Nostalgic Musical Merriments

Nostalgic Musical Merriments!

by Kristin Battestella

These sentimental and comforting but no less fun and informative musicals, movies, and documentaries provide nostalgic feeling and most importantly, some great tunes.

The Beatles: Eight Days a Week – The Touring Years – This hour and forty-five minute 2016 documentary from director Ron Howard (Apollo 13) traces the band's early formation and their epic tours from 1962 to 1966 with new interviews from Paul McCartney and Ringo Starr alongside archive film with George Harrison and John Lennon audio. Vintage photos accent concert footage of “She Loves You,” “Twist and Shout,” “I Saw Her Standing There,” “Can't Buy Me Love,” “Help,” “Nowhere Man,” “Don't Let Me Down,” and more classic tracks. Cues from the likes of “Please Please Me,” “I Wanna Hold Your Hand,” “I'll Cry Instead,” “A Hard Day's Night,” “I Feel Fine,” and of course “Eight Days a Week” set off onscreen timelines and locations – a linear narrative from Liverpool innocence and the risk of failure in America to initial newsreel interviews getting their names wrong and The Fab Four's humor over the baffling Beatlemania. More clips and radio reports capture the era as the relatable group transcended cultures thanks to welcoming, colorless music and freedom of expression. Their compassion was more important than the hysteria, and the Four historically refused to perform segregated concerts while writing fast on the road and sharing their experiences through songwriting. After their simplistic love songs made to appeal to the masses quickly caught on, they laughed at the thought of their music's lasting impact on western culture. However with the A Hard Day's Night movie spurring the out of control teen movement, John, Paul, George, and Ringo began to realize how big they really were. 30,000 seat tours and everybody wants a piece of them over the sheer logistics and money to be made even if the amplifiers couldn't carry the sound at Shea Stadium. They turn to the recording studio to express themselves deeper despite the rapid singles pace and album release pressure – uniting against touring as drug use escalates. New interests in art, Indian music, and life not lame photo sessions lead to album growth while controversies, negative interviews, and persona non grata threats begat apologies and increased security. The circus was no longer about the music, and the Sgt. Pepper sessions provided a chance to freely experiment with mature, innovative sounds rather than catering to the masses on the road. No longer mop top boys, our long haired sophisticated men go their own way before final, rare footage of the 1969 Savile Row rooftop concert. Although this may be nothing new to longtime, hardcore fans, this behind the scenes focus is a great starting point for new, younger listeners.

Dirty Dancing – My sister the dancer and I watched this 1987 hip grinding fest starring Jennifer Grey (Ferris Bueller's Day Off), Jerry Orbach (Law & Order), and Patrick Swayze (I prefer North and South myself) a lot. I mean a lot. At least the dance scenes anyway. I think she went along with us getting a pool just so we could do that lift in the water, too. Though specifically set in the summer Catskills with mid century cars, frocks, pearls, and budding sixties flair; there are also heaps of eighties hairstyles, sneakers, hip dialogue, and thirty year olds playing teenagers to match the original Swayze tune “She's Like the Wind,” “Hungry Eyes,” and the massive “I've Had the Time of My Life” hit. Whether ticklish traditional routines or forbidden steamy – that “Cry to Me” scene, come on – the dance moves remain energetic. The characters are cliché thanks to the fifties elite mentality and the poor boy from across the tracks social barriers, yet everyone's likable thanks to subtle humor and quirky charm. For what on the surface seems to be nothing more than a dance movie, there are some progressive abortion and pre-marital sex debates. Here women are supposed to go from daddy's little girl to the wholesome wife of a doctor with no other options– dating the bad boy or having career dreams were unacceptable. While some of the life imitating art coming of age is heavy handed and melodramatic, the female focus retains surprising depth. When recently catching this on television late at night, I thought the sweet, sweet oldies like “Be My Baby,” “Do You Love Me,” “Will You Still Love Me Tomorrow” and more would just be great background noise. However, the comforting storytelling and sexy dancing put a smile on my face. After all, “Nobody puts Baby in a corner!”

Hello, Dolly! – Gene Kelly (Singin' in the Rain) directs this 1969 musical adaptation starring Barbra Streisand (Funny Girl), Walter Matthau (King Creole), and Michael Crawford (Phantom of the Opera) – an overlong two and a half hours with excessively orchestrated, meandering set pieces and dull, unnecessary songs that all feels ten years too late. At times the battle of the sexes banter, zingers, and personality shine better without the music. There are too many misunderstood couples creating more confusion than comedy, and it's easy to zone out or skip around once viewers stop caring about whether this is supposed to be about the matches or the matchmaker. The fast talking backtalk stalls the momentum rather than moving the chemistry along, and the exaggerated, tip toe, butt in the air dance steps are so awkward it borders on parody. This over the top performing for the back row never actually breaks the fourth wall to let the audience in on any meta wink, and sometimes it's all just an hour and a half exercise in making it to the titular show stopping Louis Armstrong (High Society) number. Having said all that, the specific attention to turn of the century New York detail is superb nonetheless thanks to on location pretty, period storefronts, lovely trains, trolleys, and carriages. Feathers, lace, parasols, spats, hats, waistcoats, buttons, bows, and baubles add flair to the wonderful costumes. The bumbling couples are both so flamboyant with their fawning over each other yet completely repressed in their pesky Victorian high collars. Despite the fifties whoopee safe tunes, these corseted women are about to explode and the cross legged men are so grateful to be near enough to a lady to dance. The it's complicated and for love or money hi jinks may be cheeky – the one on one battle of wills where performances are allowed room to maneuver are best – but there's a nostalgic comfort and innocence to the slightly out of touch simplicity. This musical denouement in changing times provides enough whirlwind charm and visual splendor to keep the golly gee giving for young and old.

Stevie Nicks: In Your Dreams – With weepy fan voiceovers, airplane arrival montages, shaky cam introductions, and made to look retro footage, this 2013 documentary chronicling Stevie Nicks' In Your Dreams album collaboration with the Eurythmics' David Stewart is very slow to start. Fortunately, rainy California scenery sets the ethereal mood and we're all here for Stevie's recorded messages and interview sit downs on her pen and paper approach to writing or music production and inspirations. Poetic genesis, military impetus, literary references, and more background on each of the songs from the titular 2011 album pack these 100 minutes with “Everybody Loves You”, “You May Be the One,” “Wide Sargasso Sea,” “Secret Love,” “New Orleans,” “Annabel Lee,” “Italian Summer,” and more. At times, it's difficult to know which tune samples you're hearing because Stevie's lyrics and titles don't always immediately reveal themselves. However, onscreen notes, music video snips, and raw, home recording studio sessions balance the sometimes heated discussions about which tracks sound best – it takes hours, sometimes days for just a few minutes of music. This fly on the wall viewer perspective provides an inside peak at the stress, difficulty, nuances, and all the little things that go into such pretty, sweeping orchestration. Chats with Mick Fleetwood, fun moments with crew, childhood audio clips, early photographs, and home movies create a personal touch. Though occasionally pretentious over waxing on life, love, and music being one and the same with heavy spiritual and emotional thoughts, humorous moments and sarcastic quips keep the time lighthearted. Our rock stars don't forget to rock, and by sampling enough songs and sharing the touching inspirations behind them, this documentary does what it is supposed to do – make you want to buy the album. Why wouldn't you anyway?

Big Name Bios and Musical Documentaries

Big Name Biographies and Musical Documentaries

by Kristin Battestella

These documentaries and specials celebrate our tormented singers, melancholy composers, and lovable neighbors are surprisingly tender viewing experiences.

The Beethoven Symphonies 1-9 – This 2001 seven hour concert series in Rome featuring the Berlin Philharmonic with Claudio Abbado conducting breaks down into nine episodes varying from a half hour or hour and change as each titular composition dictates. One is an effortlessly melodic and pleasant start sowing the seeds of Ludwig's intensity before the peppered and windswept No. Two in D Major. From the early romantic strings, forlorn measures, and epic tempo of the Eroica to Four's often overlooked sweet, almost jovial and happy go lucky complexity or the bombastically famous Fifth we all know and love – there's an adagio here for everyone. Be it conductor or double bass, it's also bemusing to see all the smiles, sweat at the temple, and serious head bopping from this animated orchestra. However, the talent and intensity of all involved also provides an emotional, can't look away awe as each note and every instrument come together with the audience's applause, standing ovations, and bowing musicians. Six's pleasing opening and enchanting notes are a Pastoral Symphony indeed; a happy allegro stroll antithesis to V's rumbling with an awesome music meets nature storm all its own before the feisty, boisterous power of No. Seven's Allegretto. Likewise, Eight's short, energetic, and voluminous spirit begats the quintessential Ode to Joy of Nine, complete with big voices, chorals, and mighty crescendos to match the rousing power of this epic finale supreme. These symphony performances ensured forever onscreen are the perfect encapsulation of the man behind the music who could not hear his works. Each stage of Beethoven's life can be paralleled through the measures' highs and lows –showcasing the angry, frenetic, morose, and complex undertones with the no less uplifting, even aloof and carefree yet spirited high notes. Though I personally prefer the odd numbered symphonies, all the segments herein remain perfect for either a musical classroom analysis or as a delightful background score for a sophisticated party or just as repeat ambient multimedia experience. 
 

John Lennon: Plastic Ono Band – This 2008 Classic Albums hour features interviews with Ringo Starr and Yoko Ono as well as archive Lennon audio, home movies, and Beatles footage to recount the raw singing, childhood inspired songwriting, and intimately personal recording sessions of the ex-Beatle's first 1970 solo album. Retro photos and some great song clips detail Lennon's larger than life personality as earlier restrictions within The Beatles lead to a newfound freedom and catharsis in the studio. From the previous 1969 'Give Peace a Chance' release, Amsterdam bed-ins, and performance art to 'Cold Turkey' and 'Instant Karma,' the beginning of Lennon's relationship with Ono and the conception of the new band are touched upon within the music alongside experts and recollections from Klaus Voormann. Despite divorce scandals, the breakup of the Beatles, and largely absent session producer Phil Spector, Lennon made a conscious effort to openly express himself further in song without mass technical productions for the quickest turnaround possible. The dual sessions with Ono's matching album were inspired by Janov's The Primal Scream therapy, resulting in simple, focused songs such as 'Mother' that were able to communicate decades of Lennon's pent up torment. 'Hold On,' 'Isolation,' and 'I Found Out' are revisited with isolated vocals and bass cords while the influence of his relationship with Ono as well as continued work with Ringo are discussed inside 'Why' and 'Love.' Perhaps it is easy to forget John was only thirty years old during these sessions – he's a man ready to move on from the heights of Beatlemania thanks to the likes of 'Working Class Hero' and 'God.' Lennon fought against the studio trying to restrict his lyrics in order to keep his music as pure as possible consequences be damned. Whether you agree with some of his activism and messages or not, there is a certain amount of respect to his adamant vulnerability and the great music produced here. Of course, some of the conversations herein may be tough to understand – even the subtitles have a few 'inaudible' moments – and there is more language and brief nudity in the vintage footage. With its short time and narrow window, this will be quick and superficial to some die hard Beatle aficionados. However, this isn't a biography but rather a recounting of music as the mirror of the persona fitting for nostalgic older fans and a great starting point for new listeners.

Won't You Be My Neighbor? – Pleasing titular music, blazers to sweater comforts, puppets, and trolleys accent this acclaimed 2018 documentary on the beloved minister cum children's television presenter Fred Rogers and his charming PBS series Mister Rogers' Neighborhood. Alongside crew recollections of the on the fly developments of live television, early behind the scenes photos, black and white videos, animations, and archive footage recount Rogers' philosophies on using television and mass media as a tool for education aiding children through life changes, wartime fears, and political unease. Rather than dumbing down his programs with silliness, Rogers remembered his own childhood illnesses and need for imagination – using relatable honesty, musical allegories, and friendly metaphors to speak to a child from his or her own poignant, frank level. In this safe onscreen community of lovable characters and make believe, Rogers expressed negatives, anxiety, and vulnerability in lessons youth nationwide could apply in the real world. Though initially received as 'square,' Mister Rogers' Neighborhood quickly became lauded television thanks to its lack of heavy handed sermons. Rogers valued the space between the individual and what he or she is watching as personal and filled it with positive faith and love thy neighbor communication that went against television's consumer nature. When Nixon attempted to cut public television funding, Rogers' congressional testimony on how television can help children understand self-realization, control, anger, and right versus wrong saved PBS. Mister Rogers' Neighborhood continued to assist youth of all cultures through Vietnam, the RFK assassination, and the Challenger disaster – unafraid to help young viewers grieve and understand loss with dignity. Rogers takes us to task for not placing the emotions of children above all else as his silence onscreen, slow pace, and direct approach encourage focus, patience, and the need to pay attention. Instead of in your face cartoons, viewers near and far were told to speak up and express themselves. The narrative here balances the serious moments with humorous anecdotes and bloopers, however it isn't all positive. Rogers had his doubts, and it was easier to share his own feelings through puppets rather than always be so perfect. His prime time attempt at a program for adults was uncomfortable for many – too deep to be taken seriously. Although he wasn't fond of the spoofs mocking him and disliked bullying reminders of his own hurtful adolescence, Rogers continued to tackle big issues for children such as death, divorce, even being lost. Life is tough enough without creating self-doubts, and Rogers disliked adults unaccepting of mistakes or disappointment pressuring kids to be something they aren't. Despite the risk of losing sponsors, Rogers also supported black and closeted staff where possible, and open our eyes to cancer, wheelchairs, racism, and a stronger sense of being. Even when it's coming over the television airwaves, what's most essential in life is actually invisible to the eye, for we don't need to be sensational to be special but can be accepted as we are and should in turn do the same. This feature is a very emotional viewing catharsis, an innocent, necessary nostalgia reminding us of all the feelings, tenderness, co-existence, inclusion, and love Mr. Rogers taught us. One wonders what he would think of our current climate, as we could sure use his gentle wisdom today.

We're Beatles Certified!

Hello Music Fans!

I Think, Therefore I Review is now "Beatles Certified" thanks to my completion of The University of Rochester's The Music of the Beatles six week online course. 🏆

Since taking part in Turner Classic Movies' classes the past several summers via Canvas Network, I've been looking for similar online programs. The Music of the Beatles is presented through Coursera in a self-paced program that's extensive but not beyond semi-casual learners like me.

For The Music of The Beatles, Professor John Covach presents several videos each week, going album by album with historical information and song close ups breaking down the music craft and artistry of John, Paul, George, and Ringo. I didn't do as well on the final test as I should have - I missed some of the music theory questions on several songs from early on in the course. However I'm not perfectionist enough to retake the quiz for a higher score, although that is a nice option for students who are trying to maintain a much more professional level of achievement than little old me.

I need to clear my calendar, as I'm looking forward to joining the History of Rock & Roll and Music of the Rolling Stones courses also available from the University of Rochester.

Thank you Professor Covach for a fun and informative lesson!

Top Ten: Musicals!

Welcome to our new Top Tens series in celebration of I Think, Therefore I Review's Tenth Anniversary! These monthly lists will highlight special themes and topics from our extensive archive of reviews.

This time I Think, Therefore I Review presents in chronological order...

Our Top Ten Musicals!

The Glenn Miller Story

Guys and Dolls

Jailhouse Rock

King Creole

Sleeping Beauty

Babes in Toyland

Camelot

Sgt. Pepper's Lonely Hearts Club Band

Newsies

Mamma Mia!

Please see our Musicals tag or our Classics label for yet more melodious analysis!

I Think, Therefore I Review began as the blog home for previously published reviews and reprinted critiques by horror author Kristin Battestella. Naturally older articles linked here may be out of date and codes or formatting may be broken. Please excuse any errors and remember our Top Tens will generally only include films, shows, books, or music previously reviewed at I Think, Therefore I Review. 

 

The Essential Now That's What I Call Christmas

The Essential Now That’s What I Call Christmas Does What It Says

by Kristin Battestella

The Essential Now That's What I Call Christmas is a 2008 holiday collection brimming with 25 tracks for nearly 80 minutes of both traditional and contemporary Yule staples for one and all. Yowza!

Ironically, The Essential gets off to a bittersweet start with Happy Xmas (War Is Over) by John & Yoko and the Plastic Ono Band with the Harlem Community Choir – a lovely but sociological somber that feels more like it should be a penultimate track. Of course, Elvis is on hand to serve up everyone's favorite little melancholy in Blue Christmas, and later on Wham! provides some more recent toe tapping sadness with Last Christmas. Fortunately, several mid century classics including It's the Most Wonderful Time of the Year from Andy Williams and Dean Martin's Baby, It's Cold Outside set a more lighthearted seasonal mood as does the whimsical Johnny Mathis version of It's Beginning to Look a Lot Like Christmas. Burl Ives' A Holly Jolly Christmas adds some more peppy fun for The Essential alongside Little Saint Nick by The Beach Boys, and the kids can have a good time with Gene Autry's Rudolph the Red-Nosed Reindeer and The Chipmunk Song (Christmas Don't Be Late).

The Jackson 5's version of Santa Claus Is Coming to Town shakes up the merriment and Chuck Berry's Run Rudolph Run creates some groove – don't lie, everyone sings along to Elmo & Patsy's Grandma Got Run Over by a Reindeer and secretly dances to Rockin' Around the Christmas Tree by Little Miss Dynamite Brenda Lee. Oddly, rather than the Brenda Lee or Bobbly Helms versions, Hall & Oates take on Jingle Bell Rock is included here. However, the Now That's What I Call Christmas franchise is also only repeating a handful of songs or renditions on The Essential that were already included on previous Now That's What I Call Christmas Volumes 1, 2, or 3 – shrewdly swaying listeners to pick up this set to complete their holiday music collection. José Feliciano's Feliz Navidad and Paul McCartney's Wonderful Christmastime fit The Essential's catchy theme, but the Donny Hathaway original This Christmas plays suave alongside Elton John's throwback Step into Christmas.

Two new in 2008 singles Mistletoe from Colbie Caillat and Ledisi's very smooth This Christmas (Could Be the One) feel a little less famous and slightly out of place amid the classic names. Indeed, there are a few songs on The Essential I could do without – some are certainly more perennial or timeless compared to others steeped in their dated era. Too much of the engineered pop saccharin sounds the same after awhile, becoming nothing but holiday background noise. As much as this session provides some titular must haves, there are certainly several big songs missing – cough The Christmas Song and White Christmas cough – not to mention the lack of, you know, Christmas carols. The Little Drummer Boy from the Harry Simeone Chorale is an unusually old fashioned choice for The Essential, and Do You Hear What I Hear? by Carrie Underwood and Amy Grant's Breath of Heaven (Mary's Song) mark a brief spiritual block of longer, reverent ballads before The Essential concludes with a slightly misrepresenting but no less gentle and appropriately fitting Silent Night from The Temptations.

Yes, the numbers, volumes, and titles of these Now That's What I Call Christmas sets can become increasingly confusing. The Essential will repeat hits you already have on other combination collections and original albums. This CD is packed with mostly shorter tracks, and the mix is uneven with some songs being louder or at a lower volume than others. There are precious few powerhouse vocals or ballads and only a handful of religious tunes. However, the catch all by design also makes it easy to skip to your favorites. By and large, these are the original editions we want to hear, not generic covers or instrumentals often found on cheap compilation sets. The Essential Now That's What I Call Christmas is a breezy, safe potluck of secular classics, contemporary rock, and seasonal pop. Be it the office playlist or a fast all in one place download, there's a little something for everyone to be found here.

Classic Rock Documentaries!

Classic Rock Documentaries!

By Kristin Battestella

Are you displeased with modern tunes? Then let's relive the sounds of decades yore with these classic groups and music heavyweights! 
 

Classic Albums: Fleetwood Mac – Rumours – This 1997 hour from the Eagle Rock and VH1 series focuses on the behind the scenes turmoil, relationships, and technicalities invigorating Mick Fleetwood, Stevie Nicks, Lindsey Buckingham, and John and Christine McVie in making the famed 1977 Rumours album – the second from the group’s revitalized incarnation. The genesis and creation of hits such as “Go Your Own Way,” “Dreams,” “Gold Dust Woman,” “Don’t Stop,” and more are dissected from the initial writing to changes in the recording sessions and album finalization. While the before and after samplings of the tunes and the conversations on the ups and downs are interesting, the tone sometimes wavers between being overly tender or laid on heavy in some spots. Perhaps the band members aren’t exactly orators in discussing their musical thought processes either, and their accents may confuse some viewers, too. However, classic rock fans will enjoy the nostalgic behind the scenes, and music students interested in the mechanical aspects or songwriters relating to the emotional translations involved can definitely learn plenty here. This is a fun, informative, introduction to the saga that is Fleetwood Mac, and perhaps most importantly, it gives you an itch for a complete Rumours listen.

Fleetwood Mac: The Dance – After a hiatus, Christine McVie returned to the lineup for this 1997 concert video chock full with “The Chain,” “Dreams,” “Gold Dust Woman,” “Gypsy,” “Rhiannon,” “Don’t Stop,” “Go Your Own Way,” and many more. It’s nice to hear lesser-performed compositions – those that depend on McVie’s appearance such as “Everywhere,” “You Make Lovin’ Fun,” and “Over My Head” as well as then-newer tunes like “Temporary One” and “Bleed to Love Her.” Stevie Nicks sounds slightly different of course, but McVie sounds the same, everyone looks good, and its great to hear the entire incarnation together with a fun moment for John McVie on “Say You Love Me.” The subtitles are also helpful with the sometimes cryptic, poet lyrics, and Nicks, McVie, and Lindsey Buckingham give some information on several songs. Though well edited, entertaining, and swiftly filmed, this concert isn’t a big spectacle production like more recent shows. Technical music audiences may even find this under produced despite the subdued nineties norm and intimate, small session feeling – which is as it should be with essentials like “Landslide” and the intense “Silver Springs.” However, Buckingham provides the rock outs and guitar genius with “I’m So Afraid,” “Big Love,” “Go Insane,” and “My Little Demon,” and Mick Fleetwood makes his usual crazy extreme drumming faces, too. Granted, this 90-minute performance has some confused vision – is this a comeback tour of past hits or a new release of special material with some classics for good measure? The companion CD has a different track listing and I could do without the USC Marching Band finale, but “Songbird” is a lovely coda for the piece. Fans of the band can certainly delight, and younger audiences newly discovering Fleetwood Mac can take the next step with this complete lineup and unique performance.

Freddie Mercury: The Great Pretender – This full-length 2012 retrospective focuses on the lead singer of Queen and his more unusual successes, missteps, and solo projects apart from rock groupdom including early ballet concerts, musical performances, and operatic tours in his final years. From the decadence of the seventies club scene, career heights, and questionable associates to frank discussion on criticism of Mercury, his generally closeted media approach, and reaction to his untimely AIDS related death; new interviews from friends, fellow musicians, and industry alums help paint an intriguing picture. Rare archive footage, music videos, and interview segments both shed light on Mercury’s shyness regarding his private life and contribute to the alluring dichotomy of his flamboyant stage persona. It’s interesting to hear his own thoughts on living it up in comparison to his admitted difficulty in trusting people or talking with others, “The more I open up, the more I get hurt.” How could Freddie Mercury think he was boring and be terrified of being alone? The accents may be tough to understand for some, but live renditions of songs such as “Bohemian Rhapsody,” “Somebody to Love,” and “Barcelona” are simply delightful along with unreleased demos; home recordings; samples featuring Michael Jackson, Luciano Pavarotti, and Montserrat Caballe; and more lesser seen or heard solo compositions from Mercury’s Mr. Bad Guy album. Longtime rock fans or budding Queen enthusiasts seeking an astute peek at Mercury’s musical legacy will love this.

In Dreams: The Roy Orbison Story – Take a lesson 21^st century whippersnappers! I’ve finally been able to see this complete hour and a half 1999 special focusing on the man to whom even The Bee Gees, Bono, and Bruce Springsteen bow. It’s simply glorious to see vintage footage and interviews and hear the late too soon Orbison speak of early Sun Records anecdotes, his childhood musical inspirations, devastating family tragedies, and his final resurgent success. And let’s not forget all those awesome, quintessential tunes such as “Pretty Woman,” “Only the Lonely”, “Running Scared,” my favorite “Crying,” and more concert scenery amid conversations with contemporaries like Johnny Cash, George Harrison, Chet Atkins, Tom Petty, and next generation stars like Elvis Costello and Chris Isaak. If one wants to learn how music should sound, one must digest as much Orbison as possible. It’s that simple, and this set is a great place to begin. I could go on and on and on – some of the first CDs I ever had were Orbison albums – but I’ll stop now. I mean, Barry Gibb calls Orbison “The Voice of God.” Yeah, that about says it.

Live and Let Die

Stereotypes Taint Live and Let Die

By Kristin Battestella

Generally considered at the low end of the James Bond franchise, I like Live and Let Die for its introduction of new Bond Roger Moore and slick performance by Yaphet Kotto. Unfortunately, stereotypical portrayals of Harlem and New Orleans along with a hefty dose of blaxploitation styling make some portions of Live and Let Die too dated and out of touch with the rest of the series.

