. By the time I began to contact publishers, though, the industry was starting to change. At one time, editorial controlled marketing. Now the reverse was taking place. Acquisition editors, who once responded to an interesting idea for a book, were soon following marketing divisions concerned with whether the person doing it was hot enough to sell it.

For a few years, I flogged the proposal to various publishers but many were worried that there were too many people from different backgrounds (i.e. Margaret Atwood sitting alongside Oliver Stone). Another publisher curiously chose to reject it because, to them, it appeared to be a book about me promoting my interviews (as if I was trying to be a low-rent Larry King) rather than seeing it as a commentary on the decade through the eyes of the guests. All told, the book soon faded away and I turned to other projects. However, when recently uncovering the original proposal and sample interviews, I felt that maybe some of them could find a new life on Critics at Large. 

One section of the book featured interviews with artists who had been exiled from their homeland. In 1984, Paul Mazursky made a profoundly funny (and poignant) film called Moscow on the Hudson which starred Robin Williams as a Russian musician touring with the Moscow circus who spontaneously defects in New York. The movie ostensibly dealt with the complex set of emotions set loose when he finds his freedom. Since the Cold War era was in its twilight years in the eighties, I drew together a number of interviews with those who, like the musician in Moscow on the Hudson, became exiles.The chapter had a number of them, such as Jerzy Kosinski, Cuban poet Herberto Padilla, and playwright Ariel Dorfman, reflecting on the mixed blessings that come when, because of political and ethical issues, you are forced to leave home. One of those interviewed was Czech author Josef Skvorecky who, over the years, had written about the legacy of Stalin (The Engineer of Human Souls) and the impact of jazz on Czech culture (The Bass Saxophone).  In 1988, Skvorecky had just written a book called Talking Moscow Blues, a book of essays on jazz, literature and politics. Our talk came at a significant time when Gorbachev was ushering in the thaw of the Cold War during perestroika.

The Critic as Reader

Last January, I was part of a small group of professional critics who thought up the idea of doing this website. Over the year, we also managed to woo a number of writers to its cause, all of whom were excited about the possibility of doing intelligent arts criticism. Although I was one of those writers who contributed to Critics at Large, I also became an avid reader of the site. What I read from this motley group of passionate scribes helped me affirm my belief that one could retain a love of discussing a world of ideas despite pressures from an industry that endorsed and rewarded consumerism over criticism. As a way to thank those writers, whose hard work and sharp powers of observation inspired my own writing this year, I prepared a list of my favourite pieces from our archives. While each of these writers might argue that the work I've chosen isn't necessarily their best, I believe it highlights with clarity the sensibility of the critic who wrote it. These posts, in no particular order, are the ones that most mattered to me. For those readers who came late to Critics at Large, or simply missed the original post, I invite you to look back at some of the best work we did last year.

Top Films of 2010: It Was Not a Very Good Year

2010 will likely go down as one of the very worst years ever in film, at least, in the twenty plus years I’ve been reviewing movies in Toronto. And while I like doing Best of the Year lists, compiling this one only served to remind me of how bad things were at the cinemas, both on the commercial end of things (Get Him To the Greek, Kick-Ass) and art house environs (Uncle Boonmee Who Can Recall His Past Lives, The Tempest); those movies were equally painful to sit through. It was a strong year for documentaries, though (La danse, Inside Job, Client 9: The Rise and Fall of Eliot Spitzer, Exit Through the Gift Shop, Marwencol and others) and French films (Carlos, Un prophète, Micmacs). But American feature films were especially weak and negligible (The Social Network and Black Swan were about the only ones that stood out.) More to the point, once I factor in the films mentioned on my year end list below, there were only a few others (Another Year, The King’s Speech, Mother, Splice, Get Low, Trigger) that were worth my time. Usually there are three times that many good features to consider. But enough gloom and doom, without further ado here are my twelve top films of 2010, most of them reviewed on Critics at Large, the ones that excited, provoked, entertained and engrossed me in equal measure.

Some of the Best: Favourites of 2010

Unlike other critics, I've always kind of enjoyed compiling a list of favourites from the previous years. It gives me a chance to look back on the year and examine what I've read, seen or listened to. Some of what follows was not necessarily part of 2010, but I only got around to it this past year. In fact, one example is over 70 years old. A few I've written about on the blog in 2010, but not all. So, sit back, relax and, hopefully, enjoy.

