Sunday, December 20, 2009

2009 in Review - Music

My top twenty albums of 2009:

20. Gallows - Grey Britain
19. Moneen - The World I Want to Leave Behind
18. Regina Spektor - Far
17. The Dead Weather - Horehound
16. N.A.S.A. - The Spirit of Apollo
15. Jamie T - Kings & Queens
14. The Antlers - Hospice
13. Paramore - brand new eyes
12. As Tall as Lions - You Can't Take it With You
11. Matt & Kim - Grand
10. Broadway Calls - Good Views, Bad News
09. Balmorhea - All Is Wild, All Is Silent
08. Animal Collective - Merriweather Post Pavillion
07. New Found Glory - Not Without a Fight
06. Manchester Orchestra - Everything to Nothing
05. Tegan and Sara - Sainthood
04. mewithoutYou - It's All Crazy! It's All False! It's All a Dream! It's Alright
03. Brand New - Daisy
02. Metric - Fantasies
01. fun. - Aim and Ignite

This was an interesting year. Many bands that whose last albums had been amongst my favourites of the respective years they came out, or even of all time, put out records this year. That's a lot of expectation to live up to, and for the most part I'd say few managed to reach the benchmark. Which isn't to say that they were bad, they just weren't as good as their previous releases.

It is hard to try to compare a release only to its fellow albums that were released in the same year, rather than past material from the band. At the end of the day, that kind of comparison is inevitable. Overall, I am still mostly content with the end result of my list. The top five, or even ten, are likely to shift around some, but the twenty up there does well-represent the albums that I really enjoyed from this year.

There were only a handful of albums from 2009 that I have yet to hear that I'd really like to, so in that sense this is probably one of the more accurate lists I've made in terms of actually not having a new entry come in later and completely take over.

Anyway, some fun facts about the last year that I gleaned from looking at my last.fm account (all stats taken on December 31st, 2009. Note my last.fm does not record plays made on my mp3 player):

Top played artists of 2009:
01 Less Than Jake
02 Barenaked Ladies
03 The Beatles
04 mewithoutYou
05 New Found Glory
06 As Tall as Lions
07 Great Big Sea
08 Tegan and Sara
09 The Gaslight Anthem
10 Brand New

Top played albums of 2009:
01 The Gaslight Anthem - The '59 Sound
02 mewithoutYou - It's All Crazy! It's All False! It's All a Dream! It's Alright
03 As Tall as Lions - As Tall As Lions
04 Rx Bandits - ...And the Battle Begun
05 Good Old War - Only Way to Be Alone
06 Tom Waits - Rain Dogs
07 Valencia - We All Need a Reason to Believe
08 Brand New - Daisy
09 New Found Glory - Not Without a Fight
10 Manchester Orchestra - Mean Everything to Nothing

Top played songs of 2009:
01 Manchester Orchestra - "I've Got Friends"
02 The Gaslight Anthem - "Old White Lincoln"
03 The Gaslight Anthem - "Great Expectations"
04 The Gaslight Anthem - "Film Noir"
05 The Gaslight Anthem - "High Lonesome"
06 Jack's Mannequin - "The Mixed Tape"
07 The Gaslight Anthem - "The '59 Sound"
08 The Gaslight Anthem - "Casanova, Baby!"
09 As Tall as Lions - "Maybe I'm Just Tired"

I'll hopefully have a big "Best of the Decade" styled post(s) up sometime before the end of the month. Hence why this one was lacking in the description area.

Saturday, November 14, 2009

Faithless Adaptations



Recently, I've been encountering more in more books and films that start out great, continue to be great, but then end horribly. I don't know why I'm noticing this now over any other time, but it is happening, and it is making for some frustrating viewings and readings. The most recent example of this is The Story of Edgar Sawtelle, the first novel by David Wroblewski. I'm not sure how well it has been received in the critical community, besides the glowing blurbs on the back from the likes of Stephen King, the fact that it made Oprah's book club, and the fact that it is a New York Times best-seller. All I know is that I was really enjoying the book, right up until the end. In fact, I can pinpoint the exact page where it all started going downhill, (page 514 out of 562 pages in total). I can also pinpoint exactly why.

Edgar Sawtelle is a re-imagining and adaptation of the lauded Shakespeare play Hamlet. Now, I love Hamlet. It is one of my favourite Shakespeare plays, I've seen it performed on two separate occasions, one of which was at the Old Vic in London. I've read it for study and I've read it for pleasure. I've performed little bits of it here and there. I have no problem with the source material whatsoever.

I also like Shakespeare adaptations. I thought that Baz Luhrmann's Romeo + Juliet was quite good. I love The Lion King. I think that 10 Things I Hate About You is actually a rather clever re-imagining of The Taming of the Shrew. I have no problem with taking one of Shakespeare's plays and adapting it in various ways, changing settings and circumstances. I even really enjoyed The Story of Edgar Sawtelle as I was reading it. That is, up until page 514.

