Nashville's Recent Activity

list Nashville's Recent Activity - Spout http://www.spout.com/ Recent community activity around Nashville on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg Nashville's Recent Activity - Spout http://www.spout.com/ 136 30 Film:Nashville http://www.spout.com/films/Nashville/24112/default.aspx

Title: Nashville
Year: 1975
Director: Robert Altman
Plot: Following 24 characters through 5 days in the country music capital, Robert Altman's 1975 epic presents a complexly textured portrayal (and critique) of American obsessions with celebrity and power. Among the various stars, aspirants, hangers-on, observers, and media folk are politically ambitious country icon Haven Hamilton (Henry Gibson) and his fragile star protegée Barbara Jean (Ronee Blakley); Tom (Keith Carradine), a self-absorbed rock star who woos lonely married gospel singer Linnea Reese (Lily Tomlin); Sueleen Gay (Gwen Welles), a talentless waitress painfully humiliated at her first singing gig; Albuquerque (Barbara Harris), a runaway wife with dreams of stardom; nightclub owner Lady Pearl (Barbara Baxley), who reminisces about "those Kennedy boys"; single-minded groupie L.A. Joan (Shelley Duvall); vapid BBC commentator Opal (Geraldine Chaplin); and campaign guru John Triplette (Michael Murphy), who is trying to organize a concert rally for the unseen but always heard populist presidential candidate-cum-demagogue Hal Phillip Walker. Everything comes to a head during a climactic concert at Nashville's replica of the Parthenon temple, as the entertainment-hungry audience is momentarily woken out of its stupor by unexpected violence, only to be lulled into a restorative sing-along to "It Don't Worry Me." ~ Lucia Bozzola, All Movie Guide
Times Tagged: 2
Number of Lists: 18
Number of blog posts: 6
Number of discussion threads: 1
SpoutRating: 3
]]>Sun, 05 Jul 2009 17:23:16 GMTNashville1975Robert AltmanFollowing 24 characters through 5 days in the country music capital, <a href="/players/P____79456/default.aspx" style='text-decoration:underline'>Robert Altman</a>'s 1975 epic presents a complexly textured portrayal (and critique) of American obsessions with celebrity and power. Among the various stars, aspirants, hangers-on, observers, and media folk are politically ambitious country icon Haven Hamilton (<a href="/players/P____26769/default.aspx" style='text-decoration:underline'>Henry Gibson</a>) and his fragile star protegée Barbara Jean (Ronee Blakley); Tom (<a href="/players/P____84256/default.aspx" style='text-decoration:underline'>Keith Carradine</a>), a self-absorbed rock star who woos lonely married gospel singer Linnea Reese (<a href="/players/P___114336/default.aspx" style='text-decoration:underline'>Lily Tomlin</a>); Sueleen Gay (<a href="/players/P____75409/default.aspx" style='text-decoration:underline'>Gwen Welles</a>), a talentless waitress painfully humiliated at her first singing gig; Albuquerque (<a href="/players/P____30591/default.aspx" style='text-decoration:underline'>Barbara Harris</a>), a runaway wife with dreams of stardom; nightclub owner Lady Pearl (<a href="/players/P_____4655/default.aspx" style='text-decoration:underline'>Barbara Baxley</a>), who reminisces about "those Kennedy boys"; single-minded groupie L.A. Joan (<a href="/players/P____20847/default.aspx" style='text-decoration:underline'>Shelley Duvall</a>); vapid BBC commentator Opal (<a href="/players/P____12339/default.aspx" style='text-decoration:underline'>Geraldine Chaplin</a>); and campaign guru John Triplette (<a href="/players/P___103847/default.aspx" style='text-decoration:underline'>Michael Murphy</a>), who is trying to organize a concert rally for the unseen but always heard populist presidential candidate-cum-demagogue Hal Phillip Walker. Everything comes to a head during a climactic concert at Nashville's replica of the Parthenon temple, as the entertainment-hungry audience is momentarily woken out of its stupor by unexpected violence, only to be lulled into a restorative sing-along to "It Don't Worry Me." ~ Lucia Bozzola, All Movie Guide2Slightly Tagged (1-5)18613http://www.spout.com/ProductImages/t075514dfhz.jpghttp://www.spout.com/films/Nashville/24112/default.aspxFilm Spout Post: Nashville (1975, USA, Robert Altman) **** http://www.spout.com/blogs/cinemarian/archive/2009/4/23/41704.aspx

Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 4/23/2009 5:20:21 AM