Man of the West: Ian Tyson's The Long Trail

Ian Tyson is a Canadian singer/songwriter of great artistic reputation. He penned some of the country’s most familiar songs, such as “Four Strong Winds” and “Someday Soon”. In his autobiography, The Long Trail (Random House, 2010), written with Jeremy Klaszus, Tyson admits that his “childhood memories are lost to too many miles and too many whiskey bottles.” In spite of that condition, Tyson’s ability to recall his life seems unaffected.

The Long Trail reads like a conversation, albeit, one-sided. It’s as if Tyson has invited the reader into his den or kitchen and reminisced. This approach has Tyson endearing his readers without fuss or pretense. It’s a life of mischief, horses, the outdoors, women, travel and the so-called, Western frontier. It’s a life full of mistakes, but no regrets; yet one that still seems ordinary.

At first glance, it appears that Tyson has had a better relationship with horses than he he’s had with people. He often refers to horses by name with references to their heritage and how much he paid for them. But this would be a simplistic conclusion to reach. Tyson is great storyteller because he’s also a great songwriter and that combination has served him well in this book. He’s been able to pen some of the best songs about love, life and the West for years. And while The Long Trail offers some insights into his artistic process, it seems as wide open a book as the countryside Tyson eloquently talks about.

Forgotten Foreign Language Gems (Part Two)

 

As I mentioned in yesterday's post, it became apparent from a recent film course that I taught, Key Filmmakers of Our Time, that outside of North America, excepting, perhaps for France, too many important foreign language films were not readily available on DVD. This included films from major directors, such as Italy’s Francesco Rosi (Illustrious Corpses,Three Brothers) and  the lateTaiwanese filmmaker Edward Yang (A Brighter Summer Day). (Key Canadian films, such as Rejeanne Padovani, Joshua Then and Now and 32 Short Films About Glenn Gould were also either never put out on DVD or are now out of print.) And of those foreign films that did get put out on disc, a lot of them fell through the cracks or were ignored because most DVD reviewers were more interested in promoting the big Hollywood blockbusters. In that light of rectifying a wrong, here are a few more foreign language films that are well worth searching out at your local quality video store.

Forgotten Foreign Language Gems (Part One)

It became apparent from a recent film course that I taught, Key Filmmakers of Our Time, that outside of North America, excepting, perhaps for France, too many important foreign language films were not readily available on DVD in Canada. This included films from major directors, such as Italy’s Francesco Rosi (Illustrious Corpses, Three Brothers) and the late Taiwanese filmmaker Edward Yang (A Brighter Summer Day). (Key Canadian films, such as Rejeanne Padovani, Joshua Then and Now and 32 Short Films About Glenn Gould were also either never put out on DVD or are now out of print but that’s a story for another blog.) And of those foreign films that did get put out on disc, a lot of them fell through the cracks or were ignored because most DVD reviewers were more interested in promoting the big Hollywood blockbusters. In that light of rectifying a wrong, here are some foreign language films that are well worth searching out at your local quality video store.

Talking Out of Turn #8: Margaret Atwood (1984)

From 1981 to 1989, I was assistant producer and co-host of the radio show, On the Arts, at CJRT-FM in Toronto. With the late Tom Fulton, who was the show's prime host and producer, we did a half-hour interview program where we talked to artists from all fields. In 1994, after I had gone to CBC, I had an idea to collate an interview anthology from some of the more interesting discussions I'd had with guests from that period. Since they all took place during the eighties, I thought I could edit the collection into an oral history of the decade from some of its most outspoken participants. The book was assembled from interview transcripts and organized thematically. I titled it Talking Out of Turn: Revisiting the '80s. With financial help from the Canada Council, I shaped the individual pieces into a number of pertinent themes relevant to the decade. By the time I began to contact publishers, though, the industry was starting to change. At one time, editorial controlled marketing. Now the reverse was now starting to take place. Acquisition editors, who once responded to an interesting idea for a book, were soon following marketing divisions concerned with whether the person doing it was hot enough to sell it.

For a few years, I flogged the proposal to various publishers but many were worried that there were too many people from different backgrounds (i.e. Margaret Atwood sitting alongside Oliver Stone). Another publisher curiously chose to reject it because, to them, it appeared to be a book about me promoting my interviews (as if I was trying to be a low-rent Larry King) rather than seeing it as a commentary on the decade through the eyes of the guests. All told, the book soon faded away and I turned to other projects. However, when recently uncovering the original proposal and sample interviews, I felt that maybe some of them could find a new life on Critics at Large. 

