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Staff Picks Reviewer: Jason

Starting From Happy by Patricia Marx []

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Patricia Marx, a regular contributor to the New Yorker and a former Saturday Night Live writer, had me convulsing in fits of laughter on the sofa with her new book Starting From Happy. Fans of Woody Allen or Miranda July’s surreal, humorous short fiction and lovers of Demetri Martin’s use of pie charts will certainly enjoy.
Here we have the love story (sort of…) of Imogene and Wally. I suppose won’t divulge too much more about the principles for there are many twists and turns. The author appears as Patty. We don’t know where she fits into this narrative exactly, but she’s able to comment when necessary.
Graphs are exhibited, kumquats are drawn.
Marx divides her text in short “chaplettes” that are often composed with brief dialog, nonchalant time shifts or just plain quick bursts of deadpan humor. This storytelling device not only helps usher the plot along with vigor, it also gives the author the opportunity to deliver some sublimely meta moments. I’ll leave you with one of my favorite instances:
318.
“One more question,” said Wally. “Do you think we’ll be in this book long enough for them to hear me stop pleading with you?”
 
319.
Enough Horsing Around.

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Cutter’s Way []

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“These are just the facts, Rich. I mean, I haven’t even begun to let my imagination loose on this thing.”

A film about our first head librarian? Telling a tale of the creation of the Cutter System (the same system Forbes Library uses to this day)? I’m afraid not… though Dylan and I are working on the second draft of the Charles Ammi Cutter Story. In theaters 2039.

Rather, Cutter’s Way is a film directed by Czech New Wave pioneer Ivan Passer that stars Jeff Bridges and John Heard. Heard plays Alex Cutter, a one armed, one legged, eye patch wearing bitter Vietnam veteran who is on the verge of losing touch with reality. Side bar: I tend to get drawn to movies where a character wears an eye patch (True Grit, The American Friend (though Nicholas Ray really needed to wear one of those in real life), Kill Bill, Thunderball or any pirate film come to mind). Cutter lives his life with the feeling that he has nothing to lose and often exists in a drunken stupor without the will to live. Though his antics on some occasions are entertaining to his wife Mo and his closest friend Richard Bone (Jeff Bridges), most of the time he’s putting himself and others in danger.

Bone, a yacht salesman who doubles as some sort of refined-hippie-vagabond-couch-surfing dude, witnesses the disposing of a body after a murder. He decides to flee the scene and not get involved (not getting involved happens to be a central theme of Richard Bone), but winds up being questioned and finds himself on the front page of the paper. Cutter, in turn, becomes obsessed with this case and is convinced he knows who has committed the terrible act.

Cutter’s Way is an overlooked film that explores the limits of friendship and expertly combines the genres of drama, mystery, comedy, adventure and film noir.

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Henning Goes to the Movies by Henning Ohlenbusch []

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Please excuse the following burst of textual immodesty… Ahem. As founder and president (not to mention CEO, secretary, vice president & mascot) of the Forbes Film Club, I can safely say that I know a thing or two about the cinema. In addition, it was in college where I studied video and film, wrote lengthy ramblings dealing with issues within the worlds of documentary film and German cinema, composed pretentious screenplays and starred in some student produced shorts that feature poor lighting (often typecast as a chat show host, bud did sport a tricorne hat once for a period piece). I later found myself in Texas working in a video library/archive and spent most evenings devouring the collection and attending curated film festivals. To this day, little gives me greater pleasure than sitting in the theater, munching on popcorn and seeing something unfold on the big screen.

I have very personal connections to a handful of films and I believe movies we love can have a great impact on how we define ourselves. This is why Henning Goes to the Movies is so appealing.

Nine movies. Nine songs. Henning Ohlenbusch, lyricist extraordinaire/singer/songwriter of the group School For the Dead, is the architect (perhaps I should use director in this instance?) behind this wonderful album. He sings about the hilariously raunchy Super Bad, David Lynch’s quiet drama the Straight Story, the horror classic Poltergeist, the coming of age classic the Year My Voice Broke and more. His approach to these pieces is not a highlight of important plot points; rather he shares his personal experience with each film. Through introducing a specific character’s perspective or providing an overall sentiment of a movie, Ohlenbusch invites the listener to go on a cinematic journey.