Body: Nashville is Robert Altman’s best film. That’s not a controversial claim, but its reputation is accurate. This is one of the greatest American films of the 70’s, and certainly one of the most unique. The tagline of the movie is “The damndest thing you ever saw” and few promotional lines are more accurate. If the film were made today, I suppose it would be referred to as a hyperlink picture, but it doesn’t even have the required structure. There is either no plot, or about fifteen of them. There is nothing approaching a main character, and in fact, all twenty four of its “lead” actors have equal billing (and, for that matter, two major characters are never seen onscreen at all). Altman shoots the film in a documentary style, and some of the characters are very real, but others and the situations they find themselves in are clearly satirical. There is no other film like it, including others by its director. The most basic storyline in the films involves an independent political candidate who is preparing for the Tennessee Presidential primary, but said candidate is only heard as a van travels around town, obnoxiously blaring one his speeches. Among the many other intrigues is an undiagnosed illness of country superstar Barbara Jean (Ronee Blakley), the struggling marriage between political operative Delbert Reese (Ned Beatty) and his wife, gospel singer Linnea (Lilly Tomlin), framed by observations of Opal (Geraldine Chaplin) a pretentious reporter for the BBC. Unlike the modern films that Altman inspired, such as Babel, not everything fits together, but that’s not a criticism. Not everything in life makes sense or is explained. Too few movies understand that once in a while things are just plain random. Take the example of the Tricycle Man (Jeff Goldblum) who rides around town on giant, ugly motorcycle never saying a word and rarely interacting with other characters. Or L.A. Joan (Shelley Duvall) a woman who seems to be everywhere in this conservative culture though she dresses like she’s a flamboyant male homosexual. My favorite character is Sueleen Gay (Gwen Wells) a wonderfully endearing but naïve singer who (tragically) has no idea that she’s talentless and that audiences only appreciate her for her sex appeal. The movie is kind of its own genre. There is nothing else the film can be, for it is unlike any other film. One entire of the movie (a third of its running time) is devoted to concert footage performed live by the actors, most of whom wrote their own songs (Keith Carradine won an Oscar for the best, “I’m Easy”.) Few of the stories payoff, and the few that don’t have much of a setup. But that’s what makes film so endlessly fascinating. It exists in an out of documentary, drama and comedy. The characters are clearly constructs, but you end up caring about them. I was tempted to say that climax says something about America, but I’m not sure even says anything about Nashville. But its kind of like life.
]]>Thu, 23 Apr 2009 09:20:21 GMTCinemaRianCinemaRian Blog4/23/2009 5:20:21 AMNashville is Robert Altman’s best film. That’s not a controversial claim, but its reputation is accurate. This is one of the greatest American films of the 70’s, and certainly one of the most unique. The tagline of the movie is “The damndest thing you ever saw” and few promotional lines are more accurate. If the film were made today, I suppose it would be referred to as a hyperlink picture, but it doesn’t even have the required structure. There is either no plot, or about fifteen of them. There is nothing approaching a main character, and in fact, all twenty four of its “lead” actors have equal billing (and, for that matter, two major characters are never seen onscreen at all). Altman shoots the film in a documentary style, and some of the characters are very real, but others and the situations they find themselves in are clearly satirical. There is no other film like it, including others by its director. The most basic storyline in the films involves an independent political candidate who is preparing for the Tennessee Presidential primary, but said candidate is only heard as a van travels around town, obnoxiously blaring one his speeches. Among the many other intrigues is an undiagnosed illness of country superstar Barbara Jean (Ronee Blakley), the struggling marriage between political operative Delbert Reese (Ned Beatty) and his wife, gospel singer Linnea (Lilly Tomlin), framed by observations of Opal (Geraldine Chaplin) a pretentious reporter for the BBC. Unlike the modern films that Altman inspired, such as Babel, not everything fits together, but