Talking Out of Turn had one section devoted to critics who ran against the current of popular thinking in the eighties. That chapter included discussions with film critic Vito Russo (The Celluloid Closet) who wrote a book about gay cinema before the horror of AIDS changed the landscape; also Jay Scott, who would later die from AIDS, spoke about how, despite being one of Canada's sharpest and wittiest writers on movies, he was initially a reluctant critic; and author Margaret Atwood who turned to literary criticism in her 1983 book Second Words. She discussed -- from an author's perspective -- the value of criticism and how it was changing for the worst during this decade. 

Christmas Cheer: Our Seasonal Flicks

For those who celebrate Christmas, we wish you a very Merry one. For those who don't, be cheerful anyway. For everybody who loves watching movies, here's a few of our seasonal favourites.

Deserving Better: The Film Adaptation of Mordecai Richler's Barney's Version

In Charles Foran’s Mordecai: The Life & Times, his new biography of author Mordecai Richler, Foran makes mention of the fact that noted Canadian producer Robert Lantos optioned Richler’s last novel Barney’s Version pretty much as soon as it was finished in 1998. The initial plan was for Richler to write the screenplay with his friend, director Ted Kotcheff, behind the camera. They had already worked together on two other Richler adaptations, the superb The Apprenticeship of Duddy Kravitz (1974), and the uneven, but still highly engaging, Joshua Then and Now (1985). I’d like to think that in some alternate universe that pairing did indeed come to pass where the film adaptation of Barney’s Version came out before Mordecai died in 2001 and garnered praise as one of the finest Canadian movies ever (and picking up a slew of awards, besides). But, alas, in our real world, Lantos wasn't happy with Richler’s drafts and after the writer died, the movie took a long time coming before finally seeing the light of day in 2010. Unfortunately, it did so saddled with a mediocre director, a neophyte screenwriter, and with far too many significant and damaging changes made from the book.

Is it Such a Wonderful Life?

Back in December 1990, on the CBC radio show Prime Time, host and film critic Geoff Pevere and I decided to re-assess the popularity of Frank Capra's Christmas favourite It's a Wonderful Life (1946). We felt that it was ample time to examine why this particular picture had become such a holiday classic. Neither of us actually hated the film; in fact, we thought some of the small town neurosis that David Lynch would expertly dissect years later in Blue Velvet (1986) had its roots in It's a Wonderful Life. But we were baffled that audiences over the years had viewed this movie as an uplifting and heart-tugging affair. To us, there was something much more unsettling lurking in this material, a looming shadow that the picture ultimately sought to avoid. So we decided to head straight for the darkness. Someone should have warned us.

Subject Over Style - Charles Foran's Mordecai: The Life & Times

Nearly ten years after his death, Canadian writer/provocateur Mordecai Richler is still in the news. Two Montréal city councilors are facing flack from Quebec nationalists for daring to suggest that the city name a street after one of its most famous native sons. The film adaptation of Richler’s last novel, Barney’s Version, is opening wide on Christmas Eve. And writer Charles Foran has penned the ultimate Richler bio, Mordecai: The Life & Times (Knopf Canada, 2010), a problematic but fascinating look into the life of one of the most original, free thinking and courageous writers of our age. 

As a Montreal-born Jew, though one who came along almost thirty years later than Mordecai and grew up in the suburban (but mostly Jewish) City of Cote St. Luc, far from his St.Urbain Street haunts, I have always found Richler to an interesting enigma. And not the least because my own community had such ambivalent feelings towards him. As I wrote in my 2001 obituary for him in the Jerusalem Report magazine, the Jewish community went from being uncomfortable with his often scathing, satirical, warts-and-all portraits of his people to viewing him as something of a hero, even someone to be proud of, because of his forthrightness in confronting Quebec’s separatist and/or intolerant French nationalists. Mordecai was particularly scathing in his disdain for the province’s asinine language laws which decreed that English, one of Canada’s two official languages, be deemed second rate or non-existent on street and business signs. You get a vivid sense of how strongly he felt about those oppressive laws in his superb non-fiction book Oh Canada! Oh Quebec! Requiem For a Divided Country (1992). 

