Five, Actually Six, but Who’s Counting?

DATELINE: First Post-Apocalyptic Nuclear Movie

real star of Five Wright’s Eaglefeather

The 1951 unknown classic by Arch Oboler is called Five, about five survivors of a nuclear holocaust. It was way ahead of its time, but lost count somewhere in the post-apocalyptic shuffle. There are actually six survivors, including a black man, a baby, and a crypto-Nazi.

Director Arch Oboler was a radio writer and producer who went into movies. He was thought to be the poor man’s Orson Welles, and his movie productions were sporadic.

He used his Malibu estate to film the 1951 movie about a handful of people who come together to figure out what happened to the world. They actually surmise that it is genetic that they are immune to radiation, like those who were immune to the Black Death.

Director Oboler was a bit of a character, temperamental and an auteur who did what he wanted. His list of films is intriguing, but the real star of this low-budget film is Frank Lloyd Wright.

Yes, you got that Wright. Oboler had FLW build a mountain top aerie called Cliff House on his estate in 1941. Well, actually, they fought about it—and Eaglefeather became a truncated Wright home. Oboler filmed it from the backside to make it look smaller and more rustic.

The characters note that a rich man’s house is further down the Malibu coast: take that, Frank Lloyd Wright.

As you might expect, the film features Oboler’s particular political perspective. The villain of sorts climbed Mount Everest as a point of monumental ego, and the hero is a graduate of Harvard who specialized in literature. William Phipps has a recognizable face.

Susan Douglas is the innocent girl who goes back to the neutron bomb city to find her husband. She too is remarkable. But, the film has the feel of an early Twilight Zone episode. And, not surprisingly, Rod Serling loved Oboler’s films and used them for inspiration.

Called science fiction, the film is a character drama and low key with its racial angle and Transcendental approach. Fascinating movie.

 

 

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Return to Oak Island for Sixth Season

DATELINE: Bobby Dazzler Dayton

Drayton Bobby Dazzler Himself!

Drawn back to a sixth season of The Curse of Oak Island, we start with a big two-hour opening show. There is surprisingly little of the usual repetition featured in previous seasons. The episode tells us that, at long last with the Lagina Brothers, money is no object.

Like Sherlock Holmes adventures, the latest series is just like the previous seasons. It’s a formula for History Channel Success, and they aren’t messing with it. However, they have gone BIG.

Expense is the bottom line: new headquarters, new transportation around the island, and a cast of technicians that could find a pyramid, if not build one.

There are grandiose plans, making this the biggest season and making the series the new Money Pit.

Draining swamps is merely a bagatelle.

The star is again Australian Gary Drayton with his ability to hone in on treasure with his metal detectors—and then his impressive knowledge to instantly identify in detail something the so-called expert archaeologists can only confirm with less insight.

Within a day, the treasure hunters find a large two-penny from 1797. Gold is promised, but we fear it may be a gold filling from Marty Lagina’s tooth. They are actually now looking in areas never before explored on the small island.

The slow-arriving results remain part of the show’s ponderous slow-poke approach. There may be many of these episodes, dragging out the scientific findings. Lead isotopes may reveal a cross found last season is ages old from Europe.

On the downside, heart-throb Alex Lagina only makes a small cameo in the two-hour start, and Dan Blankenship, the 90-something explorer, looks younger than ever.

 

We’re back for every episode.

American Pie and Racism

DATELINE: Stopping Black Candidates at Any Cost?

imbeciles at work Go Suck on a Georgia Peach!

Like many deluded Americans, we thought racism, like smallpox, had been eradicated. Well, smallpox is back—and so is racism, thanks to a president who encourages it.

Racism, a sign at Fenway Park said, last year is “as American as baseball.”  The sign was quickly removed, but its sentiment remains. No World Series victory deodorizes this stink.

Trump has encouraged white nationalists to arm themselves and travel to the border of Mexico to shoot unarmed women and children if they dare to cross the line in the dirt.

Your president (well, someone’s president Trump) has insulted every black woman he can find: latest is Michelle Obama whom he contends writes a book for money and must put in controversy. Those are his values all right. You only act for money. In most morality, that’s called bribery.

Trump has called every black female journalist he meets stupid, which goes with his view of black Congresswoman Maxine Waters. Gee, do we see a pattern here? Not if you live in Florida.