The book replaces the story of the Danish royals with a small family that lives and works on a farm in Wisconsin where they breed a fictional type of dog simply called Sawtelle Dogs. The Edgar is the stand-in for Hamlet, and was born mute, only communicating through sign and writing. His uncle Claude (a rather heavy-handed substitute for Claudius) returns to his childhood home after serving in the military, shortly after which Edgar's father dies and Claude begins to replace him in his duties on the farm as well as in his mother's affections. Edgar is visited by the ghost of his father, and becomes convinced that Claude had something to do with his father's death. Not so much in the sense that his father actually materialized in front of him, but he is visited by his father's spirit in a way that it doesn't seem too far removed from the reality of the story.

Other than the basic story premise, the book doesn't follow the story details of Hamlet too deeply. It really isn't so much a story of revenge, but is more of a coming-of-age story, a story of a mental and physical journey taken on by the title character. It also focuses a lot, and quite well at that, on the relationship between people and dogs. It all makes for a very interesting and engaging read. Up until around page 514.

Around that time in the book, I imagine Wroblewski said to himself "Oh shit, this is supposed to be an adaptation of Hamlet! Better start killing everyone!"

Everyone knows how Hamlet ends. Everyone knows the body count of that story is ridiculous, but somehow works. Not so much in Edgar Sawtelle. Sure, the deaths of the father, the Polonius character, and Ophelia stand-in (at least one of them) make sense, but everything past that just comes off as a rushed last-minute decision that doesn't make any sense within the context of the story. The Hamlet character wasn't killed directly confronting his father's killer. That happens earlier in the book, in a totally different context. The Claudius character isn't killed by the avenging son, but simply by an act of nature that was in itself somewhat contrived.

My problem isn't with the adaptation of the play. My problem is that it seemingly holds true to the case that it has to follow the original source almost to the letter in its outcome. Ok, the Laertes and and Gertrude characters make it out alive (though not unscathed), and there's no mention of the Rosencrantz and Guildenstern stand-ins being offed, but there was in the context of the story created in the book, no need for the death of the title character or the Claudius character, other than the fact that they die in the source material. At least that is how it seems to me.

It would be like if in The Lion King, Nala drowned herself after being rejected by Simba, and Sarabi offed herself by jumping off the top of Pride Rock because Simba also died after the climactic battle with Scar. Most would argue that could never happen because it is a family-oriented Disney movie. True, but also it wouldn't make sense in the context of the story. For some reason Wroeblewski decided to remain faithful to the story he was basing his book on, rather than the story he was writing.

It is possible that I'm missing some detail from the story that makes the ending that occurs the logical conclusion, but I just cannot wrap my head around it. It is a shame, because up until page 514, The Story of Edgar Sawtelle was a very enjoyable read, a very interesting take on the story of Hamlet, and overall a rather engrossing and engaging book that I didn't mind staying up late reading. Now the whole experience is quite soured, and I won't be able to recommend the book to many people simply based on how much I disliked the ending. Shame, because it could have been saved simply by being a little less faithful of an adaptation.

Wednesday, August 19, 2009

Hey, A Movie! - The Greatest Muppet Caper Moments pt. 2

I had a whole second intro planned for this, but Animal ate my notes for it. So let's just jump right back in. Here are my top 10 moments from The Great Muppet Caper.


10. I Knew it Wasn't His Real Voice!

"Miss Piggy's Fantasy" is actually probably one of my least favourite musical numbers in the movie. Sure, her underwater acrobatics are an impressive feat, and there's always something funny about the sequences that focus on the adoration of Piggy (see: "The First Time It Happens"), but I always felt it ran a little long for a fantasy sequence. It still contains a really funny moment, however, and leads to a great after-joke.

Even when I was a kid I used to crack up when Nicky Holiday, one of the points to the Kermit-Piggy-Holiday love triangle of the film, would start singing in his floating bubble. He's voice is just randomly operatic, and if Bugs Bunny taught me anything, it's that opera is hilarious. In any case, Charles Gordin's voice does not really make it seem like he'd be an opera singing type, and to see him hammily belting out "OH, HAPPINESS, MISS PIGGY! / ONE CARES, MISS PIGGY! / ALL THE WORLD'S EVER WANTED WAS YOU / A DREAM COME TRUE! / AH, MISS PIGGY / IT'S YOU!" in an operatic voice is just gut-wrenchingly funny. When Kermit appears across from him in his own bubble and they start trading lines, it just gets funnier.

The laughs don't even stop there. After the fantasy comes to a halt, Nicky Holiday takes the chance to place a necklace he stole earlier into Piggy's coat, framing her for the thefts he and his gang of model-robbers committed. Piggy realizes right away that he has framed her, and begins to rant and rave about how Nicky is the true culprit. As she's being led away, she drops the gloves and really start attacking him, screaming "You can't even sing! Your voice was dubbed!"

You know Piggy is a good actress because she gets so into a scene that she breaks character and talks about how his voice was dubbed in a fantasy her character had, she's so mad.

09. "We're Trying to do a Movie Here"

As we've seen before (and will see again) The Great Muppet Caper contains a lot of instances of breaking the fourth wall, where the characters clearly admit that they are in a movie. This is one of the best instances of it happening, because as far as the audience is aware this scene is part of the movie, up until the end of it when Kermit reveals that it isn't.