that’s not a criticism. Not everything in life makes sense or is explained. Too few movies understand that once in a while things are just plain random. Take the example of the Tricycle Man (Jeff Goldblum) who rides around town on giant, ugly motorcycle never saying a word and rarely interacting with other characters. Or L.A. Joan (Shelley Duvall) a woman who seems to be everywhere in this conservative culture though she dresses like she’s a flamboyant male homosexual. My favorite character is Sueleen Gay (Gwen Wells) a wonderfully endearing but naïve singer who (tragically) has no idea that she’s talentless and that audiences only appreciate her for her sex appeal. The movie is kind of its own genre. There is nothing else the film can be, for it is unlike any other film. One entire of the movie (a third of its running time) is devoted to concert footage performed live by the actors, most of whom wrote their own songs (Keith Carradine won an Oscar for the best, “I’m Easy”.) Few of the stories payoff, and the few that don’t have much of a setup. But that’s what makes film so endlessly fascinating. It exists in an out of documentary, drama and comedy. The characters are clearly constructs, but you end up caring about them. I was tempted to say that climax says something about America, but I’m not sure even says anything about Nashville. But its kind of like life. Spout Post: 10 Underrated Songs by Fictional Music Groups (in Movies) http://www.spout.com/blogs/spoutblog/archive/2008/8/21/34239.aspx

Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/21/2008 4:01:18 PM
Body: This week, thanks to The Rocker, we can add another fictional band to the long list of music groups created solely for the movies. They’re called Vesuvius, and they’re an ‘80s hair band with a hit song titled “Promised Land.” As part of the film’s marketing, the track was offered as a free download for play on Rock Band (see the clip above). But if you ask me, the wrong tune was used in the promotion. Another song from the soundtrack, also credited to Vesuvius, is called “Pompeii Nights,” and it’s definitely the better of the two. I’m not surprised, though. While most people favor the songs of Spinal Tap, a once-fictional band that has become popular enough to evolve into a “semi-fictional” performing act, I’ve preferred such gems as “The Whites of Their Eyes” by PEZ® People, from The Big Picture. Also co-written by This is Spinal Tap’s Christopher Guest and Michael McKean, and sung by McKean, this song is apparently so underrated that I can’t even find an audio sample, let along a YouTube clip of the fake band’s music video, which was directed by fictional filmmaker Lydia Johnson (Jennifer Jason Leigh). Fortunately, for the benefit of this list, the rest of these under-appreciated tracks have a few fellow fans. “Howard the Duck” by Cherry Bomb, from Howard the Duck I’m still certain that I was this movie’s biggest fan. While growing up, I owned a VHS copy, the comic book adaptation and the novelization, and I still watched the edited version whenever it showed up on commercial television. Unfortunately, though, I never owned the soundtrack, which is, unsurprisingly, out of print (though available on eBay). It’s okay, because the catchy theme song has forever been lodged in my head. Performed diegetically by a fictional Runaways-inspired band, the Razzie-nominated “Howard the Duck” features vocals by actress Lea Thompson and funk legend George Clinton, plus Joe Walsh on guitar and Thomas Dolby, who co-wrote and produced all of Cherry Bomb’s songs, on synthesizer (off screen the song is credited to “Dolby Cube”). Cherry Bomb had four songs in the movie’s soundtrack, and some were definitely better than others. “Hunger City” is also kinda catchy, but that’s possibly only because it sounds reminiscent of Hall & Oats’ “Family Man.” Meanwhile, I absolutely love the slower “Don’t Turn Away,” which, unlike the title number, lacks Clinton’s vocals and Walsh’s guitar playing; yet it makes up for it with a little harmonica part performed by none other than Stevie Wonder. Perhaps its just my being a fan of ‘80s girl groups like The Go-Gos (check out Thompson doing a duet with Belinda Carlisle here) and The Bangles, but I could really have gone for a full album, and maybe a tour, a la Spinal Tap, from Cherry Bomb. “BBC” by Ming Tea, from Austin Powers: International Man of Mystery As far as fictional ‘60s bands go, Ming Tea is by far my favorite over such groups as The Oneders, aka The