His folksy pop songs are simply arranged to bring us close to the stories. He also tastefully sets the scene with appropriate backing. We find ourselves somewhere in the distant future in Logan’s Run with weaving backward electric guitar and at an old time carnival in Joe Vs. the Volcano. Though voice and acoustic guitar tend to be in the forefront throughout, keyboards, glockenspiel, subtle effects, electric bass, harmony vocals and percussion expand the mix.

This a great collection of songs, even without the movie theme. And I should mention that you really don’t need to have seen the films to appreciate the record. It is, however, even more of a gratifying listen for those of us who find that films are an important fabric of our lives.

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The Psychopath Test by Jon Ronson []

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The popular fictional sleuth Sherlock Holmes once stated,“when you have eliminated the impossible, whatever remains, however improbable, must be the truth.”

The Psychopath Test, a work of non-fiction, begins as a real life mystery to discover the meaning and motivation behind selected mailings of a strange bound book entitled Being or Nothingness (notewe are not referring to Sartre’sBeing and Nothingness). Jon Ronson, a journalist and the author of the highly successful novel the Men Who Stare at Goats, is enlisted to find the source and make some sense of the text.

Many aspects of the authors life begin to arrive at certain parallels as the quest progresses and further mysteries unfurl themselves. He finds himself in conversation with members of the church of Scientology (who hold a strong opposition to the field of psychiatry) which leads to an interview with a particular inmate at the Broadmoor Asylum who claims he has faked madness as an escape a lengthy jail sentence.

Ronson becomes intrigued with the concept of psychopathy and learns that there is a specific test that helps experts determine whether any individual has psychopathic tendencies.It should be noted that overall, these studies claim to reveal that 1 out of every 100 people happen to be psychopaths (you’re now cataloging and making a mental list of all the people you know, aren’t you?). He later applies the test to an infamously ruthless CEO after learning studies show that 4 out of every 100 big business, corporate leaders happen to be psychopaths. This interview with the man possessing a menagerie of predatorial creature artwork offers plenty of laughs. You may have heard an excerpt from this humorous section of the book and also the Broadmoor story on NPR’s This American Life.The Psychopath Test eventually extends from Ronson’s personal adventure to discuss the history of experimental treatments for troubled individuals, the present state of the psychiatric and mental health fields and also pharmaceutical industry. While Ronson carefully exhibits little or no bias on these aforementioned subjects, he skillfully presents issues at hand. Though his journey leads him to come face to face with serious and thought provoking dilemmas, Ronson is able find humor in certain situations and always keeps the reader entertained. At one stage the author writes, “I was writing a book about the madness industry and only just realizing that I was part of the industry.”

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Twentieth Century by Howard Hawks []

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John Barrymore and Carole Lombard star in, what some site as the first screwball comedy, Twentieth Century. The film’s director, Howard Hawks, who delivered several box office smashes in the form of the more macho features (his credits include the original Scarface, Rio Bravo,the Big Sleep), was also adept to orchestrate the gut busting comedy piece. He later went on to direct other classics in this genre such asBringing Up Baby and His Girl Friday.

Sort of a silly version of the Red Shoes (though the film we’re discussing predates it), Twentieth Century presents a didactic relationship in the entertainment business. Oscar Jaffe, a Broadway producer played by Barrymore, casts an unknown to actress to play the lead in his newest production. This actress (brilliantly performed by Lombard) is put through the ringer and subjected to plenty of condescending exercises and verbal tirades by this larger than life figure. Despite his questionable methods and erratic behavior, Jaffe manages to mold this unknown into a household name. He also dictates that her household name shall be “Lily Garland”.

Once Garland has attained fame and fortune, she no longer needs the temperamental Oscar Jaffe in her life. As a result, the producer soon falls on hard times. Not only does he realize that he needs Garland back in his life for professional reasons, he discovers that he’s madly in love with the starlet! His crusade, at times devious, to win back her favor knows no bounds.