A random man (played by Peter Falk, better known as Columbo) takes a seat next to Kermit on a park bench, where he is contemplating the mysterious stranger (Piggy) who had lied to him about her identity. The man claims he can commiserate with the frog, because just by looking at him he can tell what's wrong. He proceeds to tell Kermit a two-and-a-half minute story about how Kermit was in the dry-cleaning business with his brother-in-law, and how it failed. When Kermit informs the man he is entirely wrong about everything he had just said, the man gets ready to take another guess when Kermit interrupts with "I hate to be rude, but we're trying to do a movie here." The man apologizes, offers to sell Kermit a watch, then leaves.

So for about five minutes or so this person was on screen, talking to the lead character, and yet he had nothing whatsoever to do with the story. In the first layer of the movie, he's just a random character who apparently wandered onto the set and no one said anything, but in the second layer of the movie its a brilliant and hilarious cameo.

08. AGAIN?!

Forget Rachel Ray, forget Bobby Flay, forget every other Chef that is a TV personality, Swedish Chef blows them all out of the water. You never see Nigella Lawson chasing chickens around with tennis racquets, do you? Exactly. No other chef can claim to utilize the same tools he uses, or is as inventive with recipes and ingredients. Not a thing goes to waste in the world of Swedish Chef.

Like when Beauregard is nice enough to drop Kermit, Fozzie and Gonzo off right in the lobby of the Happiness Hotel, by driving right through the front door. When he leaves, he decides there's no point in going backwards, and instead proceeds to just pull forwards into the kitchen and out onto the street that way. Amongst the wreckage Swedish Chef is able to pull together enough to make a batch of Steering Wheel Soufflé for dinner that night.

But trust Janice to have something to complain about, as she lets out an exasperated "Again?" and shakes her head before going back to her tanning bed.

07. It is a Very Nice Cummerbund

Lady Holiday has just been robbed! There she was, enjoying a nice evening out with her brother Nicky, wearing one of her most expensive diamond necklaces for the occasion. The evenings entertainment consisted of a co-ordinated dance sequences starring her new secretary, a pig with aspirations of being a high-fashion model. No sooner does the elaborate song-and-dance end when the power cuts out, and a hand snatches the jewelry from around her neck. The power comes back on seconds later, and the necklace (and whoever took it) is gone.

Well, not really. Nicky took it and handed it off to one of his model-thieves, and remains seated next to his sister. Lady Holiday is understandable upset, and demands that someone, anyone, do something about the theft right away. Nicky, as mentioned, is right there, but is otherwise occupied. Why? In his own words, "What do you want me to do, I spilled ketchup all over my cummberbund!"

The pure and absolute devastation and dismay with which he delivers the line makes it seem like it was the most valuable cummerbund in the history of cummerbunds.

Cummerbund.

06. Sophisticated Animal

Animal was the favourite muppet of both my brother and myself when we were younger. It probably had something to do with the fact that he was pretty much the embodiment of a reckless and destructive child. His speech was simple, he spoke mostly in grunts and roars with a few random words interspaced. He was the most destructive character we had seen this side of the Tasmanian Devil. The movie itself starts off with Animal literally chewing the scenery. Or at least the backdrop.

But this part of the film provides more insight into the mind and personality of the muppet known as Animal than any other moment in any other film. The moment opens up like all the best animal moments; the manic creature roaring away, pounding on his drum kit. Kermit asks Zoot if there is anything wrong with the Electric Mayhem's drummer, as he looks a little crazed (I suppose moreso than usual). Zoot informs Kermit that he's just upset because he missed the Rembrandt exhibit. "Renoir!" corrects Animal from offscreen.

Just because a muppet likes to eat everything in sight and chase ladies around screaming "WOMAN!" doesn't mean he doesn't appreciate the Impressionists.

05. He Has a Point

Sam the Eagle is the perpetual straight man of the muppets. In fact, he may not even be a muppet, so outside their realm of insanity is his existence. At least that is what I suspect.

In this particular scene, the muppets have just finished their first group number, with flourish. Gonzo decides to capture the moment on film (because he's a photographer, obviously). After the flashbulb out, there is a beat of silence as everyone's eyes adjust from the flash. It is broken by Sam opening his door (apparently he is a resident of the Happiness Hotel, money must be tight), glancing around disdainfully and proclaiming "You are all weird-os!" before slamming his door shut.

Truer words have never been spoken.

04. Honeydew is a Menace

I can say with a fair amount of certainty that Dr. Bunsen Honeydew is a sadist. I don't know if he's even a real doctor, but I do know he is a sick, twisted individual that needs to be stopped. I don't care if poor Beaker likes being his little pain slave, Honeydew is a danger to all, as The Great Muppet Caper demonstrates.

At first, Honeydew is content with his normal and almost everyday torture of his lab assistant, Beaker. When it is pointed out that the bars blocking the skylight window through which the muppets hope to enter the Mallory Gallery might be electrified, Bunsen is quick to volunteer Beaker to test it. As the hapless muppet prods the bars with a screwdriver, he is mercilessly electrocuted. And what is Honeydew's reaction? Well, you can see above, he smugly turns and nods to Gonzo (who I have reason to believe is a masochist). He's enjoying the pain being inflicted on the poor soul!