Wonders (from That Thing You Do!) and The Rutles (from All You Need is Cash), the latter of which is only as good as the Beatles tunes they spoof. Of course, I do like to think only of this poppy number from the first film, as well as the “psychedelic scene breaks” from the first and second films and ignore the relatively ‘90s-sounding “Daddy Wasn’t There” from Austin Powers in Goldmember, which seems like a reject from one of Matthew Sweet’s later albums (Sweet is a member of and co-songwriter for the fictional Ming Tea). Again, part of my love for Ming Tea could be due to my love for The Bangles, whose Susanna Hoffs was a member of the fake group (she is also the wife of Jay Roach, who directed all three Austin Powers movies). Someday I’d like to see another Nuggets box set featuring only fictional garage rock bands like Ming Tea, The Archies, etc. “Riverbottom Nightmare Band” by The Riverbottom Nightmare Band (or simply The Nightmare), from Emmet Otter’s Jug-Band Christmas Speaking of The Archies, if a fictional rock band from a cartoon can have a hit song continually played on oldies radio, why can’t this fictional rock band from a Muppet TV special get the same treatment? Is it because the vocals are actually pretty terrible? Is it because they’re the villains of the story? Maybe The Archies’ “Sugar Sugar” was the #1 pop song of 1969, but this eponymous tune was written by Oscar-winner Paul Williams, who also gave us such memorable songs as “(Just an) Old Fashioned Love Song,” “The Rainbow Connection” and The Carpenters’ “Rainy Days and Mondays” and “We’ve Only Just Begun.” Plus, if it’s any consolation, RNB’s keyboardist, a bear named Chuck, could totally kick Archie’s ass. Also worthy of radio play, though it’s probably not quite as underrated: “Can You Picture That” by Dr. Teeth and the Electric Mayhem, from The Muppet Movie (and also co-written by Williams). “Goodbye, Eddie, Goodbye” by The Juicy Fruits, from Phantom of the Paradise I’m not always a big fan of this doo-wop revival kind of glam rock, but I really like this track from Brian DePalma’s musical, favoring it over such “real” tunes as Gary Glitter’s cover of Dion’s “The Wanderer” and “made-up” songs as those in The Rocky Horror Picture Show. Maybe it’s because this song is also penned by Paul Williams? Technically, because the movie bombed and is still hardly celebrated (at least compared to TRHPS), the whole soundtrack should be on this list. “Two-Way Romeo” by The Bang Bang, from Brothers of the Head I don’t think anyone else even saw this faux rock documentary (it’s not funny enough to be considered a mockumentary), let alone paid attention to its better-than-necessary soundtrack. Basically the song is by British pop-punk band Crackout (or members of the band, anyway), but it’s pretty authentic sounding for the film’s ‘70s setting. “Never Did No Wanderin’” by The Folksmen, from A Mighty Wind Part of my disappointment with this movie was that the songs are actually pretty good — and not necessarily funny. Silly, yes. Witty, yes. But not exactly over the top, laugh-out-loud funny, the way I prefer Christopher Guest movies to be. Yet I would actually go see The Folksmen before I would go see Spinal Tap, which features the same three actors (Guest, Michael McKean and Harry Shearer, who in fact opened for themselves by having The Folkmen and Spinal Tap tour together in 2001). If they didn’t perform their cover of The Rolling Stones’ “Start Me Up,” though, I would be very dissatisfied. Much of the non-Folksmen songs on the soundtrack are actually pretty lame, including the Oscar-nominated “A Kiss at the End of the Rainbow.” I believe that had it all been more upbeat, a la The Folksmen’s “Old Joe’s Place” (which, along with “Blood on the Coal,” was actually introduced on Saturday Night Live way back in 1984), “Corn Wine” and “Never Did No Wanderin’” it could have been as successful an album as the O Brother, Where Art Thou? CDs. “Sweat of My Balls” by CB4, from CB4 The more memorable song from this near-mockumentary might be “Straight Outta Locash,” yet like the songs by The Rutles, it’s too clear a redo of a preexisting song (N.W.A.’s “Straight Outta Compton”). I guess I’m not that knowledgeable about rap music, but I had always thought “Sweat of My Balls” was actually original. Turns out, it’s actually a parody of Kool G. Rap’s “Talk Like Sex.” Well, since that song is also underrated (enough that I’d never heard of it), I stand by my inclusion of the less familiar-sounding CB4 track. “My Peanuts” by N.W.H., from Fear of a Black Hat I am at least aware that this song, which comes from a film similar to — though much less successful than — CB4, is a redo of Run-DMC’s “My Addidas.” But it’s so damn ridiculous that I wasn’t able to make the connection between the songs until many years after first seeing the movie. Just imagine how popular peanuts would be if the National Peanut Board used this rap in advertisements. “(Just Around the Corner to the) Light of Day” by The Barbusters, from Light of Day It’s not uncommon for a song written for a movie to become a real-world hit. And when it’s written by Bruce Springsteen, as this one was, you almost expect it to be a success. Yet despite the fact that both Springsteen and Joan Jett, who stars in the film as a member of the fictional Barbusters, have made the tune a staple of their respective live concert sets, it still doesn’t get the kind of general attention paid to, say, “On the Dark Side” from that other ‘80s bar band movie, Eddie and the Cruisers. Why isn’t this played heavily on classic rock radio? And by “this” I of course mean the version featuring Michael J. Fox and, yes, Michael McKean (man, he loves the fictional bands). “It Don’t Worry Me” by Albuquerque, from Nashville This is just a solo singer (played by Barbara Harris) rather than a whole group, but she’s still fictional and the song was still written for the film. And it’s sung during what may be the best film ending of all time (hence its appropriate position at the end of the list). Somehow Keith Carradine won an Oscar for writing the most boring tune in this Robert Altman classic (“I’m Easy”), while this song, also written by Carradine, is clearly more enjoyable. Originally posted on:SpoutBlog
]]>Thu, 21 Aug 2008 20:01:18 GMTSpoutBlogSpoutBlog on spout.com8/21/2008 4:01:18 PM This week, thanks to The Rocker, we can add another fictional band to the long list of music groups created solely for the movies. They’re called Vesuvius, and they’re an ‘80s hair band with a hit song titled “Promised Land.” As part of the film’s marketing, the track was offered as a free download for play on Rock Band (see the clip above). But if you ask me, the wrong tune was used in the promotion. Another song from the soundtrack, also credited to Vesuvius, is called “Pompeii Nights,” and it’s definitely the better of the two. I’m not surprised, though. While most people favor the songs of Spinal Tap, a once-fictional band that has become popular enough to evolve into a “semi-fictional” performing act, I’ve preferred such gems as “The Whites of Their Eyes” by PEZ® People, from The Big Picture. Also co-written by This is Spinal Tap’s Christopher Guest and Michael McKean, and sung by McKean, this song is apparently so underrated that I can’t even find an audio sample, let along a YouTube clip of the fake band’s music video, which was directed by fictional filmmaker Lydia Johnson (Jennifer Jason Leigh). Fortunately, for the benefit of this list, the rest of these under-appreciated tracks have a few fellow fans. “Howard the Duck” by Cherry Bomb, from Howard the Duck I’m still certain that I was this movie’s biggest fan. While growing up, I owned a VHS copy, the comic book adaptation and the novelization, and I still watched the edited version whenever it showed up on commercial television. Unfortunately, though, I never owned the soundtrack, which is, unsurprisingly, out of print (though available on eBay). It’s okay, because the catchy theme song has forever been lodged in my head. Performed diegetically by a fictional Runaways-inspired band, the Razzie-nominated “Howard the Duck” features vocals by actress Lea Thompson and funk legend George Clinton, plus Joe Walsh on guitar and Thomas Dolby, who co-wrote and produced all of Cherry Bomb’s songs, on synthesizer (off screen the song is credited to “Dolby Cube”). Cherry Bomb had four songs in the movie’s soundtrack, and some were definitely better than others. “Hunger City” is also kinda catchy, but that’s possibly only because it sounds reminiscent of Hall & Oats’ “Family Man.” Meanwhile, I absolutely love the slower “Don’t Turn Away,” which, unlike the title number, lacks Clinton’s vocals and Walsh’s guitar playing; yet it makes up for it with a little harmonica part performed by none other than Stevie Wonder. Perhaps its just my being a fan of ‘80s girl groups like The Go-Gos (check out Thompson doing a duet with Belinda Carlisle here) and The Bangles, but I could really have gone for a full album, and maybe a tour, a la Spinal Tap, from Cherry Bomb. “BBC” by Ming Tea, from Austin Powers: International Man of Mystery As far as fictional ‘60s bands go, Ming Tea is by far my favorite over such groups as The Oneders, aka The Wonders (from That Thing You Do!) and The Rutles (from All You Need is Cash), the latter of which is only as good as the Beatles tunes they spoof. Of course, I do like to think only of this poppy number from the first film, as well as the “psychedelic scene breaks” from the first and second films and ignore the relatively ‘90s-sounding “Daddy Wasn’t There” from Austin Powers in Goldmember, which seems like a reject from one of Matthew Sweet’s later albums (Sweet is a member of and co-songwriter for the fictional Ming Tea). Again, part of my love for Ming Tea could be due to my love for The Bangles, whose Susanna Hoffs was a member of the fake group (she is also the wife of Jay Roach, who directed all three Austin Powers movies). Someday I’d like to see another Nuggets box set featuring only fictional garage rock bands like Ming Tea, The Archies, etc. “Riverbottom Nightmare Band” by The Riverbottom Nightmare Band (or simply The Nightmare), from Emmet Otter’s Jug-Band Christmas Speaking of The Archies, if a fictional rock band from a cartoon can have a hit song continually played on oldies radio, why can’t this fictional rock band from a Muppet TV special get the same treatment? Is it because the vocals are actually pretty terrible? Is it because they’re the villains of the story? Maybe The Archies’ “Sugar Sugar” was the #1 pop song of 1969, but this eponymous tune was written by Oscar-winner Paul Williams, who also gave us such memorable songs as “(Just an) Old Fashioned Love Song,” “The Rainbow Connection” and The Carpenters’ “Rainy Days and Mondays” and “We’ve Only Just Begun.” Plus, if it’s any consolation, RNB’s keyboardist, a bear named Chuck, could totally kick Archie’s ass. Also worthy of radio play, though it’s probably not quite as underrated: “Can You Picture That” by Dr. Teeth and the Electric Mayhem, from The Muppet Movie (and also co-written by Williams). “Goodbye, Eddie, Goodbye” by The Juicy Fruits, from Phantom of the Paradise I’m not always a big fan of this doo-wop revival kind of glam rock, but I really like this track from Brian DePalma’s musical, favoring it over such “real” tunes as Gary Glitter’s cover of Dion’s “The Wanderer” and “made-up” songs as those in The Rocky Horror Picture Show. Maybe it’s because this song is also penned by Paul Williams? Technically, because the movie bombed and is still hardly celebrated (at least compared to TRHPS), the whole soundtrack should be on this list. “Two-Way Romeo” by The Bang Bang, from Brothers of the Head I don’t think anyone else even saw this faux rock documentary (it’s not funny enough to be considered a mockumentary), let alone paid attention to its better-than-necessary soundtrack. Basically the song is by British pop-punk band Crackout (or members of the band, anyway), but it’s pretty authentic sounding for the film’s ‘70s setting. “Never Did No Wanderin’” by The Folksmen, from A Mighty Wind Part of my disappointment with this movie was that the songs are actually pretty good — and not necessarily funny. Silly, yes. Witty, yes. But not exactly over the top, laugh-out-loud funny, the way I prefer Christopher Guest movies to be. Yet I would actually go see The Folksmen before I would go see Spinal Tap, which features the same three actors (Guest, Michael McKean and Harry Shearer, who in fact opened for themselves by having The Folkmen and Spinal Tap tour together in 2001). If they didn’t perform their cover of The Rolling Stones’ “Start Me Up,” though, I would be very dissatisfied. Much of the non-Folksmen songs on the soundtrack are actually pretty lame, including the Oscar-nominated “A Kiss at the End of the Rainbow.” I believe that had it all been more upbeat, a la The Folksmen’s “Old Joe’s Place” (which, along with “Blood on the Coal,” was actually introduced on Saturday Night Live way back in 1984), “Corn Wine” and “Never Did No Wanderin’” it could have been as successful an album as the O Brother, Where Art Thou? CDs. “Sweat of My Balls” by CB4, from CB4 The more memorable song from this near-mockumentary might be “Straight Outta Locash,” yet like the songs by The Rutles, it’s too clear a redo of a preexisting song (N.W.A.’s “Straight Outta Compton”). I guess I’m not that knowledgeable about rap music, but I had always