I must confess that I, too, changed in my early views about Mordecai Richer. Though my Jewish high school, Bialik, featured The Apprenticeship of Duddy Kravitz (1959) on its curriculum, many of the Jews around me, including my parents, disapproved of him and being an insecure and somewhat sheltered young person, I was uncomfortable with how he wrote about his own. (I still maintain that the non-Jews in Duddy Kravitz come across consistently better than the Jews in the book.) Later, I loosened up and began to recognize that Richler was, in fact, proud of being a Jew – like most Jewish writers but not actors, singers etc., he never anglicized his name – and, in fact, was dedicated to exposing the hypocrisy, self-serving nature and bombast of the Jewish establishment and its most prominent citizens. That’s something that I can relate to, having had more than a little, and mostly unpleasant contact with some of those very same types of Jewish machers. (That’s Yiddish for movers and shakers.)

Pulling Punches: The Fighter

When David O. Russell directed Flirting with Disaster (1996) and Three Kings (1999), he took familiar genre material and then with flair and originality not only made it less familiar, he made it dazzling. In Flirting with Disaster, about an adopted man (Ben Stiller) who sets out to find his birth parents, Russell turned this hilarious sojourn into a whole new version of screwball heaven. (His first picture, Spanking the Monkey, a 1994 comedy about incestuous urges, served merely as a warm-up.)

Three Kings began as a satire about the 1991 Iraq War as seen through the eyes of three grunts who live average lives, but are looking for glory. When they seek to steal gold from Saddam’s bunker to enrich their own coffers, they find instead that their lives are dramatically altered when their quest becomes a rescue mission to save the lives of refugees. As a war movie, only Robert Altman’s M*A*S*H (1970) was its equal in the undaunting way it blended tragedy and farce.

Russell faltered with the highly ambitious, but tone-deaf, 2004 comedy I ♥ Huckabees which began as a fascinating existential mystery, but then got bogged down in a chaotic, shambling satire about corporatism and environmentalism. (Since the corporate heads, the environmentalists and the philosophers all end up as fools; it was tough to figure out just what Russell was lampooning here.) Even so, Russell was certainly an original who turned corners that you never saw coming. You felt like you were experiencing traditional stories opened up in radically new ways.

In The Fighter, however, David O. Russell walks a straighter line. The movie is about the rise of boxer Micky Ward (Mark Wahlberg) to become Welterweight Champion. But Russell pulls no rabbits out of his hat this time; he pulls his punches instead. It begins as a riveting character study of how Ward, from the working-class neighbourhood of Lowell, Massachusetts, had to overcome a complicated family dynamic to be the boxer he was destined to be, but the picture soon retreats into traditional inspirational territory. Which is another way of saying that The Fighter is sure to be a holiday hit.

Refreshing a Classic: Soulpepper Theatre Company's A Christmas Carol

Every Christmas, in every major theatre centre around the world, there seems to be a version of Charles Dickens' A Christmas Carol on the boards. On Broadway, you might see Star Trek's Patrick Stewart; on London's West End, any number of accomplished British actor have essayed the role; and five times in the last nine years, the acclaimed theatre company, Soulpepper, has mounted a production in Toronto (this year, it runs until December 30th).

The problem that any adaptor, director or actor doing this work faces is trying to find ways to make it fresh. Thanks to the book, and of course the brilliant Alastair Sim film version from 1951, we all know the material by heart, so it is difficult to have any measure of surprise for the audience. There's also never a need, ever, to warn people about spoilers ahead. Heck, we all know the last line: “God bless us, everyone,” and that it's delivered by Tiny Tim.

Listening: A Retrospective Soundtrack To Live By

As the troublesome decade draws to a close, people are compiling their top-ten lists for various art forms. I’d like to think back instead on a half-century of popular music that was able to, as a traditional gospel line suggests, “rock my soul in the bosom of Abraham.” Each tune has stuck with me. Not every one of the past 50 years is represented; some supplied multiple selections -- I could barely escape the 1960s, in fact. It wasn’t easy to choose from among so many worthy contenders. My apologies to the Supremes, Ray Charles, the Beach Boys, Etta James, Elvis Presley, Elvis Costello, the Grateful Dead, Jackson Browne, The Kinks, Led Zeppelin, Elton John, Mark Knopfler, Jesse Winchester, Bonnie Raitt and countless others. Disco and hip-hop aside, these are a few of a nostalgic Baby Boomer’s highly subjective favorite things: