Deep Space Nine Season 4

Deep Space Nine Season 4 Adds More Changes and Improvements

By Kristin Battestella

The conclusion of Star Trek: The Next Generation seems to be its successor Deep Space Nine’s gain as Year 4 ups the ante with renewed attention, changes, and characters, creating almost a burden of riches.

Captain Benjamin Sisko (Avery Brooks) asks transferred Lieutenant Commander Worf (Michael Dorn) to remain on Deep Space Nine after the Klingons move towards war against the Federation and invade Cardassia. Major Kira Nerys (Nana Visitor) struggles with her own personal Cardassian revelations and Bajoran politics- and she must carry Miles O’Brien’s (Colm Meaney) baby to term after a shuttle accident. Odo (Rene Aubernojois) deals with Changeling subterfuge, and Captain Sisko returns to Starfleet Security on Earth to uncover possible infiltration by The Founders.

The Powers behind Deep Space Nine make plenty of changes this year, some good, and some one step forward two steps back. Visually the credits look nicer, but the titles are still dang slow, and the stinky new music sounds like two compositions playing at once.  Everyone is also suddenly promoted, finally.  It’s as if Deep Space Nine is being taken seriously by its own team at last. Even if the writers don’t exactly know where the show should be going, it feels as though they now realize it has to go somewhere. These Klingon efforts, however, go on too long, detouring DS9 into a deeper hole. The series’ core wormhole exploration and Gamma Quadrant troubles are further pushed aside, and there are just too many threads on which to chew.  With all this extra new and improved, every episode should be packed with presence, but no. Shows continue to meander with too many one-off episodes and a lot of trial and error. Again, with the shoehorned Klingon angst, it’s as if the audience is asked to wait again while Deep Space Nine finds its footing.  Each piece of great we get is nice and good, sometimes even real greatness, but at this point, the seemingly by the seat of their pants production seems unfair to the viewer, or at the very least, dang frustrating.

But shave his head to go along with the goatee, and Benjamin Sisko gets even tougher and more badass! Brooks is excellent thru the Starfleet thick of “Homefront” and “Paradise Lost.”  The prophet twists in “Accession” and the personal dilemmas in the mirror crossover “Shattered Mirror” and the Maqui consequences in “For the Cause” add wonderful depth and tension as well. Of course, it seems like Cirroc Lofton’s Jake Sisko is even more barely there than usual- he’s almost completely gone after “The Muse.” Does he have some sort of seasonal quota, one teen SF and one Trek greatness as in “The Visitor”?  “The Visitor” feels like the first real Star Trek episode DS9 has done in awhile, if at all. It’s simply a superb and bittersweet family science fiction tale, and yet the order of episodes just tosses away this dynamite one-off Trek show for Klingon back peddling. If you must do isolated ‘filler’ tales, “The Visitor” is how to do it exceptionally.  Guest Tony Todd (Candyman) is delightful as the older Jake indeed, so I’m a little peeved his recurring Kurn character was not used for Worf’s introduction in the otherwise solid “The Way of the Warrior.” Adding insult to injury, Kurn is subsequently written out in the dumbest way possible. You are on a space station with a dozen recurring characters, you’ve just added more Klingon angst, and so the only logical thing to do is un-brother Worf in “Sons of Mogh”? Michael Dorn is still delightful as Worf, but forcing him into somewhat meaningless Klingon adventure with Dax in “Sword of Kahless” is a misuse. “Rules of Engagement” is also a finely filmed testimonial with courtroom flashbacks; however, Worf feels squeezed into similar storylines and doesn’t have much of a place on Deep Space Nine as yet.

Thankfully, Rene Aubernojois is once again dynamite as Odo in “Crossfire” and the season finale “Broken Link.” Consistency simply put! Likewise, Armin Shimerman’s Quark is a load of fun along with his fellow Ferengi Max Grodenchik as Rom and Aron Eisenberg as Nog in the utterly classic science fiction tale “Little Green Men” and the labor dispute humor of “Bar Association” with Chase Masterson as the equally goofy Leeta.  Romances, however, don’t seem to work on Deep Space Nine, especially for the new look Major Kira and the hampered development of Duncan Regehr’s Shakaar. Instead, Nana Visitor does her best in the awkward relationship with Kira’s Cardassian enemy Dukat in “Indiscretions” and “Return to Grace.” Outstanding guests like Andrew Robinson as Garak, Marc Alaimo as Dukat, and Cyia Batten and Tracy Middendorf as Ziyal shine in further Cardassian explorations and continue to lift DS9.  Jeffrey Combs is also a dream as both the slimey Founders’ Vorta middleman Weyoun and the shady Ferengi Commerce rep Brunt, and Penny Johnson provides great strength and division for Sisko as Kasidy Yates. Sadly, “The Muse” seems like a poor way for Luwaxana Troi to depart Deep Space Nine, and the secondary regulars don’t fair well in the crowd. Chief O’Brien must be traumatized yet again in “Hard Time,” and absentee wife Keiko (Rosalind Chao) must share her baby with Kira in “Body Parts.” It’s a smart way to incorporate Visitor’s real life pregnancy for Season 5, but the move does more for Kira than the O’Briens- whose main purpose again seems to be for buddying Julian Bashir.  His holosuite romp “Our Man Bashir” is an exceptionally well made Bond Spoof, but the episode is about those spy motifs themselves, not Bashir.  He has medical dilemmas in “Hippocratic Oath” and “The Quickening” but it is all sub par SF medicine and weak Dominion ties amid the Klingon domination this year. 

Unfortunately, Jadzia Dax has been retreated into further undercooked development. DS9’s only Science Officer does nothing scientific and has become a glorified receptionist. Dax reports when ships come into the station, and that sentence is usually followed by an ill-timed humorous comment or some sort of chick joke- oh, my dress uniform and the like.  The character wanders between the hot chick with which every man on the Deep Space Nine is in love or the funny old person who might say something wise, and ultimately, both incarnations never do anything significant.  It’s not necessarily Terry Farrell’s fault; the character troubles are not from the actors, but the confused writing, as proved in “Rejoined.” Farrell shows she can act when given material, but “Rejoined” comes off so wrong in its Trill for Trill’s sake sexual exploitations. I don’t think the writers intended the show to amount to the first Star Trek girl on girl kiss for the titillation, but that absolutely ends up being what the episode is about, once again using a character for nothing more than her species problems, and then making that a play on play of sexuality.  It’s the culmination of everything that’s wrong with the character. Jadzia is meant to be the hot dream girl and the fun, even geeky best friend of every young man’s fantasy. Honestly, would they have done a same sex Trill former love episode had our character been Curzon Dax? I think not. The show isn’t meant to be about lesbianism in the 24^th century, but the shock and awe use of it in “Rejoined” is loud and clear. Maybe the lady action works for popularity and the ratings, but its misuse cheapens the hefty and dark side of Trek that Deep Space Nine has illuminated so well.   

After steady improvements over the flaws of its first two seasons and numerous strong changes in Year 3- some of them quite glorious introductions- Deep Space Nine manages to loose its way a touch in Season 4. Though the quality shines above the fluff and a lot of goodness happens, like a puzzle without a picture, DS9 still doesn’t have a consistent vision week to week. Fortunately, Next Generation lovers who dismissed Deep Space Nine’s early weak seasons can return fresh with Worf’s transfer, and previous Trek fans or longtime science fiction audiences can continue fresh here thanks to the step up in Klingon angst and Changeling intrigue.  

Fall Horror 2012

More Horror and Macabre This Fall!

By Kristin Battestella

Turn the clocks back, rake the leaves, bake some apple pie, and carve the pumpkins! Oh, it isn’t really Fall? Who cares! We can make do with some good ole fashion scary movies! 

The Dunwhich Horror – Producer Roger Corman (House of Usher), director Daniel Haller (Die, Monster, Die!), and Oscar winning writer Curtis Hanson (L.A. Confidential) smartly build an H.P. Lovecraft inspired plot for the creepish Dean Stockwell (Quantum Leap), innocent Sandra Dee (A Summer Place), and crusty old Best Supporting Actor Ed Begley (Sweet Bird of Youth) in this 1970 AIP oddity.  Although the flashback exposition could have created a longer labor opening and it’s all more low budget looking than even more low budget AIP fair, the Necronomicon plot and ancient sinister feeling amid the then contemporary setting move swiftly for 90 minutes.  The eerie town history, Corman-esque dreams and visions, assorted color slides, and jaded camera angles more than set the scene- letting the audience know that something Cthulhu is afoot. The suggestion and innuendo before full outright kinky are also pleasing, even if some sequences may seem hokey today or not as juicy as other seventies horror pictures. The viewer knows what virgin sacrifices and naughty rituals are brewing; we needn’t be inundated with the modern meaningless slice and dice. Perhaps it’s all too easy and a little predictable now, but this is an entertaining chase nonetheless.  

Frankenstein and the Monster from Hell – Peter Cushing returns for this 1974 finale in the Hammer Frankenstein series along with Shane Briant (Captain Kronos- Vampire Hunter), Madeline Smith (The Vampire Lovers), David Prowse (Vader, people, Vader) and oft director Terence Fisher in his last helming hurrah.  Though Smith’s role is diminished as the typical silent angel, Briant seems to be grooming for a seventies spinoff with a doe eyed look and shades of the young Cushing. However, the Baron is simply irreplaceable, entering amid a weird prison hose down with such horror class. And he does his own stunts! How does PC keep the glory thru all these crimes, aliases, and franchise inconsistencies? The burned hands are back, some plotlines feel like a bit of a retread, and man, that’s a bad wig.  After six films, things play out as expected- minus a good, sinister build. Slow, step-by-step experiments take up too much time. Where’s the music or crackling mad scientist machinery and flair? The titular monster design is also iffy, though the overall décor looks the part. It’s colorful, with a creepy madhouse prison and some gore, but there’s less gothic ambiance compared to earlier entries. It’s all a step down to end the franchise, yes. However, Cushing completists and fans of the series can delight in the final act here. The Baron’s still twisted, dining and living without a care as to the brain nearby!

From a Whisper to a Scream – The great, freaky heartbeat intro and weird shower and bridal montage set the tone for this 1987 anthology, and a very creepy mood and spooky house establish the execution and evil town bookends well. Of course, there isn’t enough of horror host Vincent Price and he does look somewhat frail. Nonetheless, Big V’s delivery is still raspy robust, and he commands an element of uncanny class with his young reporter guest, the late Susan Tyrrell (Cry-Baby). Perhaps tame today, Clu Gulager (Return of the Living Dead) leads the sexy and gory first segment with kinks and twists. Tale Two offers greedy Terry Kiser (Weekend at Bernie’s) with a gruesome and bizarre backwater witchdoctor vibe, and the third story is a would be demented county fair with sexy sauce, voodoo dolls, plenty of blood, and lots of titular screaming. If anyone has ever thought about eating glass, this is a good deterrent!  The final Civil War tale serves up some very disturbing little kids, and they’re not afraid to whack a soldier in the mouth with a femur-or worse. It sounds crazy, perhaps even stupid and ripped off from other cult children films, but Lordy! Besides the evil town implication, the stories here are a little uneven in theme and design with little cohesion. Each is slow to start with poor pacing until the kickers and the style is almost too eighties dated to enjoy the bloody- almost. Thankfully, the good scares and twists make this one worth a look.

Murders in the Rue Morgue – This 1971 AIP adaptation departs from the Edgar Allan Poe source with a Phantom of the Opera theatrical-before-horror spin, fun carnival music, bright outdoor scenery, and vaudeville color.  Unfortunately, the French signals are mixed, the ape effects poor, and there isn’t a lot of gothic mood. Oscar winner Jason Robards (All the President’s Men and Julia) also feels too old for the role, with a dry, phoned in performance; and the can-can temptations are tame today. The 98 minute extended version also takes a little too long to find the meat of its tale and feels uneven with slow play within a play sequences. Thankfully, there are good looking ladies- Christine Kaufmann (The Last Days of Pompeii), Lili Palmer (But Not For Me), and Maria Perschy (Freud)- fine costumes, and lush Victorian décor.  The frenetic intercutting of song and dance with crime works in tandem with first-rate dream sequences, eerie timing, and askew filming angles. The flashbacks create a murder mystery theme and kinship to the Poe inspirations, too. It’s not all as good as it should be, and outside of a few beheadings, it’s not that scary. Nevertheless, the joy here is in the period thriller rather than any expected gothic horror, and quiet horror viewers and turn of the century mystery audiences will delight.

Classic Cartoon Greatness!

Cartoon Greats Because I Just Can’t Help Myself!

By Kristin Battestella

I’m a firm believer that one should never lose the touch of childhood spark that delights and inspires our hopes, creativity, and imagination.  Fortunately, there’s a better way to capture youth glory than trying to squeeze into that itty-bitty kiddie pool.  Here’s a list of animated treats for young, old, and young at heart. 

GI Joe: A Real American Hero – Forget that second season devoted to Serpentor and Sgt. Slaughter! The original 1983 “MASS Device” miniseries, “The Weather Dominator” 5 show follow up,  and the first full-length, 55 episode season with Duke, Scarlett, Snake Eyes, Flint, Lady Jaye, Shipwreck, and the rest of the Joes is where it’s at!  You know you know the words to that great, catchy theme music. You know you remember episodes like “Excalibur,” “The Traitor,” and “There’s No Place Like Springfield.”  And you know you know that knowing is half the battle!  Even if Cobra, Destro, the Baroness, and Zartan are always so dang incompetent, they still live to torment the Joes another day. Everyone always parachutes out just in time and no one ever dies.  How cool is that, Tomax? Very cool, Xamot!

Jem and the Holograms – I must confess, the 1985 music here may be hokey, but it is still damn catchy!  These proto girl power Hannah Montana before Hannah Montana was Hannah Montana stories excel in sound and fantasy for little girls then and now.  Of course, in today’s technologically wise ways Jem, Synergy, and all that hologram magic could never possibly fly- the cell phone interference alone! Thankfully, the totally nutty, punk, and bad girl ways of The Misfits are a lot of fun.  Indecisive boy toy Rio and the potential romance between he, Jem, and her true personality Jerrica are, however, really annoying- as are some of the moral of the story girls at the Starlight House orphanage and the lack of proper DVD releases here.  Later Season 2 episodes in which Jem saves the President and finds Shangra-la are also questionable, and my gosh, the fashions are so bad!   Yes, I had the dolls and the keytar playset-I can’t believe those are coming back! The cassettes are still under my bed at my parent’s house, too.  What’s your point? 

She-Ra: Princess of Power – I actually don’t recall seeing all of this 1985 He-Man spinoff back in the day- thanks to my ten-inch black and white television’s fuzzy reception of Philly 57! All the goods of Adorra’s twin brother are here in an obviously female reversal for girls.  The older and cheap animation style may be tough for those unaccustomed to it, but the non-violent problem solving, great rebellion story, and moral messages are still delightful for the 10 and under demographic. Some of the episodes are routine and formulaic fair, relying on guest appearances by He-Man a little too much.  However, the duo is best together, especially in the introductory crossover “The Secret of the Sword.”  Yes, the voice work is unnecessarily high pitched, Madame Razz and the Twiggets get on my nerves, and the mix of magic and evil intergalactic Horde science doesn’t always make sense, but who cares?  The music and opening credits are weak and dated, too; yet I must confess, I like looking for Loo-kee!  Naturally, not all She-Ra episodes are currently streaming, shows are often listed out of order, and the DVDs are always available from Netflix or vice versa depending on their mood it seems. Typical!  Although, I confess, they did offer The He-Man and She-Ra Christmas Special- and I watched!

X-Men – I was literally counting down the days until the 92-96 mutant brigade came to Netflix.  My taped off TV VHS were getting a little too jumpy!  The right team, time, and developments taken are taken here with multi part storylines such as “Night of the Sentinels” and “Till Death Do Us Part.”  The solid 13 episode Season 1 builds tremendously to Season 3’s 5 part Phoenix tale and the Dark Phoenix 3 part arc thru Year 4. Plots here don’t always rely on Magneto for antagonism or the ensemble’s tug and pull.  Mutant persecution and fear, alienation, species superiority, and allegorical action standout with touching topics and mature issues- great wit and catches phrases from Wolverine, Rogue, and Gambit lighten serious debates and dialogue, keeping these meaty 76 episodes watchable for audiences beyond the Y7 label. Yes, Jean Grey gets on my nerves, and Jubilee is the cartoon Wesley Crusher. Continuity is not always there, Season 5 design changes become an issue, and episodes like “Mojovision” are juvenile now.  However, serial and long-term consequences, character deaths and romance, previouslies, and great music tie everything together. It makes one speculate why there hasn’t been a live action X-Men series- the depth and complexity here does wonders for the comic fan, older audience, and new youth viewers.

Understandably, I don’t expect adults who didn’t watch these shows then to like them now.  These cartoons are largely too juvenile and simple minded to fly with the wiser audiences of today.  However, the children’s demographic could use some animation education with these classics.  Though tame now in action and intricacy, the hand drawn designs here get all the fun across- unlike the shock and awe or desensitizingly bland CGI dominated cartoons (and more) of today.  Enjoy these delightfully family friendly treats again for a nostalgic evening with friends or in education with the next generation.

In addition to future rewatches of Inspector Gadget, Thundercats, and He-Man and the Masters of the Universe, I was tempted to list more Honorable Mentions cartoons both famous and obscure- Denver The Last Dinosaur, anyone? Forget the remakes; there are just so many great cartoons we don’t see anymore.  What’s your favorite? 

Deep Space Nine Season 3

Deep Space Nine Season 3 Begins to Find Focus

By Kristin Battestella

Finally in its Third Year, Deep Space Nine’s continued improvements have separated the spinoff from its traditional happy go lucky Star Trek predecessors.

DS9 Commander Benjamin Sisko (Avery Brooks) and his Security Constable Odo (Rene Auberjonois) use the newly arrived USS Defiant to search the Gamma Quadrant for Odo’s shapeshifting species.  Unfortunately, The Founders turn out to be the enemy, plunging Major Kira (Nana Visitor), Bajor, and everyone on the station into fear of a Dominion attack.  Wormhole dilemmas, time travel troubles, Cardassian treaties, and Maqui tension only add to the Jem’Hadar threats.

Had this been Deep Space Nine’s debut season, oh me oh my! Strong multi part story telling from “The Search” 2 part opener, “Improbable Cause,” and “The Die is Cast” narrow Deep Space Nine’s previously busy and unfocused internal Bajoran politics and instead focus on Gamma Quadrant dilemmas and lovely Cardassian ambiguity and intrigue. “Past Tense I and II” make a few wonderfully eerie- even unsettling- statements, too. We are dealing with some of that predicted economic crisis and protest whirlwind today, aren’t we? The Ferengi centric “House of Quark” and “Family Business” keep some of the humor and lightheartedness in DS9 as well. Who knew the profit obsessed little trolls could be the perfect parallel with their- gasp- non profit oriented social change? The mirror universe episode “Through the Looking Glass” also has a lot of decidedly un-Trek possibilities, and self contained shows like “Civil Defense” put our players in a mini crisis before the big crisis.  The blended brooding and foreshadowing of bigger things to come happens at a pleasing pace- elements linger and build rather than being forgotten from one episode to the next.  However, even with these vast improvements, Deep Space Nine is still rather undefined at this point in the series. Plugged in Maqui angst is used as needed, and all the plotlines are again unnecessarily stretched over too many filler episodes per season.  There’s internally good suspicion in “The Adversary” finale, but with so much foreboding left hanging, it feels a bit flat.  The Dominion and The Founders are built up too much, seemingly insurmountable, almost mythical in the undefeatable-ness. Fortunately, there’s enough here to create hope and interest in Season 4.  

Well, Sisko grows a goatee and what do you know, the character gets better! “Destiny” combines the Bajoran prophecies and intergalactic angst nicely, and Sisko has some fun in the Mirror Universe, too. Finally promoted in “The Adversary,” Captain Sisko does well in a crisis, indeed. It’s ironic how Brooks also shines as the twisted and murderous former Dax host in “Facets.” He certainly has the range to take Sisko to the next level.  I like Cirroc Lofton as Jake a lot, I do- especially compared to the usually annoying Trek kids- but he simply doesn’t appear enough to warrant regular status.  Though it’s great to see family and history DS9 style for “Explorers,” Aron Eisenberg as Nog is far more interesting in the teen explorations and Ferengi familial tug and pull with Starfleet aspirations. Some characters and their roles are still unacceptably undefined here in Season 3. I swear the writers would rather Colm Meaney’s Chief O’Brien be single just so they can by default strengthen Siddig El Fadil’s Doctor Bashir with his friendship. Why was Keiko O’Brien not a useful character? Short botanist missions to Bajor, through the wormhole alien plant adventures, space station hydroponics gone awry- there were plenty of possibilities for Rosalind Chao, and I don’t understand her awkward appearances and weakly excused disappearances.  Fortunately, O’Brien does lay on the heavy wonderfully in “Visionary,” and even Bashir grows some thanks to “Distant Voices” and the “Past Tense” events.  

 

Some of Odo’s personal explorations in “Heart of Stone”, are a bit silly against trumped up tensions in “The Abandoned,” but Rene Auberjonois’ comes to play any time, any place. Even if some didn’t want Odo to meet his people and much less have them be villains, his story is delightful even when effects, plotting, and the rest of Deep Space Nine are lacking. Likewise, I’m glad Major Kira’s going nowhere relationship with Philip Anglim’s Vedek Bariel is resolved in “Life Support.”  We’re treated to more of Kira’s Bajoran roots via some healthy aversion and the titular guest Duncan Regehr (V: The Series) in “Shakaar,” and there’s still plenty of questioning of herself in “Second Skin.” The Bajoran apprehensions have upped the ante, but my goodness gracious Louise Fletcher as Kai Winn is so love to hate that her appearances aren’t even enjoyable.  Winn’s cruel spiritual and political manipulation is just too irritating and change-the-channel worthy to be entertaining angst or fine drama.  

By contrast, I want to like Jadzia, she seems to be smart and fun. Unfortunately, we still don’t know that much about her personality against the previous Dax hosts. “Equilibrium” and “Facets,” though fine episodes, are once again used to explore Trill inner workings instead, and “Meridian” is just a completely dumb romantic waste. Besides, isn’t it wrong to identify an individual solely by her species?  In some ways, we don’t know any more about Jadzia then we do about that lovable and fun to spot barfly Morn.  Sometimes, we get more depth and explorations from the generally perfect or exceptional guest stars.  We know more about Andrew Robinson’s Garak, and yet all we know about the sometime tailor or spy is that we know nothing.  It’s fascinating, and Robinson should be a $$^%& regular!!  Wallace Shawn is also lots of fun as Zek in “Profit Motive,” mixing the expected Ferengi charm with wise words and change. Humanizing and dare I say it even heartwarming elements from Marc Alaimo as Gul Dukat are also superb.  Despite “Defiant” being a Thomas Riker/Jonathan Frakes vehicle, the multifaceted layering and subterfuge amid Cardassia shines brighter.

More ships and space battles have also improved the effects and action on Deep Space Nine this season. Though I don’t like the notion of action being called in to spice things up or replace story telling, seeing hefty felt battles is new, special, and enticing in Trek TV.  Having more aliens we already know and love like Klingons and Romulans is nicer than weird Mos Eisely random aliens that don’t always work.  Why are there no long-standing Federation representatives on DS9 anyway? What do the Vulcans and Andorians think of The Dominion? Where are the rest of the hundreds of Alpha Quadrant species looking out for their planet’s interests beyond the wormhole? Why did they create dang Betazoids if they aren’t used? Sometimes closer to home Star Trek prospects are overlooked just for the sake of something wham bam. It’s a shame that Majel Barrett only visits in “Fascination” for the usual telepathic making everyone get sexy mishap. We need the lighthearted now and again, sure, but Luwaxana Troi deserves more- and Deep Space Nine needs to focus even deeper on what it intends for itself amid Trekdom.

Here in Year 3, Deep Space Nine makes huge, even tremendous strides in setting itself apart as a series whilst also taking Star Trek forward as a franchise.  One need not choose any one version of Trek over the other. However, I can see why some who didn’t like previous Trek incarnations love DS9 for its darker interpretation. The show truly begins to find itself and take shape this season. Unfortunately, this spinoff is still unnecessarily taking its dang time with its own M.O., and there’s still more fine-tuning to go. Nevertheless, new viewers or returning Star Trek fans can begin with Deep Space Nine here before the series’ major heavy begins.  

Music and Concert Magic

Music Mayhem and Discography Documentaries

By Kristin Battestella

Raise your hand if you remember the founding of MTV and the foretelling “Video Killed the Radio Star.”  Fortunately, with these great multi-genre concert videos and music documentaries, the timeless tunes and talent live on.

Marvin Gaye: Behind the Legend– Made in 2004, this hour plus tribute to the late soul singer of such exceptional hits as “Let’s Get It On,” “Sexual Healing,” “I Heard It Through the Grapevine,” and “Mercy Mercy Me” looks very dated and low budget.  There’s not much footage from his earlier career, and only snips of his Motown hits and duets with Tammi Terrell are heard. Ironically, his 1984 death is also quickly handled in the last few minutes. Despite its poor presentation, the treats here are in the intimate conversations with Gaye’s former wives Anna Gordy and Janis Hunter, his children, and close family and friends as they recount their memories and private stories through Gaye’s career highs, personal lows, and wonderful music.

Marvin Gaye: What’s Going On – By contrast, this 2006 retrospective subtitled The Live and Death of Marvin Gaye begins with Gaye’s youth and his estranged relationship with his now infamous father, Marvin Gay, Sr.  Archival footage of the man himself speaking on his faith, a strict religious upbringing, and ongoing family conflicts is anchored with great early videos and hit performances of “How Sweet It Is”, “Pride and Joy,” “What’s Going On,”  and more. Family and friends from the 2004 set also appear along with Gaye’s own interview reflections on the struggle of black musicians in the sixties, the Vietnam War, and how the times both personal and larger influenced his life, career, and ultimately his death. Fans and scholars really need both of these videos to get the whole picture of the man and his music.

Janis - For those like my mother who dislike the eponymous singer’s live shouting and concert screaming, this archival set is not for you.  Vintage video interviews and great concert material wonderfully capture the unique musical spark of the gone too soon star in this 1974 ninety-minute documentary. For fans and music historians, It’s great to see the fun, confident interviews of Janis Joplin being her honest, open rock self in contrast with the shy, awkward, and uncomfortable conversations of a woman trying to find herself. Pieces of her past and psyche can be explored thru the music in both today’s retrospective analysis and the then seventies contemporary lenses. An interesting study indeed.

Nine Hundred Nights - Early black and white conversations and rare intimate footage of Big Brother and The Holding Company anchor this 2001 hour long video highlighting the band often overshadowed by its brief and more famous member Janis Joplin. From the formation of the group to early Texas stories, surviving members and retro footage with Joplin tell a tale of rifts, egos, and substance abuse. Even the current Big Brother incarnation’s grievances and distaste over the aforementioned Janis documentary not mentioning them is heard. The Behind the Music format of a band being brought down is nothing new. Some might find the format here old, annoying, or even bitter. However, there is a not often told story here with an interesting dynamic in comparison to Joplin’s legend.  

Queen Rock Montreal – This 1981 concert starts a bit slow, with an unnecessarily fast “We Will Rock You” and few now lesser-known songs such as “Let Me Entertain You” and “I’m in Love with My Car.” We’re pre-Highlander after all, so those soundtrack tunes won’t be heard as well.  “Somebody to Love,” however, is glorious, as are “Love of My Life,” “Save Me,” and “Under Pressure.” While some might be put off by Mercury’s theatrics, you cannot deny his skill and star power. Guitarist Bryan May looks a little uncomfortable in the spotlight, but Mercury drinks beer during his songs and slowly strips down from white jeans to nothing more than tiny white eighties undies.  It’s bemusing to see some of the girls fawning towards the stage, too; but Mercury thrives on the attention, taking all the love and giving it back with music. By time we reach “Bohemian Rhapsody” and “Another One Bites the Dust,” it’s as if the audience- and today’s video viewer- are on an intimate level with Mercury. His magnetism is forward and unforgiving, but also captivating, sweaty, and beautiful. Not to mention it’s all damn good music! Check out the new DVD release with more Live Aid footage for a special evening in the bedroom with Queen. 

Wynonna Her Story: Scenes from a Lifetime – I thought this 2005 video was a sit down conversation focusing on the daughter half of The Judds.  But no, this two hour concert is an exclusive evening with the country crossover star belting tunes such as “Love is Alive,” “Love Can Build a Bridge,” and covers like “I Want to Know What Love Is,” “I’m the Only One,” and “I Can Only Imagine.”  Wynonna does share back-story both tender and fun between sets, and mom Naomi has a few moments in the audience, too. I must say, Wynonna makes some bemusing facial expressions when she sings, but you have to respect that when she’s reaching spiritual notes that would make the rest of us turn blue.  The country here isn’t for everyone, but there are also rock tunes and gospel inspiration worth the listen. Ironically, I got this DVD from Netflix the same week that Wynonna’s current husband Michael Moser lost his leg in a motorcycle accident, adding an extra spin to her talk of life and struggles healed through song.

From Here to Eternity

From Here to Eternity as Awesome as Awesome Gets, Period.

By Kristin Battestella

Everyone has seen that snip of the waves crashing over Deborah Kerr and Burt Lancaster in their steamy beach bound lip lock from this 1953 Hawaiian military epic. The shot’s famous, the film’s a bonafide classic, and yet there is so much more to From Here to Eternity.

After injuring a friend in the ring, bugler Private Robert E. Lee Prewitt (Montgomery Clift) won’t box for his new CO, Captain Holmes (Philip Ober) in the upcoming tournament.  Sergeant Warden (Lancaster) tries to get the stubborn Prewitt to see reason and even puts him on extra detail rather than see Prewitt punished by Holmes.  Unfortunately, Warden has his own hang ups- namely that affair with Holmes’ wife Karen (Kerr) - who pressures Warden to seek a commission.  Prewitt and his friend Maggio (Frank Sinatra) try to take the army life easy by visiting the New Congress Club for drinks and girls, and Prewitt makes plans with Lorene (Donna Reed).  Maggio, however, runs into trouble with the stockade sergeant, Fatso Judson (Ernest Borgnine). Jealously, vengeance, pride, and romance eventually collide as the Japanese attack on Pearl Harbor commences.

I feel like I’m going to ramble.  What can I say about From Here to Eternity that hasn’t already been said?  Then again, this isn’t nearly enough analysisizing over Best Director winner Fred Zinnermann’s (High Noon, A Man for All Seasons) adaptation of  James Jones’ then scandalous novel and Daniel Taradash’s (Don’t Bother to Knock) Best Adapted Screenplay, either.  Multiple viewings are indeed necessary to fully appreciate and properly study all the great dialogue, complex characters, Oscar winning cinematography, and star-studded performances. Maybe the melodrama will seem tame to some today, but From Here to Eternity still offers plenty of Pearl Harbor heavy.  I simply love this movie and have to tune in whenever it is on television. A viewer thinks he knows it line by line and can just leave it on the tele in the background. But no, the torment, romance, toughness, and intensity call you to the screen.  Is it over the top by today’s standards? Perhaps- but the fifties flair and form works for the archetype characters. For better or worse, these are these characters’ shining moments. From Here to Eternity’s journey is in seeing which player will burn out, fade away, win, or survive- and we’re not even talking about World War II yet!  Strategically placed couples and intimate photography match the suggestive relationships while balancing nicely with wider shots and the foreboding historical background. The focus here is on the little people and the Oscar winning editing mirrors the personal taboos of the time perfectly.  The camera sweeps down with Lancaster as he kneels to kiss Kerr and brings a long focus as Clift takes slow drags on a smoldering cigarette after going to the upstairs parlor with Lorene.  Audiences know what’s happening, and I actually find it pleasing that we can take the hint. Today’s films would be dominated by the raunchy base lifestyle and TnA brothel action. There’s an element of class amid the scandal here.  Life sucks, America’s not the best of the best can’t always deal- and yet From Here to Eternity shows it all in style.

If From Here to Eternity has a fault, it is that both its Best Actor nominees cancelled each other out in favor of William Holden in Stalag 17.  Holden is good, very good; perhaps it is indeed his best. Sixty years later, however, our boys look decidedly robbed. Future Oscar winner Burt Lancaster (Elmer Gantry) is just wonderful as the stiff all business sergeant who keeps the men in line while his jerky captain seeks glory. Lancaster looks good as Warden- acrobat fit, natural in uniform, and shirtless for his fans. He looks tough and cold hearted yet has a soft spot for his company- not to mention a brimming passion for his CO’s wife. Warden knows how to handle the hard, worn, and broken of the army, and we like him for it.  Somehow, we like him even more when he loosens up his prison alluding name and button up attitude to go after the wrong woman. He’s the last man we’d expect to get caught up with another man’s wife- the seemingly used and denied pencil pusher who cleans up his captain’s messes because he wants the company to remain a well oiled machine. Yet Warden’s a hunk of sergeant so overdue some leeway loving and getting drunk- which Lancaster and Clift really did, by the way!  What’s proper? What’s respectable? Since we know Pearl Harbor looms, these people don’t have time to worry about morality, do they? From Here to Eternity gives us wonderfully flawed and multi dimensional characters.

Rather than an acting rivalry, Warden and Private Prewitt have an unusual rapport, even a friendship as far as enlisted men and NCOs can have. In this, Montgomery Clift (Red River, A Place in the Sun) is equally awesome to Lancaster and just as beautiful.  Clift embodies Prewitt like no one’s business- complete with a slender uniform and a chip on his shoulder.  Any man who wants to know how to act should watch Clift here. Prew is a military man through and through- he just refuses to simply do and die and not reason why. He loves his bugle but won’t to back down to pressure to join the boxing team- even if it means continued hazing and difficulty on the base.  Principles onscreen and off are such a lost art! Clift exudes the straight back uniform style, the contrasting slouched and ruined hunch of an AWOL tropical shirt, and all the range of emotion and torment in between.  So what if the boxing scenes are hokey.  The idea of not wanting to box after blinding a friend may seem cliché to contemporary audiences, but Clift sells the pain perfectly, as if it is an integral part of who Prewitt is. The punishments he receives may just seem merely asinine, yes- today’s films would frontload this kind of plot point with unwatchable brutality before despicable character focus. Nonetheless, Clift plays the anger as fundamental, with no separation between himself and Prewitt.  Sure, he had his off screen troubles, but the viewer never thinks Clift is angry or playing himself, no.  Prewitt’s turmoil is simply so seamless- the music, the boxing, the love and loss. This is a completely three dimensional character thanks to Clift.

Perhaps I gloat over Clift, but I’ve said it before, and I’ll say it again: I don’t like Deborah Kerr.  Fortunately, The Innocents, The King and I, and From Here to Eternity create a trio of her best.  Kerr doesn’t look the expected English pretty in tight sweaters and short shorts, and all those wet dialogue references up the innuendo.  Karen has been around the block- and a base or two- for all the wrong reasons, and yet we don’t blame her.  She’s a fast woman carrying plenty of pent up issues, but she struts her stuff and knows how to shake those hips. We see her coming and yet the audience can sympathize with this wasted and wronged captain’s wife. This affair can’t end well- the would be scandal, Pearl Harbor is imminent, Warden doesn’t want to be an officer and Karen won’t marry an enlisted man.  It isn’t good and yet these people need some happiness, dreams, and all the misery that comes along with love. Although she went home with the Best Supporting Actress Oscar, I’m still not so sure Donna Reed was the right choice for the prostitute Lorene.  She’s great and has the acting chops to turn our It’s a Wonderful Life and Donna Reed Show expectations, yes. However, you can’t quite forget this “It’s Donna Reed! As a prostitute!” feeling. Fortunately, Reed does match Clift’s charm, and together they develop a tender but broken kind of chemistry and bitterness.  Do they love each other? Without a doubt. Will the military action behind the scenes and on the battle lines eat them alive? Definitely. 

 

Surprising, the one who exceeds expectations in From Here to Eternity is revitalized crooner Frank Sinatra (The Manchurian Candidate and my personal favorite Robin and the 7 Hoods) as the loyal friend who cracks under the ruthlessness of the late Ernest Borgnine’s Fatso. The ill-fated best friend is the very definition of a supporting character, and Maggio is simply classic for that final scene alone.  He lifts, inspires, and sets Prewitt’s actions into motion for the final third of the film. Today’s speculation about Mafia involvement in his casting and debate about his Oscar win unfortunately seem to overshadow his actual performance, but Sinatra is worth another look here. Perhaps also a stereotypically styled villain, Borgnine (Marty, McHale’s Navy) is nevertheless an imposing, multi dimensional figure both in stature and in performance. He’s gritty, wicked, and we immediately hate that people like him get ahead while honest soldiers like Maggio are chewed up and spit out.  But oiy, it must have been tough for him with all that wop talk! Philip Ober (North by Northwest) is despicably love to hate worthy as Dynamite Holmes, too.

Despite winning awards for its black and white cinematography, I can’t help but wonder what From Here to Eternity would look like in full fifties color and splendor.  The onscreen forties styles and accessories, those swanky parlors, lovely palm trees, and handsome starch uniforms in all their glory! Not that I condone colorization by any means, and besides, this film is not about dazzling visuals and little else like the 2001 Michael Bay stinking spectacle Pearl Harbor.  The battle finale here is sweet though; and the real military locations and authentic drilling, equipment, and protocols give us the wartime vibe needed.  Bittersweet bugle tributes, fun piano music, period swing and aloha sounds also do wonders- along with “Re-enlistment Blues.”  Even the cigarettes in From Here to Eternity shine. The way our players hold them and their shot glasses or brush their hair- most young stars and ‘celebrities’ today simply cannot ‘act’ like this.  They can’t embody the tense mood, atmosphere, pressure, and grace tying From Here to Eternity in a pretty bow.

Simply put (a thousand words too late!) this film is a must see. Maybe you don’t like Best Picture hardware laden classics or any of the cast. Perhaps you don’t like wartime films or have no interested in seeing a film of acting, direction, and cinematic perfection.  Too bad. You can’t be a fan of dramatic cinema and movies themselves without having seen From Here to Eternity. So why wait?

Summer Horror '12

Summer Horror 2012!

By Kristin Battestella

It’s too hot outside, isn’t it? Well, that’s just another reason to stay inside and scare yourself silly!

Medium Raw- John Rhys-Davies (Lord of the Rings) is good to start this 2010 wolf meets asylum romp. The maniacs and asylum hang-ups are indeed better than the usual haunted madhouse types, but the wolf designs are unfortunately kind of dumb.  Writer/director/hero Andrew Cymek (Dark Rising) is a bit too new and weak as well, but the scary ideas and effective killing concepts are played pretty straight. Okay, so the title is totally stupid, the subtitle Night of the Wolf is even worse, the twist is a bit obvious, and there’s nothing superior here. However, the getting there is good with a few better than expected jump moments.  Great claustrophobic sets allow room for dark fears to play (even if that dang title doesn’t give the film much of a chance!) and uses of red lighting, cannibalism, kitchens, and more warped fetishes add to the creepy. Modern jagged camera attempts and silly, unnecessary dream/ghost hinges over do it just a bit, but the Red Riding Hood motifs are just enough. Refreshingly not used for sexy boobs and nudity distractions, Brigitte Kingsley (W/D/H’s wife) and a surprisingly fun Mercedes McNab (Buffy) keep it all together along with X-Files alum William B. Davis.  I do however, wonder why new horror movies waste time on intercutting cool credits? No one else does anymore.

The Most Dangerous Game – Based on the oft cited Richard Connell story, this hour plus 1932 short starring Joel McCrea (Foreign Correspondent, Sullivan’s Travels), Leslie Banks (The Man Who Knew Too Much), and Fay Wray (King Kong) is fast, action packed, well shot, and actually, a bit scary. So some of the early toy boat effects are shoddy, and the production borrows from King Kong. There’s over the top acting with errors of the time, granted. However, it’s all still dang entertaining- hints of pre-code scandal, cool island fortress sets, creepy taxidermy to match, isolated people on the run from a deranged and diabolical looking Banks.  Candles, music, ominous mood, deadly pace – there’s even a crazy, intense, dirty chase. Though not billed as horror, longstanding staples of the genre are here, with damsels trapped in remote spooky houses and complex killers pursuing their victims in such stylish ways. Oh, and the hunting of people? Why, that’s just “outdoor chess”! Thanks to its quick length, this one is also an easy airing for schools studying one of the source story’s umpteenth publications.

The Tell Tale Heart – This black and white 1941 twenty minute short from director Jules Dassin (The Naked City) stars Oscar winner Joseph Schildkraut (The Life of Emile Zola) as the unstable murderer from Poe’s 1843 source.  Establishing specifics and some back-story occupy the first few minutes, but the plot is generally faithful with a solid use of shadows and foreboding music. Off camera action, however, isn’t as intense as it could be, and it all seems a bit too short to fully build all the hatred and insanity from Poe’s succinct writing. Thankfully, the increasing intensity of the titular sounds cap off the conclusion.  I confess, The Tell Tale Heart is my favorite Poe piece, and teachers or other Poe studies and enthusiasts can fit this quick drama in the classroom perfectly.  As to why the short ended up as a side feature on The Thin Man DVD collection? Beats me.

Triangle – Black Death director Christopher Smith creates a great mind bending and smartly head-scratching ride in this watery 2009 Bermuda triangle thriller.  There are a few scares, but the within within storytelling and multi level camera work develop more of a thinking viewer’s Twilight Zone heavy before full on gore or modern slasher horror.  A decrepit and sinister ship, carefully placed mirrors, dual appearances and deceptions, and altered audience perceptions layer the plotting and paths for desperate mother Melissa George (Turistas). Though it boy Liam Hemsworth (The Hunger Games) is iffy, his role is relatively small. Hefty concepts, time twists, and intelligent debate outshine any small scale productions here, too.  I’d like to say more, but I don’t want to spoil anything!

And Avoid

The Tomb – I tried to give this 2009 update a chance just because it was supposed to be a new and fresh take on the Edgar Allan Poe ‘Ligeia’ story.  Unfortunately, I couldn’t take it a half hour in-the convoluted set up, crappy location, and lame sexy were just a complete mess. I eventually fell asleep, and was so put off by what I did see that I couldn’t bring myself to rewatch.  Sorry!

MI-5: Season 10

I’m Still Undecided on MI-5 Season 10

By Kristin Battestella

I confess. I was reluctant to watch last year’s final six-episode Tenth Season of the British spy series MI-5, and I’m still unsure what to make of it.  Although Series 9 was less than stellar, this finale has some fine inclusive work worthy of the franchise- a largely wonderful program I highly recommend overall.  But do these departing high notes fulfill on entire series?  Not quite.

Sir Harry Pierce (Peter Firth), new Section D chief Erin Watts (Lara Pulver), and Intelligence Officer Ruth Evershed (Nicola Walker) have their hands full of turmoil at Thames House after explosive evidence of Harry’s decades old relationship with Elena Gavrik (Alice Krige) threatens to derail new Russian negotiations. Elena is the wife of Harry’s rival and top Russian negotiator Ilya Gavrik (Jonathan Hyde), and Home Secretary Towers (Simon Russell Beale) can only defend Harry’s tactics for so long as pressure from CIA liaison Jim Coaver (William Hope) mounts.

With only six episodes in this MI-5 swansong, the audience might expect one long plot- a connecting vein and a tying up of loose ends to all that has gone before. However, traditional A and B action plotting and Americanized storylines take over, pushing both new and long brewing personal stories to the side.  Why did they ever turn away from character development in an erroneous quest for bomb of the week ho-hum?  Over these ten series, we’ve now seen enough terror plots, global peril, and down to the wire mayhem to last a lifetime. If these 6 episodes never left Thames House- or by contrast never even showed The Grid- there would have at least been some form of differentiation or reflection. Instead, it doesn’t feel like MI-5 is wrapping up at all. Some outlandish scenarios are a blatant clinging to big ratings thrills.  We’re not perfect either, but too much time is also spent on making American bad guys and anti-USA plots. All this effort to go out on a big scandalous bang is not only misplaced in the face of franchise resolutions, but the action isn’t as interesting as the real, individual stories that could be at hand-if those personal and intimate moments were ever given their proper attention that is.

Thankfully, Peter Firth as Harry Pierce and Nicola Walker as Ruth Evershed are simply awesome.  Though some might find her accent for MI-5 tough, Alice Krige- she’s the Borg Queen for goodness sake- can generally do no acting wrong. Together, the trio creates a smart, unusual love triangle with enough espionage to anchor the focus of these exiting six.  After all these years of pretty men, badass ladies, and international intensity, Harry and Ruth have shined brightest in their ups and downs and love lost amid Her Majesty’s Secret Service. Bringing in a high-class recurring name like Krige as the conflicted wedge between them is practically gold. And yet, there is some bizarre need to place these meaty relationships, past regrets, and unrealized futures behind Russian assassination attempts and terror troubles in Trafalgar Square.  Simply put, this recent loss of priorities has put MI-5 in the grave.  If the show adhered to its original personal ‘people are spies, too’ dynamic and internal focus, why couldn’t MI-5 continue for another ten years like Law and Order? Unfortunately as it stands, we don’t even get to spend any time with Lara Pulver’s (Robin Hood, Sherlock) new section chief Erin Watts. Adding a boss who’s a single mother on top of the issues at Thames House is a nice touch, but we know precious little else. 

Fairing no better, Simon Russell Beale doesn’t get to do very much except play the expected politician, and Jonathan Hyde’s (Titanic) Gavrik is too broadly written as the stereotypical Russian villain of old- as is William Hope (Aliens) as CIA thorn Jim Coaver.  The veterans, however, are superior to the useless introduction of inept tech boy Calum Reed (Geoffrey Streatfeild, The Other Boleyn Girl), and Max Brown still hasn’t captured the contemporary cool weight of the previous male leads as Dimitri Levendis.  He’s young and pretty, but perhaps too much so, with an empty clean slate of nothing in comparison to all the crap we’ve previously put up with from prior cast. Shazad Latif’s departure as Tariq is also absolutely useless. Why bother to dismiss someone so poorly this late in the game?  MI-5 has always made a marked point that anyone can come and go at anytime, but why introduce new people on the grid this season at all?  Where are the flashbacks and recognition? The tacked on mention of all that we’ve loved and lost before is not nearly enough.  Have we no pictures, voices, or videos of the dead? Where are the people who got away from The Grid? If viewers unknowingly tuned into Series 10 of MI-5, I’m not so sure they would know it was a finale!

Though the show still looks good, the technology and tablets are a little much. Compared to the original state of the art gizmos from the first season, this stuff is just ridiculously high tech, even futuristic.  I don’t recall a lot of split screens or lighting imagination, either, but these six episodes all seem to go by too quick without MI-5’s prior attention to detail. Was this conclusion merely an obligation to fill an episode order? Not only will the damn it to hell ending upset long time fans, the tiny tributes fall flat.  Loose ends with American and Russian relations also mar the conclusion here- although that might be a piece of ob la di, ob la da spy merry go round.  Apparently, you don’t escape it unless you die! Year 10 does end on a personal emotional moment with one wonderful cameo, but it’s lost in the shuffle amid the increasing focus towards action.  I expected more from a franchise that stood apart for the better part of eight seasons.

New audiences can’t jump into MI-5 with this final Series 10.  That should go without saying, but they were clearly reaching for edgy, contemporary vibes before appreciating longtime viewers of the franchise. Vintage audiences will still watch, of course. More than anything, however, this year makes me want to start MI-5 right over again from the beginning. Perhaps that was the point?  Now that the franchise is complete, pick and choose and relive the spy glory on DVD with MI-5.