MI6 Agent 007 (Moore) travels to America to investigate several murders, including the death of a fellow agent. Clues at Mr. Big’s New York Club lead Bond to New Orleans and Caribbean dictator Kanaga (Yaphett Kotto). Along with CIA agent Rosie Carver (Gloria Hendry), Bond travels to San Monique, where boatman Quarrel Jr. (Roy Stewart) helps him rescue the lovely Solitaire (Jane Seymour) from Kanaga’s voodoo practices and drug trafficking.

Some Bond pictures tend to drag or go on too long, but the short length of Live and Let Die is just right. Bond does what he has to do and that’s that. We’ve got the action and the babes, but Moore’s lighthearted tenure begins here with quick pacing and tongue in cheek scenarios. Though Live and Let Die has its faults, Roger Moore isn’t too bad here. Using a magnetic watch to unzip an Italian hottie in his opening scene puts Moore in the cool column. Some of the crocodile sequences and voodoo displays are silly, yes, but these are not his fault. Had Moore been given a tighter, darker script, maybe his sardonic portrayal and less rugged Bond might have developed differently. 

Also charming up the cast for Live and Let Die are Yaphet Kotto (Homicide: Life on the Street) and Jane Seymour (Dr. Quinn, Medicine Woman). I like both, so even in the weaker parts of the film, Seymour and Kotto show their talent. Again, some scenes are very silly, from Kotto’s obvious dual role as Kanaga and Mr. Big to Solitaire’s virginal end at the hands of Bond. Solitaire is beautiful and Kanaga is slick, but their dialogue isn’t very strong. Both are merely vehicles for Bond to do his outlandish things. Screenwriter Tom Mankiewicz (Diamonds Are Forever, The Man with the Golden Gun) and director Guy Hamilton (Goldfinger, Diamonds Are Forever, The Man with the Golden Gun) focus more on black stereotypes and seventies motifs of the day rather than giving what could have been an exceptional leading trio something truly meaty. Drugs and tarot cards definitely seem weak after all of SPECTRE’s world domination plans.

Now, some blaxplotation pictures are less derogatory than others and are still pretty good. Unfortunately, Live and Let Die is not one of them. Not only are all the seventies afros and dress very dated, but every black cliché has its moment. Turncoat agent Rosie Carver sports an afro wig and meets her demise after spending the night with WASP Bond. But of course, we don’t see Kanaga bagging Solitaire, do we? I don’t know how accurate the voodoo motifs are, but they don’t look authentic. In fact, all the snakes and skulls rising from the ground are laughable. Even if the opening funeral and jazzy murder are done right, the depictions of Harlem, New Orleans, and the Fillet of Soul restaurants are just too, well, racist. Bond likes some chocolate love on the side while rescuing the white virgin from the big black badass! I don’t know how this could have been acceptable in 1973, and you definitely could not get away with making so blatant a picture today. Even redneck cops make an appearance!

On a better note, who doesn’t love Paul McCartney and Wings’ thunderous Live and Let Die theme? The voodoo title sequence leaves something to be desired, but this is definitely one of the more famous Bond tunes. However, I do wish there was a little less of this gem and a little more of the traditional Bond theme spotlighting throughout the picture. In one scene, a sultry black woman sings Live and Let Die in part of a set up against Bond. It’s not bad, but again it’s a touch of stereotypical blackness that Live and Let Die doesn’t need. After such success with previous Bond vocalist Shirley Bassey, I think this little scene is a slap in the face. Black Bond girls are bad and only good for their jive turkey music for the white boy secret agent! I’m so glad that with kick ass girls like Michelle Yeoh and Halle Berry, this franchise has resolved its early Black and Asian stereotypes. Live and Let Die certainly has its faults, including a weak story and racist overtones. Thankfully, there are some fine action sequences. Even though we traded the loveable Q for bad voodoo, Bond still has great chases-including cool uses of a double decker bus and an extensive boat chase. Bond gets the babes, of course, and the bad guys get their due. In the end, there isn’t much else to ask for in a Bond picture, is there?

Dated and imperfect, Live and Let Die still has a fine cast and solid action. The stereotypical blaxplotation style is not for everyone, but I imagine die-hard Bond fans can dismiss this fault as a sign of the times. Oft aired on television and affordable as an individual DVD, Live and Let Die is available in several collections and bluray sets as well. I really wish the Bond collections were packaged by Bond. The Volume 1 Bluray set hails Dr. No, Live and Let Die, and Die Another Day. Which fans is this set for, and why do they always have a consensus clunker stuck amid the good ones? Collectors no doubt own Live and Let Die, but fans of the cast should also give this one another chance. Some of it is certainly better than the rest, but one can say that about the Bond franchise itself, can’t he?

Sgt. Pepper's Lonely Hearts Club Band (the movie!)

The Monster That Is Sgt Pepper’s Lonely Heart’s Club Band!
by Kristin Battestella

Well You’ve all waited for my next review and instead you get this analysis of cheese, I know. I like Pepper for all its Gibby guffaw, but this review won’t be easy. I’ll mention what’s good and quirky first then topple on the bad and the nitpicks! Tooshay!

Well, there’s The Opening Footage. At least they tried to have a backstory, however hokey it is. Burns narration helps fill in the gaps. The varying renditions of the title song are a nice touch. Sgt Pepper’s Lonely Heart’s Club Band introduces The Hendersons, and sure I am Gibb-biased, but the Bee Gees sound like The Beatles. Maurice once again seems to get the short end of the stick, stuck in the back fiddling with the drums, but oh dear Lord get Robin away from that toy guitar!

With a Little Help from My Friends brings Peter Frampton’s introduction while wearing a pink shirt and white overalls with hearts all over them. My 6 and 7 year old nieces don’t even wear that. I don’t care for Frampton at all really, but I shall try to be nice in my review. I like how Strawberry is supposed to sing along, but she doesn’t quite know the words does she?

Fixing a Hole to me means fixing the loophole in George Burns’ contract that says he gets to sing. The only good part is...um. My nieces sing along and like the little kiddies playing about with Burnsy. Yeah, that’s it. This really is a very poor rendition of the song, and Burns isn’t Fred Astaire. Do we really need another poor imaginary sequence that does nothing to advance the story of the Band making it big? Oh let’s skip this one. Getting Better always gets stuck in my head. The BD bad music executive is introduced here with chick star Lucy. And no I’m not mentioning his name because it gets changed in the movie, twice. This is a good sequence though. The music sounds good and the quote unquote story is progressed through the scene. Wow.

Here Comes The Sun is the first song presented by Sandy Farina. It’s nice to hear a female voice every once in a great while. Farina’s rendition is okay. The hearts on Billy’s truck are a cute tie in, too. However, Heartland’s best mode of transportation is a hot air balloon? Totally implausible, but it’s all in good fun. Especially when Robin’s character Dave pukes. Frampton’s acting when he pretends to wake up is very weak. Besides, are we supposed to believe nothing happened between these two lovebirds on the eve one is going away to seek fame and fortune? It’s also a shame this is the only George Harrison ode in the film.

The She’s So Heavysequence is the most Tommy like of the entire film. The movie should have stayed in this vein. Look how scary and edgy and racy the music biz is! All the singing is well choreographed, and the limo like car is funny. When did they switch to that tiny plane? And how can Lucy be driving the car, be a mannequin, a prostitute, on a motorcycle, at the pool, and the photographer? Also, notice Maurice this sequence. He is the ‘what to do in the background when no one is supposed to be watching’ master!

While I praise this aspect, this sequence is also the one that you cringe at when the kids are watching, and you hope they don’t ask questions. The drinking and drug use is a bit much, much less the adult video place the boys drive by. Is this movie supposed to be dark and edgy like Tommy or cutesy cheese for the kiddies? The bipolar nature of the movie is where it’s trouble lies.

I love it when the trashed gang wakes up to Paul Nicholas’ Good Morning shout outs. Again a tune that is strengthened by the Brothers backing contributions. Like Getting Better, a scene that is part of the story. Do you think they had a tough time getting all those extras of screaming girls? The little “BD TV” graphic is cool, too. It leads right into Barry’s rendition of Nowhere Man. While the television special and concert sequences here help the story of the boys popularity move along, this version of Nowhere Man is unnecessarily slowed. It is kind of an odd moment, but Barry sounds pretty.

Soul Jam Barry appears in the Polythene Pam segment. Again how much did they pay the girl who got to scream and run on stage? This whole concert segment is well done. If you are telling a story about a band’s rise to fame, best show them in concert! I like She Came In Through The Bathroom Window. Frampton does his best here. It reminds me of his Comes Alive stuff that everyone thinks is so great. Maybe he is his best in concert so this scene fits him. He looks like he is having fun and I even sing along. Without dialogue, they use these newspaper like graphics during the concert to relay the story. It’s a nice detail, but it could have been done better. At one point the movie is squished into one little newspaper block, and it’s kind of annoying. And Robin still has that guitar. It’s frightening.

And I begrudgingly come to Mean Mr. Mustard. This is a totally poor rendition and I wish they had used a better song to develop the sequence. Mustard is told by the Future Villian Band to steal Sgt Pepper’s instruments from the Heartland museum. He takes over the town, turning it into some very trashy looking stuff. It says an arcade, but again there are some dicey movements in the dancing not meant for kids. Why are you putting something dicey in a kiddie storyline? Mr. Kite is tied up at one point, so the film loses narration for the next three songs.

The narration serves a purpose sometimes but it also is a bit of “How does Mr. Kite know?!” kind of thing. Like when Captain Kirk could make entries to his Captain’s Log while imprisoned back in time on an alien planet. Go fig. At least there is some story developing. The next three sequences are perhaps the best here. She’s Leaving Home presents Strawberry upset with what’s happening in Heartland so she leaves town to find the Band. The singing in this one is pretty cool, and the action on screen is exactly what’s being said in the lyrics.

Oh yes! Lucy In The Sky With Diamonds! The female rendition of this one is great, even if the premise is implausible. Strawberry gets off the bus in the big city, spots the Big D billboard and imagines the whole song. It sounds really hokey but it is also to me a very ingenious way to get the song onscreen. Besides, zooming in and watching the dirty dancing going on in this one is hysterical! Strawberry goes to the studio, where Robin is singing Oh Darling. Again he is singing, and very well, and yes this is a musical, but there is a reason and a place onscreen where the song is coming from. The subtleties in this sequence are great. From the almost shot of Lucy’s boob, to Robin getting his hair yanked when he forgets to take off his headphones.

And now the film really goes to $%^&. George Burns’ narration inexplicably returns to tell us the boys are stealing Mustard’s van and going to save Heartland by rescuing the instruments from The Future Villian Band’s vile agents! However, There is some cool interplay between Barry and Maurice and Mustard’s computerettes. You know, watching this without sound would be an interesting experiment.

Maxwell Silver Hammer is the first singing villian given to us in Steve Martin attempting to sing. The choreography is pathetic at points and the fight scenes (if you can call them that) are a joke. At least Because brings us Alice Cooper’s unique version, even if the whole FVB thing is stupid. The boys crawling into Cooper’s lair is really funny though, and again, Maurice steals the show while Billy ends up unconscious two songs in a row. The way they freeze frame the endings of these songs is really funny, too.

Strawberry Fields Forever slows things down very stupidly. Farina’s title song isn’t bad, but she’s got to sing Billy Shears back to health? Okay. It’s even more hokey fun when we see how Billy is dreaming of Strawberry in all the spots where Lucy was on his kinky ride to fame. However, Billy imagines Strawberry in the ‘Lucy in The Sky With Diamonds’ segment, even though the Lucy segment was a figment of Strawberry’s imagination!
Yes I bet you are totally confused, so am I. Being For The Benefit Of Mr. Kite tries to get the film back on track with Paul Nicholas’ Dougie planning a benefit to save Heartland. This is an incredibly stupid looking scene, with circus people and horses on roller skates. Just close your eyes and listen to Maurice sing his one lead.

You Never Give Me Your Money is the one bright spot since the film turned into this whole Save Heartland joke. There is actually some sort of character development and sequence in the song. First they hated each other and now Lucy and Dougie have combined their love of money. This musical symbolism is very well done, almost like a real old time musical.
Not that this is really a bad bad, but did anyone else notice the raunch factor in this one? What kind of choreography is this? ’Oh let’s run around the wax statue of the dead Sgt Pepper! Yeah! And Lucy, be sure and show you’re underwear!’ The singing and the song itself are catchy, but the bumping and grinding and rolling on the money are a bit too much for the kiddies.

Earth, Wind, and Fire are billed as themselves here, performing Got To Get You Into My Life for Heartland’s Benefit. They put on an expert show, but naturally they have to cut to the boys singing and clapping in the audience. It might be the quintessential sum up of how much the brothers hated making this movie. The looks on their faces are so God We don’t want to be here!

And no wonder with such classics as When I’m 64. Mustard kidnaps Strawberry and they ruin this great song. Burns’ narration is so far gone, you want to pull the film back and rip him away from his little off camera microphone. I guess it depends on your mood, but most of the time I find the boys jumping in their Heartland Hot Air Balloon and magically changing into their aviator outfits totally stupid. I mean the way they look is just...cheese.

And alas we meet the Future Villian Band for Come Together. Aerosmith’s rendition is awesome, even if the idea of them turning Strawberry into ‘a mindless groupie’ is really dumb. Besides she already is one! Again we get another hokey fight scene, but upon my first viewing, this was the one moment in the film I held my breath over. It looks really cool when Strawberry plummets to her death!

Golden Slumbers and Carry That Wait relay the funeral scene well in theory. The songs fit, but Frampton’s honest to goodness fake tears kind of kill it. I did enjoy seeing the bads line up for the funeral. Did they even know Strawberry? Again my Gibb-biased self must give props to the brothers’ pouting close-ups. The silent interplay between them in this supposedly serious sequence is great. They pine during The Long and Winding Road while we are treated to another song lessened by Frampton. He roams Heartland reminiscing about his life with Strawberry -in flashback scenes that we didn’t see the action of in the movie prior to this moment, but hey. What really bugs me is in the flashbacks there is a dog. What happened to the dog?!

Barry gets his moment to shine with A Day in The Life. His voice here is the most Beatle-esque and only he could carry this tune the way it should be. The way he looks in the scenes and the flashbacks of when things were good with the band set the song off.

Not that a film like this could possibly have a plausible ending, but Get Back delivers on the out and out hokey of the film. The Sgt Pepper weather vane mystically turns into the soul of Sgt Pepper-Billy Preston? He stops Billy Shears from killing himself, turns all the baddies into nuns, polishes up the boys’ white suits, and brings Strawberry back to life. Yes that is what it says. I hope I didn’t spoil it too much. 80)

And thank God the Sgt Pepper Reprise signals the end of the film! Who are all those famous people appearing, anyway? I can name like ten of them on sight! That is sad on their part. Then again, the ladies will enjoy zooming in on the brothers’ white suits. Trust me.

I should also give some details about the movie itself. About how the Bee Gees didn’t want to star with Peter Frampton in this horrible musical of Beatles tunes and that the bad box office sales ruined the RSO organization. However, all of this and that can’t quite be explained until you actually see the movie. So go get the dvd! Um, I said now.