But that's just your average day in the sick relationship between Bunsen and Beaker. Bunsen's true evilness comes through later, when they realize there's no way for them to get from the roof into the Gallery proper. Bunsen suggests they jump down. When Fozzie rightly points out this is an insane idea, as the drop is more than one hundred feet, Bunsen smugly replies "I never said it was a good suggestion." He obviously just wanted to take pleasure in the plummeting bodies of his supposed friends.

What a jerk.

03. TAXIIIII!

Like I alluded to above, I suspect that Gonzo might just be a masochist. There are plenty of moments in the film where Gonzo is shown to take a lot of pleasure from seemingly painful experience. From getting thrown out of a plane (and later a moving bus) to getting his nose stuck and twisted about in an elevator, Gonzo gets put through the ringer and keeps on asking for more.

But his best moment comes shortly after Kermit's meeting with "Lady Holiday" (really Miss Piggy), when the main trio are having a bit of a hard time hailing a cab. Gonzo has a surefire method that he volunteers to employ. This basically involves the muppet jumping into oncoming traffic, screaming "TAAAXXIIIIIII!" at the top of his lungs.

As the Beauregard-piloted cab screeches to a halt just inches from Gonzo's soft head (which is kind of incredible, when you see Beau's driving), the muppet sits up and glibly comments "It's great when it works!"

But I strongly suspect he was disappointed that it did.

02. Valid Question

Kermit: Now, if we want to get Miss Piggy out of jail, we're going to have to catch those thieves, red-handed. Yes, Beau?
Beauregard: [innocently] What colour are their hands now?

This joke is repeated twice more, and it remains funny each time.

01. Hamming it Up

As already established, The Great Muppet Caper doesn't so much break the fourth wall, but demolishes it completely in many instances. While The Muppet Movie is about the muppets trying to make a movie, The Great Muppet Caper could be considered to be the movie they are making.

In this scene, tempers run hot between Miss Piggy and Kermit; both as their characters and as the 'actors' playing them. The character of Kermit is upset because Piggy lied to him about being Lady Holiday. The actor Kermit is upset because Miss Piggy is overacting. What takes place is a hilarious sequence of shout insults and diva behaviour:

Kermit: You're overacting, you're hamming it up.
Piggy: I am not, I am trying to save this movie!
Kermit: Oh yeah? Well save your performance instead.
Piggy: Oh, I am playing eight hundred different emotions!
Kermit: Well try to play one of them right!

It disintegrates into mindless shouts about duck farms and walking off the set, including Piggy spiking the lens, before the scene is resolved by Piggy crying. Which luckily also resolves the fight the characters were having nicely as well.

Kermit and Piggy are always playing love interests, and its fun to see them go at each other like squabbling actors instead of being all lovey-dovey.

Sunday, August 16, 2009

Hey, A Movie! - The Greatest Muppet Caper Moments pt. 1

Everyone has those movies from their childhood that they secretly love to watch well into adulthood. Well, maybe not everyone, but I certainly do. I can't count the number of times I've watched Hook. Being bedridden with a bad cold doesn't feel complete without a viewing of The Last Unicorn. Of course, any day is a good day for Classic Disney.

The greatest of all, perhaps, is The Great Muppet Caper. Most movies aimed at children tend to also have moments thrown in for adults as well, but a recent viewing of this classic Jim Henson film showed that just as much of the movie, if not more, was meant for an older audience to 'get.' This may be a given, since the Muppets are most associated with The Muppet Show, a prime time variety show that may not have had cursing or other such 'adult content' standbys, but certainly was a little bit easier for adults to laugh along to than your garden variety children's program. Of course, some of the moments that the young viewers could understand are just as funny.

What better way to celebrate one of my favourite classics than to take a look at some of the moments that made me laugh, not only as a child, but as an adult as well. And what better number of these moments to look at than twenty?

20. Cornered in the Closet

Miss Piggy has lied to intrepid hero Kermit the Frog, letting him believe that she is famous fashion designer Lady Holiday after a mix-up in Holiday's office. Taking advantage of the gullible hero; who she falls in love with on sight, she arranges for them to have a dinner date. Only he wants to pick her up from her house, and Piggy's digs aren't quite up to famous fashion designer standards, so she does the only logical thing. Makes up a swanky address, and breaks into the house so Kermit has a nice door to walk up to. Inside the house live an elderly couple who haven't left their home or had exposure to other people in twelve years (played hilariously by John Cleese and Joan Sanderson). While Piggy takes Kermit on a quick tour of the place, Cleese's Neville follows, fire-poker in hand, ready to confront the invaders.

He corners them in the closet, and as he pulls the door open, poker poised to strike, he sees a Pig and Frog all done up in their finest. So he does the only logical thing for him to do. Look embarrassed, hide the poker behind his back, and offer his assistance. The scene ends with Piggy telling the homeowner "No time for cocktails," before his wife enters and they squabble over the restaurant (or rather 'supper club') he recommended to them.

Only in England could the elderly be so accommodating to their animal home invaders.

19. Bears and Frogs

One of the great parts of the movie, which is the basis for several jokes, is that the muppets aren't playing themselves, they are playing characters. Kermit the Frog is playing an investigative reporter who also happens to be named Kermit the Frog, for example.

One of the (seemingly random) plot points of the movie is that Kermit and Fozzie Bear are playing identical twin brothers. Obviously, this is a point for much hilarity throughout the movie, since nothing is done to the 'actors' to make them look any more alike. One of the recurring jokes on the subject is that Fozzie and Kermit only look alike when Fozzie is wearing a hat (even if Kermit isn't wearing one). That leads to this joke, where Kermit is sitting alone on a bench, contemplating life, and a man and his daughter pass by.

"Look Dad, there's a bear!" says the girl. "No Christine, that's a frog; bears wear hats," corrects the father, and the girl gives an understanding nod.

That the only discernible difference between a bear and a frog is that a bears wear hats is a broad (and hilarious) proclamation to make just to reinforce a useless plot point.

Also funny and somewhat related: the picture of Kermit and Fozzie's "father:"







18. Adults are Complicated

This is a somewhat odd moment in the film. Even as a child, I didn't quite understand how this made it into a movie that is mostly for children. It isn't particularly risque, but it just somehow seems...inappropriate. But at the same time it is a rather funny moment.

Kermit and Piggy are out on their date, accompanied by Fozzie, Gonzo, and pretty much the rest of the muppet cast. Kermit realizes that the roast beef costs the same as an Oldsmobile, and that he needs some cash in order to pick up the bill. Gonzo, intrepid photographer, is on the job! He'll take pictures of the other diners, and offer to send them the photos for a $10 fee. An excellent idea.

One pair of diners, however, don't really want the pictures. Gonzo insists that it would make a lovely memento of a night out for the wife, to which the man counters that his wife is feeling quite under the weather at the moment. "Maybe she should be at home," Gonzo offers helpfully, with no small amount of sympathy. "My wife is at home!" the man snaps with venom almost visibly flying from his mouth.

Adultery seems like a somewhat...adult topic for a muppet movie. But the pure rage the man delivers the line with after a great set-up, and the hasty retreat Gonzo beats are pure gold. Though it also would have been great if Gonzo snapped the picture anyway, and then demanded some fat cash. Extortion is funny, right?

17. Of Accents and Licenses

Beauregard, the janitor from The Muppet Show, plays a friendly cab driver in Caper. Friendly, but rather simple. Like Fozzie and Kermit being identical twin brothers, Beau is playing a character, though there is no discernible change to the rest of his character.

As Beau navigates his cab to the Happiness Hotel, destruction following in his wake, he comments that it does take some to get used to navigating the city of London. When asked how long he's lived in the town, Beau, completely serious, replies "all my life." When asked why he doesn't have an accent like one would expect, Beau's reply is to say "Hey, I'm lucky to have a driver's license!" drive up onto a sidewalk and narrowly avoid hitting a newspaper stand and several pedestrians.

Hahahahaha, what?

16. Can You Imagine?

While staying in London, Kermit, Fozzie and Gonzo elect to stay in the Happiness Hotel, which offers payment options like credit card, cash or 'sneak out in the middle of the night.' It's permanent tenants are an eccentric and colourful bunch (see: The Muppets), and is staffed by an elderly clerk and a group of rat bellhops.

As the occupants do a little song and dance to welcome their guests, Kermit remarks to piano-playing dog Rowlf that the bellhops seem to resemble group of rodents. "You should see the chambermiads!" Rowlf replies.

We never see these chambermaids, but if the bellhops are rats, one can only wonder what horrible creatures these chambermaids are.

15. Barnyard Animals

The funny thing about Miss Piggy is that not only does she believe she is basically a perfect, sophisticated person (despite being a pig that often resorts to physical violence and hard-talking), but she is seen by almost everyone around her as being a perfect, sophisticated person. In The Great Muppet Caper this is basically explained by the fact that they are all actors playing roles. The character of Lady Holiday, however, is generally unimpressed by Miss Piggy's supposed looks and talents.

In Piggy's introduction, she is shortly proceeded by Lady Holiday remarking to her secretary that work needs to be done on the fashion line, as her models are all "going around looking like barnyard animals." On cue, enter the pig. Funny, but the real joke comes after.

Piggy announces her intentions to become a high fashion model. This proposal is met with Lady Holiday saying with no small amount of deadpanned exasperation: "Doesn't surprise me, seems to be the way we're headed."

Take THAT 1980s high fashion industry!

14. Pleasant Accommodations

Like anyone visiting a foreign country, our trio of heroes waste no time in beginning their search for a place to park their carcasses. Luckily for them, they happen to land (after being thrown out of a plane, the most economical way to travel. I expect it will become the norm soon) in a pond right in front of a friendly bench-sitting Englishman, who also happens to have the world's smallest book of accommodation listings. His book offers the following cheap places to stay for the broke reporters and their photographer: Riverbanks, Bus Terminals, and the Happiness Hotel.

To Kermit, the Happiness Hotel sounds like a pleasant enough place to stay. Gonzo seems to have other ideas as he indigently demands "What's wrong with bus terminals?"

Also, notice the Gonzo is officially classified as a "Whatever," finally answering the all-important question of "what the heck is that thing?"

13. Paper Towels

Lew Zealand is a muppet best known for throwing fish. That's pretty much his schtick, he talks a little like a young Jack Donaghy and throws fish that come back to him like boomerangs.

His contribution to The Great Muppet Caper is to be pretty much the most unhelpful character who offers useless solutions to insurmountable problems. When the gang of muppets decides to catch the villainous jewel thieves, they must first get into the museum where the theft is going to take place. To get into the museum, they need to get past the iron bars that block the way. Rowlf managed to forget the blowtorch (or if you ask him, no one said anything about a blowtorch), but Lew Zealand pops forwards (un)helpfully, declaring, "I've got some paper towels!" The solution they first decide upon is to try to get Animal to eat the iron bars, so maybe Lew's suggestion to go with the towels wasn't so bad, in hindsight.

Later on the group is faced with another challenge, this time getting from the roof of the museum down to the room where the giant Baseball Diamond is on display, ripe for stealing. Kermit decides that the best idea is to make a ladder that would support their weight. "Good idea!" Lew Zealand enthuses, "here's the paper towels!"

12. Rosenthal, Attorney at Law

Miss Piggy is framed for the theft of Lady Holiday's diamonds, and taken to jail. Kermit and the gang are determined to exonerate her by catching the real thieves in the act. They must get word to Piggy that they are on the case, but how can they get to her while she in jail? Easy, by posing as her attorney.

The get-up pictured is the disguise Kermit employs to fake his way into a visit with his imprisoned love. When she sees that it's Kermit, Piggy is understandably excited, but Kermit plays it cool, determined to keep his cover. "Please," he corrects the giddy pig, "me name is Rosenthal."

Delivered with what is supposed to be some kind of accent, but is really just his normal voice but slightly lower, the inflection coupled with the fake voice and false mustache make the whole scene hilarious. The fact that Piggy obliges and refers to him only as 'Rosenthal' for the rest of the scene (including a sigh of 'I love you, Rosenthal') makes sure the laughs keep coming.

11. Non-Sequiturial Issues

Miss Piggy has been framed for jewel theft! On top of that, Gonzo overheard the real thieves planning to steal Lady Holiday's largest and most expensive jewel, the Baseball Diamond, from its home in the Mallory Gallery at midnight! Chaos erupts as all the muppets begin talking at once in an indistinguishable buzz at the prospect of this exciting news. Well, all except Janice, guitarist in the Electric Mayhem, who takes the opportunity to air out some mother issues she apparently has. As Kermit shouts regain order amongst the rabble, Janice continues her long-pent up rebellious rant in her Carly Simon-inspired voice, saying, "Look, mother, it's my life ooookaaaay? So if I want to live on the beach and walk around naked...." before trailing off in a classic bit of 'loud music cuts out and shouting person says something funny/embarrassing that no one should have heard.'

One can only laugh at what she had said during the racket, or what she would have said after. In any case, we now know just how much Janice dreams of ocean waves and public nudity.

The show will go on! Check back later for Part two!

Friday, August 7, 2009

(Don't You) Forget About Him




With any celebrity death, the days afterwards are usually filled with a close examination of not only the life of the person, but their body of work. This summer has been filled with an abundance of examples of this practice. No greater example could come then the huge spike in sales of Michael Jackson albums following his death, as he rocketed up the charts again.
With the death of film maker John Hughes, there is doubtless going to many a lot of attention paid to his body of work over the next few weeks (or even months). Being the pen (and sometimes the eye as well) behind seminal comedies like National Lampoon's Vacation, Ferris Bueller's Day Off, Planes, Trains & Automobiles, and of course Home Alone, Hughes was an important and prolific figure in modern American
film.

But with time, the attention paid to these works will fade, and soon they will again take a backseat position. They will still be watched, of course. They will be put on by people wanting a bit of nostalgia, they will be shown to new generations of
children by their parents. Hughes is, after all, toted as being "the voice of a generation," something that is not easily forgotten by said generation.

But arguably, with three of his films, Hughes is not just the voice of one generation, but a voice for all generations. Films that can, and should be, viewed and identified with by teenage generations for decades to come. It should be obvious which three.



Sixteen Candles was released in 1984, starring Hughes regulars Molly Ringwald and Anthony Michael Hall. The main voice being spoken in this story is that of the awkward high school student. Ringwald is Sam Baker, who is having one of those terrible no-good very bad days. Her character and her story in general is one that is likely identifiable to many teenaged girls, and Ringwald plays these insecurities and awkward feelings in a very believable way. Somewhat of an outcast, she longs for the attention from the popular boy, though in many ways it seems like even she knows this probably isn't possible.

Running concurrently to this is the story of Hall's character, often referred to as Ted (though never officially given a name). Like later on in The Breakfast Club, Hall plays the geeky character here, albeit more of a caricature of one. Still, his desire to impress his fellow geeks with a feat like getting a girl's panties does match up with the desire of many teenagers to not only belong, but to be liked and admired.