In Georgia, another Georgia Peach is running for governor and hates black women like his opponent Abrams. We note only that the original Georgia Peach was a virulent racist, so Kemp is in a grand old party tradition.

In the Citrus state where Anita Bryant used to spew hate, you now have resident Trump furious that his boy Rick Scott is having the election stolen. Trump’s other stooge, DeSantis, is forming a transition team to take over. It used to be called a coup d’etat, now it’s called a recount.

Racism is as American as the grandiose old party that kicked out Lincoln years ago.

It’s rather unusual for American history to have a robber baron and grand wizard rolled into one orange-hair orangutan in the “Whiter than White House.”

They’ll Love Me When I’m Dead!

DATELINE: New Orson Welles Documentary

 3 amigos Three Amigos, More or Less!

If Orson Welles spoke this epitaph, then he was prescient. However, when Peter Bogdanovich reports this at the documentary’s start, his long-time girlfriend Oja Kodar refutes it. They’ll Love Me When I’m Dead is so on target. Alan Cumming narrates among the powerful voices.

Who knows? It is a juicy start to the recent Netflix restoration and premiere of Orson’s last film:  The Other Side of the Wind.

Since the final masterpiece of the Master is a mockumentary, years ahead of its time, it seems only fair that this documentary on the making of the film over 15 years is different than most.

You may be surprised at how many illustrious people, now aged, are still with us with fond and not-so-fond memories of Welles, who was bossy and a tyrant as well as an auteur genius.

He shot what he pictured in his mind. His philosophy in the end was one of “divine accidents” during filming as sources of inspiration that makes a monumental motion picture.

Welles suffered for his art. Money was the bugaboo and taking it from the Shah of Iran’s brother-in-law was a desperately bad move. He lost all control of the movie when the country went Islamic extremist. And, the French courts also tried to keep him from the one movie that kept him alive and creative.

Is it autobiographical? Perhaps, but Welles cast his friend director John Huston as Jack Hannaford—who could be John Ford or Ernest Hemingway or even Welles himself. It could be Huston was playing Huston. It is likely another famous director of their era: Nick Ray.

Scenes were filmed in fragments, often years between takes. Yet, it flows like some insane chorus of dissonant singers.

Netflix produced the documentary and has completed the last film of Welles (reviewed separately). If you need your appetite whet, this documentary will prime your pump.

 

 

 

 

 

Who Murdered Whitey?

 DATELINE:  Inside Scoop You Won’t See Elsewhere!

Itt

Based on information leaked to us anonymously, we have learned who and how the Federal Bureau of Prisons arranged to have James ‘Whitey’ Bulger murdered.

There are 3 “drop out” US Penitentiaries in the US federal prison system. The rest of the UPS’s or “Pens”, which are the high security prisons, are called “active yards”. This is because the prison authorities know about ACTIVE and CONDONED gang activity.

The BOP likes the gangs because they divide the prison population and work with the “shot callers” (aka the gang leaders).

Gangs fall into two categories. First category includes well- known gangs, like the Aryan Brotherhood, Mexican Mafia, Tango Blast, Bloods, Latin Kings, etc. Then, there are “cars”. These are really gangs of undeclared gang members who “gang up” by State of Region of the County.

The “car” that most wanted Whitey was the “Northeast car “which Boston is obviously part of. These gang members had a hit on WB which is and was known to the BOP officials. Within this system “rats” are “crushed” which means sneak attacks by at least two or more attackers and beaten until the guards get there.

A favorite weapon is a lock in a sock or a lock on a belt along with others things like homemade knives “shanks” or “bangers”.

The active yard BOP system wide prisoners live by the “fact” that anyone coming from a “drop-out yard” (such as Terre Haute, Tucson AZ, or Coleman II, in FL), as soon as they arrive at any other USP, shall and must be crushed.

This is known to all BOP officials.

No prisoner from a drop-out yard can be allowed to enter an active prison, especially with a KNOWN CONTRACT on his head like James Bulger.

Whitey came from Coleman II, then was in Tucson with a contract on him and then wheeled in his wheelchair on to Hazelton’s active yard.

The inmates who work at the Receiving and Discharge always know in advance who is arriving because they are told. It was all planned from the beginning and despite the BOP’s obligation to “protect” those in custody, they fed him to exactly who wanted to get him…all premeditated.

The Gardener: Northwest of Eden

DATELINE:  Exquisite Nature Manipulated?

moon bridge Moon Bridge!

Should this exquisite documentary be called The Garden? No, it is named for the man who single-handedly created 20 acres of pure beauty. It’s The Gardener.

Frank Cabot is not your garden variety gardener. His family owned miles of land in Quebec going back to the 1840s. He is a patrician horticulturalist, but he designed his gardens methodically as a labor of love.

He also had the resources and independent wealth to fulfill his creative impulses to build on his mother’s estate. He wanted something with magic, mystery, passion, and surprise.

When you visit his garden, you will be stunned. The private estate is open several weekends each summer for small public tours. No group meets another. Frank Cabot believed the best wanderers in his garden went silently and in a solitary state

His book of the 1990s inspired the film entitled The Gardener.

You will hear his last interview as he explained why he made paths that led to other motifs in his horticultural symphony or sonnet. Having spent time in Japan during World War II, he made several expensive replicas of tea rooms, with staircase waterfalls.

There are bridges of all sorts, like the oriental Moon Bridge that mirrors a circle in the pool it crosses. You will step into intimate little alcoves of flowers and shrubs that open up to vistas that spread for miles.

The film is surely publicity for the actual garden, for who will not want to experience the majesty and philosophical transcending moments in person.

You will whet your appetite for a trip to Eden, called Les Quartes Vents, from a viewing of this magnificent documentary.

 

Hi-Yo, Silva!

DATELINE: Yellow Brick Road to Singularity?

Hi-Ho Silva! 2045’s Pin-Up Boy?

Oh, we were pleasantly surprised to see Jason Silva, one-time game show host for Brain Games, has been elevated to Futurist and Philosopher for a new documentary called The Road to the Singularity.

Silva is affable, charming and good-looking, all the attributes of an American TV show host. We had no idea of his intellectual bent. He does have a degree in film and philosophy and thinks of himself as a “performance philosopher.”  Well, he is no slouch.

The latest riff is on the Singularity, that ugly term to describe what’s coming down the pike, like it or not, a major cultural shift in the human race. This time it is not language or agriculture: it’s Artificial Intelligence, and it will happen within your lifetime. The brains will belong to machines, and we end up dopes.

‘Look out,’ seems to be the message: what’s on the other side of the Singularity line may be hard to fathom right now. Technology is about to take a leap—whether the human race is up to the race to keep up.

If nanotechnology and biotechnology are too small for your aging eyes, you will have robotic beings to take up the slack. Like Michio Kaku, another futurist, Silva gives us the date of 2045 for this “Rapture”.

Our metro-sexual host is a cock-eyed optimist. He sees the use of metaphor as the best means to discuss “The Singularity.” All of those consulted in this half-hour show have not one whit of worry, like a gaggle of Alfred E. Neumanns.

You will see Jason Silva gesticulate with aplomb and carry on the future will be a time for personal growth for poets and artists. Our Venezuelan hottie (who claims not to be gay), Jason Silva turns into Pollyanna before our eyes. It’s definitely an example of the singularity of AI.

Scanning the Great Pyramid

DATELINE: Don’t Scan Zowie Hotass!

 Zowie Hotass

Here’s a documentary that you won’t see on Ancient Aliens.

Scanning the Pyramids is actually a misnomer about Khufu’s Great Pyramid. Oh, they do a quick test on the bent pyramid, but the real focus is on the extraordinary discoveries they make. This is a joint expedition with scientists from France, Japan, and Egypt.

Using new technology, they want to break ground without moving a stone. Yep, they can look inside the pyramid with something called muon scans. These little items come cascading in from space in a straight line, meaning they can photograph them on plates.

This new x-ray system should tell scientists whether there are more chambers inside the Great Pyramid.

The more sensation-seeking fans of ancient astronauts and genius architects in ancient Egypt will not be happy. Indeed, our favorite media hog and Egyptian Antiquities Queen of the Nile, Zahi Hawass, aka Zowie Hotass, shows up with an entourage, sputtering his disdain for science over Egyptology.

Nothing receives a green light in his dark vision. He thinks small pebbles may be inside the new pyramid void.

Unfortunately, Hawass Hotass is a political kingpin or is that pharaoh-pinhead? He is the stamp of approval scientists must face down.

He is, shall we say, skeptical of the findings, or even of the methodology.

The Japanese physicist who pioneers muongraphics looks like a teenager, which doesn’t help. However, all three countries confirm their findings that about 2/3 up the north side, where you see a pyramid notch, there may be another great chamber. It takes two years for this research to reach fruition, but it is worth it.

No one knows what may be inside the newly discovered great void, or even what shape it takes, but it is the first major discovery in 1000 years at the Great Pyramid. It is compelling evidence and fascinating science, unless you happen to believe in the Flat Earth like Hawass.

Zulu Dawn: Daybreaker of History

 DATELINE: Big Stars, Little Pictures

Epic Stars

Grandstand Stars in Peanut Gallery!

How can you pass up one of the last epic movies of Peter O’Toole?

Zulu Dawn was made back in 1979 to commemorate the British disaster of arrogance in the Old Empire in 1879 when spear-carrying Zulu natives beat the pants off of the robust British army in their pretty uniforms,

Not satisfied with riding 600 men to their deaths in Balaclava, and not to be outdone by the Americans with the Alamo and Custer’s Last Stand, the British class society puts its considerable stupidity on the line.

Great disaster events always seem to inspire epic movies.

We have to laugh again at Peter O’Toole’s sense of the uncanny, in asking “can he do it again?”  O’Toole was Irish, which certainly was a drawback that endeared him to Welsh best pal Richard Burton, but what they really had in common was playing British heroes with feats of clay.

In this epic that runs only two hours,  O’Toole’s job is to display all the tenacious idiocy of the British aristocracy. He is wooden in this role, but the film itself is like a totem pole on race relations.

The other aspect of the movie to make us scratch our heads was the top-billing given to an American star in a British epic of folly. It turns the screw on all those English stars playing Americans.

Yep, that’s Burt Lancaster, never too shy to stretch his accents. We love nearly every attempt of Lancaster in movies from Hemingway’s The Killers to Vera Cruz to Sweet Smell of Success. This time, the epic star of From Here to Eternity and Elmer Gantry wants to go up against Lawrence of Arabia and the The Lion in Winter’s better cousin Becket.

The movie also throws in Simon Ward, who tried his hand at epics like Winston and came up too short.

Well, forget it. This movie is workmanlike, like someone followed the recipe book and never added a pinch of salt.

Lancaster here plays the role of an Irish officer, which surely had to amuse O’Toole. Their epical petticoats were showing all too deliberately. He sounds like an extra from the Fighting 69th.

If you like to see the arrogant British colonial spirit receive its come-uppance, with a cast of great English second bananas (Denholm Elliott and John Mills and Bob Hoskins), you will enjoy this. As for us, we kept waiting for Michael Caine to show up. No, he doesn’t.

Leonardo: the Mystery of the Lost Portrait

DATELINE: More Da Vinci Uncoded

Leo Mess Portrait

An Italian production, but with American voice-overs to make it more palatable to English-speaking audiences, the latest Leonardo documentary puts a focus on a newly discovered “Lost Portrait.”

Indeed, the quest by the art historian is to put the interesting self-portrait through its paces. It looks, at first, too good to be 500 years old. Only when a restorer took off the varnish and repairs, it began to show its age: cracks and scratches over the face.

We think someone tried to scratch Da Vinci’s eyes out in a cat fight.

Experts are lined up from Salerno to Naples to Madrid, each specialist offering some different angles. Facial recognition experts try to determine if all extant self-portraits (and one portrait by a Da Vinci friend) are the same person.

This latest discovery is the Lucan Leonardo, thought for a long time to be a picture of Galileo.

Still, was the wood-based picture really done by Leonardo?

He looks about 50 and one test proved the feather in his cap was added in the 19th century: wrong kind of paint. However, the rest seemed authentic to 1500 or so.

This film features some unusual and unique techniques never done previously:  police detectives actually find thumb prints on the paint and match them to fingerprints on Leonardo’s manuscript codexes.

Forensic artists use all self-portraits to create 3-D versions of his head, and forensic handwriting experts decipher the backwards words in Latin on the obverse of the painting.

There’s something odd about the eyes, but…this one is worth your time.

Next World is Your Next Stop

DATELINE: The Futurist Bible

Kaku Bird

 Kookoo Clocked?

Machio Kaku hosts a re-tooled Japanese series about the future, all done in English, called Next World from the CuriosityStream.

The five episodes are short and artificially sweetened, purporting to tell us what life will be like in 2045, just around the corner.

Machio Kaku is more like Mucho KooKoo as the futurist host with his introductions spliced into the show. He sits or stands in a white room with Internet screens to segue to a morose narrator who does the heavy lifting. He may be a virtual entity.

What we learn about the future is that computer chips will be implanted in our brains, eyes, and bloodstream. We will be hooked into a great Artificial Intelligence. Heaven help you if you receive wrong info or have some political dictator hack into your head.

They don’t discuss that possibility in this series, filmed mostly at Harvard and MIT in their labs.

There is a great deal of optimism that hospitals will become obsolete, owing to chemical/computer implants that will hunt out disease and keep us young.

You will face a lifespan of 100 years, adding five hours every day, until we reach the Singularity.

Yes, that ugly word crops up repeatedly, meaning a time of major cultural and human shift, like the introduction of agriculture or writing. AI will change everything, as we will make political allies of robots and androids, even marrying them.

The most intriguing possibility is that there will be recreated lives online of famous historical personages, or even less vaunted ancestors, to whom we may converse and seek counsel (sort of like crying “Fire” on the Internet).

To transcend death, you may be able to put your consciousness into an android and live forever.

All this is predicted by 2045 when you can live on Mars or in a tower of Babel, now an island in the rising oceans.

It almost makes you want to go back to the caves.

 

Michael Caine: My Generation is Not Yours

DATELINE: Swinging 60s?

Michael Caine Only Blowing Off the Doors?

Michael Caine, one of the great film stars, and under-rated actors since the 1960s, produces and presents a documentary that gives intriguing insight into the London influence of the 1960s.

That was the time of swinging London, Carnaby Street, and the Beatles. It was also when Caine first struck pay-dirt in his movie career.

Caine knows enough to start the documentary with his famous line from the Italian Job about blowing the bloody doors off the car, famously parodied in The Trip and The Trip to Spain by Coogan and Brydon.

You will see a few TV clips of his early performances, and he tells how he chose the name Caine for his career (based on an old Humphrey Bogart movie playing nearby when he was selecting). All this early detail is marvelous.

He even notes that he was a few years older than the group of Cockney stars that rose up in music, film, photography, and fashion. But he was there.

With ingenious clips of young Caine riding up in an elevator, and the old man stepping out, you have his memories coming out: he recalls going to a trendy dance club where every Beatle and every Rolling Stone was dancing; he figured this was the place to be.

Michael Caine converses with Roger Daltrey, Donovan, Joan Collins, Twiggy, Paul McCartney, and Marianne Faithfull, about the days when they were young. He is right there for most of this, but in the final segments, when drugs and LSD take hold, he is not really a participant.

As he points out, he kept his head. It is why he is still making movies fifty years later. He was far beyond London by the late 1960s and the drug scene there. It is alien to him.

The insights are fun and enlightening in his chats with those who transcended their Cockney roots. There is also a soundtrack of great 60s music from Kinks, Beatles, Stones, and Animals.

 

 

Filmworker: More Than Kubrick’s Go-fer?

 DATELINE: Alternate Ego?

Leon Vitali Young Vitali

We won’t quibble with you. At first, we were put off by the idea that someone had done a documentary on Stanley Kubrick’s assistant. We thought it was chutzpah to call this man a partner or more in Kubrick’s career.

Leon Vitali prefers to be labeled “Filmworker,” and how wrong we were about his contributions to the works of the grand master after 1976. For 30 years, Vitali became more than an assistant: he was an alter ego, a shadow to Kubrick’s Peter Pan.

To work in such proximity to a whirlwind dervish genius takes its toll. He went from stunningly beautiful boy to haggard and wizened old man. He was there for Full Metal Jacket and The Shining, doing everything with Eyes Wide Shut.

Kubrick met Leon Vitali as an actor on the movie Barry Lyndon. The beautiful young man so impressed Kubrick that he revised the film and made him a featured actor. He is brilliant, trained by the Royal Shakespeare troupe, etc.

Yet, he threw it all away when given the chance to work as a Doppleganger to Kubrick.

Not many actors would toss away potential movie star status to become lost in the voracious appetite for work that was Kubrick. When you look at Vitali today in his old age, you cannot find the pretty boy he once was: the Kubrick perfection disease has ripped him to shreds.

We were surprised that he had time to procreate a family. For 30 years, on every film, he worked 20 hours per day, doing whatever Kubrick wanted: casting, lighting, sound, editing, scripts, and jack of all trades. Leon Vitali puts to rest the rumor that Kubrick filmed a fake Moon landing for NASA.

He had the enviable job of being on the right hand and left hand of Kubrick. He took startling photos of the reclusive genius. We liked see James Mason with Jack Nicholson on the set of The Shining.

It was Vitali who came up with the idea of twin girls murdered by axe. He was child star Danny’s acting coach, and the lines between Kubrick and Vitali disappeared over the years. Kubrick would send out messages in Leon’s name, would call him for impossible and constant errands.

Vitali was more than an assistant. He was joined at the hip with the great auteur. You might suspect they were gay lovers, but their love was strictly the film business and mostly the art.

 

 

 

 

 

Every Picture’s Untold Story, Part Two

DATELINE: Twice-Told Lizards

Mrs. Arnolfini, not pregnant No Expectations?

Waldemar Janusczark returns for a second round of nasty interpretations of great works of art. The series is the veddy British Every Picture Tells a Story. He isn’t off much in his comments. After all, it’s art and open to criticism from a legitimate authority. He does it with aplomb and humor, if not deadpan accuracy.

Among the targets this time around are Da Vinci and Caravaggio, as well as Jan Van Eyke.

First up on the hit list is Caravaggio, known for his violent depictions of effeminate boys, mostly commissioned works for wealthy and gay bishops.

Caravaggio liked to use rough trade types from the streets of Rome in his religious depictions, and he also enjoyed using a younger version of himself as Bacchus, that god of dissipation and licentiousness.

So, Waldemar goes after Boy Bitten by Lizard. It may be one of the rare occasions when pontification about the symbol of the middle finger is at the heart of art.

Later, he tackles Da Vinci with a hatchet. There is no love for the great master as Waldemar notes how Mona Lisa is a marketing icon and a plump housewife whose critical appreciation is overwrought.

He also takes on The Marriage of Arnolfini, ridiculing anyone who says Mrs. Arnolfini is not pregnant in the picture. He goes even a step beyond to suggest that she is the victim of death in childbirth and that the portrait is posthumous, done as homage by her husband.

You cannot go wrong by hearing these takes on great art, and it will make you the center of attention at parties when you reveal what you have learned.

 

 

Every Picture Tells: Fascinating Doc

DATELINE: Picture This, Part One

 Mr. & Mrs. Mr. & Mrs. Andrews

Art critic Waldemar Januszczak  makes great paintings accessible and stresses how they endure.

From its galloping opening credits, you know this is not Kenneth Clark pontificating. It is art with a large dollop of droll and snide insight. The host begins with a barrage of witty puns.

The mini-series covers a couple of disks with four major paintings and painters on each. Waldemar knows enough to start off the series with his aplomb dropping wit applied to Thomas Gainsborough.

You might think he’d do “Blue Boy,” but instead he goes for an unfinished masterpiece called “Mr. & Mrs. Andrews.”  He savages them totally in about 25 minutes.

In the host’s estimation, Gainsborough did not like Mrs. Andrews much—and the family cancelled the picture before it was finished. He wanted to show the hard-hearted Mrs. Andrews throttling a pheasant her husband just shot on their massive estate.

Gainsborough insights abound from the critic. He notes how the painter’s father was into satin manufacturing—and his artist son always makes his subjects wear the most gorgeous clothes.

As for the subject of portraiture, he did not favor it. The first episode is lively and wonderful. Succeeding pieces on Rembrandt, Giorgioni, and Boticelli, are less amusing, though he provides many startling facts.

You will find that Rembrandt enjoyed the lessons of dissecting human bodies, and Venus on the half-shell is more than an appetizer.

You can’t turn away from great art, or great education, and we look forward to what he has to say about Da Vinci and Caravaggio in the subsequent episodes.