Barrymore’s portrayal of Jaffe, which is grandiose in one instant and hilariously pathetic the next, propels the story at a breakneck pace. Filled with slapstick gags and wild monologues, the actor gives one of the most memorable comedic performances committed to film.

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Under the Volcano by John Huston []

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Albert Finney stars in one the last films by the prolific American director, John Huston. Under the Volcano is based on the semi-autobiographical novel by Malcolm Lowry.

Delusions and alcoholism are the central themes of this film. We join Finney’s character, Geoffrey Firmin, just after the Day of Dead fiesta in Mexico in 1939. Firmin, who is an alcoholic and bitter English consul, wanders throughout a beautiful Mexican village with his life spiraling out of control. Though he tries to pull himself together when his estranged wife (played by Jacqueline Bisset) stops for a visit, moments of clarity and decent behavior are few and far between.

Finney’s portrayal of this troubled character would most likely be over the top handled by another actor. He manages to create someone loud and belligerent, pitiful and charming on some occasions. We want him to dig himself out of this self-inflicted crisis, but we understand that he’s incapable. Huston paints this personal drama with the beauty of the Mexican village and also a strange wallpaper of supporting characters (including the director/writer/actor Emilio Fernández).

This Criterion Collection dvd has a painstakingly assembled bonus disc that profiles John Huston, provides behind the scenes footage and includes the film Volcano: An Inquiry into the Life and Death of Malcolm Lowry (narrated by the late Richard Burton).

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Welcome to the Monkey House []

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Selections from Kurt Vonnegut Jr.’s Welcome to the Monkey House, an anthology of shorter fiction, appeared on the Showtime channel in the early 1990’s. The series was on the air for a brief time, but all of the episodes exist on a dvd that we’ve just received from the Pleasant St. Video collection.

Welcome to the Monkey House is fascinating from the outset; the author makes an on camera introduction to the episodes. His opening dialog is the only instance of seeing him on film/tape that I can recall (until this moment, I’ve used my imagination to estimate his mannerisms via book jacket photographs!).

The stories and the overall feel of the series strike a kinship with David Lynch and Mark Frost’s Twin Peaks. Both idiosyncratic television programs were on the air around the same time, draw from 1950’s style and also deal with the abnormal. A mysterious double life, a sadistic battle of wits involving humans as chess pieces, a woman’s obsession with home design catalogs and a child’s eventful night without a babysitter all feature in Welcome to the Monkey House.

Vonnegut has always struck me as someone who has the ability of skillfully introducing science fiction elements or ideas into his writing without having them seem far removed from contemporary society. Though he often delves into the world of science fiction, I can’t classify him solely as a science fiction writer. His laconic central characters tend to ease us into strange, new worlds by having a dark sense of humor or an overall surly, sarcastic attitude toward the present state. For instance, a soap opera actor portraying a doctor is lead into mansion that houses an elderly woman whose only original body part is her head. The actor is initially surprised, but accepts the situation within moments after the orchestrator of this scientific achievement gives his explanation in the most blasé fashion possible.

Kurt Vonnegut’s stories are wonderfully captured in this series and feature performances by Madeline Kahn, Frank Langella, Jon Cryer and many more fine character actors. It was a short lived television program, but it managed to capture some of the author’s bizarrely brilliant concepts.

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Wheel of Time by Werner Herzog []

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Werner Herzog, director of Fitzcarraldo, Aguirre: the Wrath of God and Stroszek, has almost become equally as famous for his non-fiction work in recent years thanks to the success of the fabulous Grizzly Man documentary. Forbes Library is fortunate to be receiving several of Herzog’s documentaries (many of which currently hard to find, out of print titles) through our acquisition of the Pleasant St. Video collection thanks to the kind donations from our patrons.

I first saw Wheel of Time at a Werner Herzog retrospective in Austin, TX. I must confess that I didn’t know much about the film or this German auteur at the time. I would soon receive a wonderful education by purchasing a pass to attend the rest of the festival and also borrowing everything I could find by the director at the video library where I was then employed.

The film chronicles a Buddhist pilgrimage to Bodh Gaya, India. At this destination, several artists create a giant, yet intricate, sand design or “sand mandala” (which is referred to as the wheel of time). The creation of the sand mandala is carefully constructed over a lengthy period of time and the viewer is constantly worried that it will not be completed by its deadline (or at least I was feeling tense). The stunning landscape along our travelers’ journey and the vibrant colors of the dyed sand are brilliantly captured by the film’s gorgeous cinematography. There is also a personal interview Herzog conducts with the Dalai Lama.

Wheel of Time, along with many of his documentaries, is certainly as interesting and entertaining as his classic fiction films. In both mediums, we are often supplied with adventure, drama, social commentary, humor and taken to exotic locales. Whether going up in a strange flying apparatus into a rainforest canopy, living in the jungle while filming, hauling a riverboat up a mountain, eating his own shoe, working with wild bears and collaborating with Klaus Kinski (!), Werner Herzog has managed to survive and also produce great art. It wasn’t until a 2006 BBC interview when his life became (arguably) most in danger when a sniper opened fire with an air rifle. After the shooting Herzog calmly commented, “it was not a significant bullet. I am not afraid.”

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Any Day Now: David Bowie by Kevin Cann []

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Any Day Now covers Bowie’s early life and the beginning phases of his exceptional musical career. This painstakingly assembled biography/chronology lists studio session dates and concert appearances, presents press clippings and handwritten letters and also provides a complete discography for the said period in time. Most impressive is the multitude of incredible photographs of the adventurous singer; each page is filled with striking images, large and small. It’s an interesting read and account of the rapidly progressing artist in both appearance and musical style.

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Man Ray in Paris by Erin C. Garcia []

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We’ve recently been hit with a steady current of material spotlighting Americans residing among the Parisians in the 1920’s. Several fantastic books on the subject have been published this year along with the opening of Woody Allen’s new comedy Midnight in Paris.

Paris in the 1920’s was a creative haven for many artists, critics, filmmakers and writers. Man Ray, who would not wish to be simply classified as a photographer (he considered himself a painter who also took photographs, made films and worked with sculpture and collage), came to France in 1921 and produced some of his most revered photographic work. Basing much of his craft on experimentation and dreamlike imagery, he aligned himself with artists in the Dada and Surrealist movements. In Erin C. Garcia’s book, we see portraits of Man Ray’s colleagues which include Jean Cocteau, Hans Arp, Salvador Dalí and Marcel Duchamp.

Man Ray in Paris provides many stunning photographic plates and also chronicles the artist’s stay in the City of Light.

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The Illusionist by Sylvain Chomet []

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The Triplets of Belleville animator/director takes on an unrealized script of the late French comedian, writer and director Jacques Tati in the Illusionist. This remarkable, melancholic film features an animated Tati in the role of the magician named Tatcischeff (Tati’s actual last name) at a time when vaudeville performances are beginning to become a passé form of entertainment.

On a trip to Scotland for an appearance, Tatcischeff meets a young girl who winds up following him to London. The magician takes her under his care and winds up going broke funding her desire for expensive clothing. The two also come into contact with several eccentric and delightful characters surrounding the changing 1960’s entertainment industry.

What we have in the Illusionist is a funny, elegant and moving film which marries the essence of Jacques Tati’s brilliance and the stylish animation of Sylvain Chomet.

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A Wizard, A True Star by Todd Rundgren []

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Todd Rundgren, hot off the heels of Something/Anything? and its hits “Hello It’s Me” and “I Saw the Light”, released an experimental album called A Wizard, A True Star in 1973. The record is a strangely assembled pastiche of synthesizer driven pop songs, homages to Disney soundtracks and wacky Spike Jones records, soul covers and dark, personal compositions.

Nearly all of the songs run together on this recording creating a frantic, but inspired listening experience. Ever the innovative musician and producer, Rundgren’s engaging arrangements and subtle overdubs make this record a gratifying headphone listen.

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