As good as this film is, out of three 'required' films for teenagers, it is probably the weakest. The ease with which the object of Sam's desires seems to reciprocate her feelings (Jake Ryan, played by Michael Schoeffling) and how he interacts with the Ted character don't quite align to how many members of cliques actually interact (though this will be near-perfected in The Breakfast Club). The maybe-racist character of Long Duk Dong is a pretty much needless comic relief. Still, the early mannerisms and feelings of the characters do well at portraying the feelings of many high school youths. Just perhaps not as well as the two other films.


Pretty in Pink was released in 1986, starring Ringwald as lead Andie along with John Cryer as best-friend Duckie and Andrew McCarthy as love interest Blane. This is the only one of the three to only be written by Hughes, not directed as well.

This film is much more multi-faceted than Sixteen Candles in its portrayal of teenage life. You get several different perspectives and views. Outcast vs popular, privileged vs lower/middle class, geek vs jock, and so on. The viewer is also treated to a balanced male and female perspective, unlike Candles which is predominantly from the female perspective. In Pretty in Pink it isn't hard for many males to identify with Duckie, as he longs for a deeper relationship with his best friend Andie. Being stuck as "just friends" is a common experience for many teenaged boys, and Cryer's character perfectly portrays the desire to move beyond that and the frustration at being rejected. So much so that it isn't uncommon for the viewer to end up rooting for Duckie far over Blane.

The 'rich vs poor' aspect of the film may be a little over-the-top at times, the pure animosity and venom they have for one another may not be the most realistic of situations, but the idea of having friends and cliques getting in the way of relationships is one that certainly makes sense and is played rather well. The story of Andie's homelife, living with her single father who hasn't been able to hold down a job since the mother left, is also one of the more solid parts of the story.

As good as Pretty in Pink is at speaking to a generation, however, one easily reaches above and beyond anything it contains.

The Breakfast Club was actually released in between Candles and Pink, in 1985. But in the interest of saving the best for last, here we are. A true ensemble, The Breakfast Club stars both Ringwald and Anthony Michael Hall again, along with Judd Nelson, Emilio Estevez, and Ally Sheedy. Each one plays a different high school personality, from the Jock to the Geek to the Weirdo, as they are all forced to come to school on a Saturday to serve detention for various reasons. While aware of each other in some cases before the day in question, none of them really knew each other.

The Breakfast Club certainly does provide a look at high school cliques. It also provides a look at how the pressure placed on a teen by their family to succeed (or the lack of support) can impact their lives outside the home. It looks at expectations vs reality.

But it's true strength lies in that it has no illusions about what the future, what the Monday after, is going to hold for these kids. While they all walk away having learned not only about themselves, but about each other, there is still the feeling that the athlete is going to remain an athlete, the brain is going to remain a brain, the basket case is going to remain a basket case, the princess is going to remain a princess, and the criminal is going to remain a criminal. This dialog exchange pretty much says it:

Brian: I was wondering, um, what is gonna happen to us on Monday? When we're all together again? I mean, I consider you guys my friends, I'm not wrong, am I?
Andrew: No...
Brian: So, so on Monday...what happens?
Claire: Are we still friends, you mean? If we're friends now, that is?
Brian: Yeah...
Claire: Do you want the truth?
Brian: Yeah, I want the truth...
Claire: I don't think so...

Despite denials from the rest of the group, that things won't be that way, it isn't the way things usually work. The viewer never actually finds out what happens on Monday, but my feelings are that while things will have changed, while the group may look at things differently and look at each other differently, they won't be hanging out in the halls anytime soon.

High School can be hell. High School can be a brutally hard struggle for a lot of kids. Nobody can portray that better than John Hughes did in these films, where he so perfectly captured the experience of so many different types of students who must brave the halls for four years. Students then, students now, and students in the foreseeable future will be able to pop in the VHS tapes, these DVDs, blu-rays or whatever else comes for years to come, and watch many of their own experiences put up on a screen, and be able to smile, cry, get angry and laugh at the Brat Pack as they perform adaptations of parts of their lives own on film.

And that is why John Hughes should not, and hopefully will not, ever be just a footnote.

Sunday, July 19, 2009

2009 Emmy Award Nominees - Reaction

I'm probably a little late with this, but here are my thoughts on a few of the noms in any case.

Outstanding Comedy Series
30 Rock, Entourage, Family Guy, Flight of the Conchords, How I Met Your Mother, The Office, Weeds.

If this was a question of "which comedy has been the best throughout its entire run thus far," then perhaps this would be easier to comment on. As it is, both The Office and How I Met Your Mother had lackluster seasons, far below what their usual par is. Entourage and Weeds may both be half hour shows, and both likely have comedic beats and notes to them, but I have a hard time seeing them being 'comedies' in the same sense that half hour network comedies are. Flight of the Conchords was fairly ok this season, but nothing special. Family Guy shouldn't even be on television, let alone in the category. I think 30 Rock is the obvious winner.

Outstanding Drama Series
Big Love, Breaking Bad, Damages, Dexter, House, Lost, Mad Men.

I have yet to watch four out of the seven nominees in this category, so I can't really say much on them. Dexter, for me, had its best season and would be a well-deserving winner (contrary to other popular opinion). Lost is a show I have never really liked, and while House may be a fan-favourite, the show lost most of its appeal around the second or third season for me, and has basically been kept afloat by clinging to the lifejacket that is Hugh Laurie. I don't see it as a deserving winner.

Outstanding Guest Actor in a Drama Series
Ed Asner (CSI: NY), Ted Dansen (Damages), Jimmy Smitts (Dexter), Ernest Borgnine (ER), Michael J. Fox (Rescue Me)

In my world Smitts would win for his insanely good (and yet still hilarious) role as Miguel Prado in Dexter. But I'm still going to go to sleep happy when Michael J. Fox walks away the winner.

Outstanding Lead Actor in a Comedy Series
Alec Baldwin (30 Rock), Jemaine Clement (Flight of the Conchords), Tony Shalhoub (Monk), Jim Parsons (The Big Bang Theory), Steve Carell (The Office), Charlie Sheen (Two and a Half Men)

Ok, Alec Baldwin I can see winning, and deserving the win, because he really has found his place on 30 Rock. Jemaine is hysterical as a version of himself, but I don't really see him winning. If Shalhoub wins, I'm going to let out a mighty groan. Steve Carell has never been my favourite part of The Office, least of all during this sub-par season. I want Parsons to win for his brilliant portrayal of Sheldoon Cooper on Big Bang.

Outstanding Lead Actor in a Drama Series
Bryan Cranston (Breaking Bad), Michael C. Hall (Dexter), Hugh Laurie (House), Gabriel Byrne (In Treatment), Jon Hamm (Mad Men), Simon Baker (The Mentalist)

Simon Baker was a surprise to see on the list, I was not expecting it at all. Not that I don't like the show, or the character he plays. I just wasn't expecting a nomination. It was a pleasant sort of surprise. Not that he really has a chance. I see it going to Laurie, Cranston or Hamm this year.

That about covers it for now, those are thoughts that struck me as I parused the nominees a few days ago.

Monday, January 19, 2009

Year in Review - Music pt. Final(ly)

To start off with, I think I need to give an honourable mention to two releases that didn't actually make my list for various reasons. Mostly because I just could figure out how they would fit in. The first is Barenaked Ladies' children's album that they put out this year, Snacktime!. Obviously not easy to count amongst what could be called 'normal' albums, it is a nice and simple release. The songs should easily appeal to kids, but are impressive enough musically and not inane to the point where parents would likely cringe when their kids insist putting it on. 

Secondly, I should mention that I do quite enjoy the soundtrack to the film Juno, and it is a real nice introduction to anti-folk, almost serving as a sort of compilation in that sense. I'm also a sucker for The Kinks song that is on there ("Well-Respected Man"), and fell in love with Belle & Sebastian's "Piazza, New York Catcher," making a mental note to look into them more.

I will also mention some of the EPs that I got this year. Starting off with New Found Glory's EP, Tip of the Iceberg, which contained three original songs and three covers from hardcore bands. The EP itself is some solid work, and it was really interesting to hear NFG really embrace their hardcore influences on it. Their cover of Shelter's "Here We Go" (credited on my copy of the album as "Here We Go Again" for some reason) is one of my favourite covers they've ever done, and has me wanting to look into Shelter as a band themselves.
The EP also came with the first album from International Superheroes of Hardcore, which is basically NFG with Chad on vocals instead of Jordan, playing really absurd hardcore. It is probably one of the funnest and light-hearted things I've heard in a long while, which is funny when you consider how 'heavy' the actual material is.

Joshua Radin also put out an EP, Unclear Sky, before the release of his newest full-length. While two of the tracks later appeared on said album, and one of the tracks was a B-Side from his first record, it was a really nice 'sample' of what was to come, in terms of his lighter overall tone, and really got me excited for Simple Times

Motion City Soundtrack put out an EP consisting of five of their songs from their 2007 release Even If It Kills Me redone acoustic, with mixed results. While the acoustic versions of "Fell in Love Without You" and "It Had to Be You" are great, I can't say the same for the versions of "Broken Heart" and "Can't Finish What You Started." Though to be fair, I'm not the biggest fan of the latter song in general.

Now, it is time for my Ten Favourite Songs of 2008 (trying not to repeat artists):
"Cemetaries of London" - Coldplay
"Chin Up" - Copeland
"Coney Island" - Good Old War
"Conviction Notice" - Less Than Jake
"Decode" - Paramore
"Love Lockdown" - Kanye West
"Looking for Shelter" - Good Old War
"My Eyes" - Neil Patrick Harris and Felicia Day
"Sky" - Joshua Radin
"Straight to Hell" - Great Big Sea
"Where Did You Go?" - Valencia

My favourite lyricists this year were as follows:
Adam Duritz (Counting Crows)
Thomas Dutton (Forgive Durden)
Vinnie Fiorello (Less Than Jake)
Jed, Joss and Zak Whedon, and Maurissa Tancharoen

My favourite vocalists this year were:
Alan Doyle (Great Big Sea)
Keith Goodwin (Good Old War)
Roger Manganelli (Less Than Jake)

And there it is! Finally done! Looking forwards to 2009 with albums from New Found Glory, As Tall As Lions, mewithoutYou, and hopefully Barenaked Ladies, as well as who knows what new stuff I will hopefully find.