thought “Sweat of My Balls” was actually original. Turns out, it’s actually a parody of Kool G. Rap’s “Talk Like Sex.” Well, since that song is also underrated (enough that I’d never heard of it), I stand by my inclusion of the less familiar-sounding CB4 track. “My Peanuts” by N.W.H., from Fear of a Black Hat I am at least aware that this song, which comes from a film similar to — though much less successful than — CB4, is a redo of Run-DMC’s “My Addidas.” But it’s so damn ridiculous that I wasn’t able to make the connection between the songs until many years after first seeing the movie. Just imagine how popular peanuts would be if the National Peanut Board used this rap in advertisements. “(Just Around the Corner to the) Light of Day” by The Barbusters, from Light of Day It’s not uncommon for a song written for a movie to become a real-world hit. And when it’s written by Bruce Springsteen, as this one was, you almost expect it to be a success. Yet despite the fact that both Springsteen and Joan Jett, who stars in the film as a member of the fictional Barbusters, have made the tune a staple of their respective live concert sets, it still doesn’t get the kind of general attention paid to, say, “On the Dark Side” from that other ‘80s bar band movie, Eddie and the Cruisers. Why isn’t this played heavily on classic rock radio? And by “this” I of course mean the version featuring Michael J. Fox and, yes, Michael McKean (man, he loves the fictional bands). “It Don’t Worry Me” by Albuquerque, from Nashville This is just a solo singer (played by Barbara Harris) rather than a whole group, but she’s still fictional and the song was still written for the film. And it’s sung during what may be the best film ending of all time (hence its appropriate position at the end of the list). Somehow Keith Carradine won an Oscar for writing the most boring tune in this Robert Altman classic (“I’m Easy”), while this song, also written by Carradine, is clearly more enjoyable. Originally posted on:SpoutBlog Spout Post: Imitation of Angst : Gypsy 83 http://www.spout.com/blogs/jlgdrd/archive/2007/8/14/18033.aspx

Post By: jlgdrd
Post To: Wicked Fun
Post Date: 8/14/2007 3:09:00 AM
Body: Often there comes a time when a bad (or inept, or failed) movie will unwittingly tip its hand. It could be a piece of dialogue that encapsulates a central flaw, or it might be a device that functions as damage control. In Gypsy 83, it’s a chapter when Gypsy and Clive, en route to a singing competition in New York, spend an evening with a more or less retired singer, Bambi LeBleau (Karen Black). She is congenial, down-to-earth, unperturbed and dishonest only in the sense that she is trying to put a brave face on adversity. Black has been acting for at least thirty years now (Five Easy Pieces, Nashville, Easy Rider) and her screen presence and skill are so effortless that they too often go unnoticed. Her performance appears to infect Sara Rue (Gypsy) and Kett Turton (Clive) who seem completely different in this sequence, and outshines them in the rest of the film. She’s invested in the role, but experienced enough to trust her intuitions. When they decide to leave Bambi behind as if she were some kind of albatross, the irony could bring down a skyscraper. And you have to wonder if even the director, Todd Stephens, was in on the joke. Twenty minutes into Gypsy 83, watching Clive and Gypsy tape each other in a graveyard, chilling in Clive’s basement and shocking the bourgeoisie bumpkins in Sandusky, Ohio, I wanted to pull out my hair. It’s not that I couldn’t understand why they loved each other, spent all their time together, or sought refuge in Goth regalia. Living in a middle-class, Midwestern wasteland, I’m sure jet-black hair dye and purple eye shadow would provide a great sense of relief. But it all felt so contrived. So lame. When I compare it to other films where we’re asked to sympathize with outcasts and fringe dwellers or at least enjoy their anarchy, it rings hollow. In movies like Rumble Fish , Prey For Rock and Roll , Better Luck Tomorrow, even Rebel Without a Cause, we care about the protagonists, we understand their struggles, but we never feel sorry for them. When the Greasers kicked ass at the end of The Outsiders, you’d better believe I was cheering for them. I was yelling at the screen. Gypsy and Clive don’t even play out as antiheroes, they’re just a little too waiflike. To an excessive degree, Stephens doesn’t trust us to recognize their frailties without having them spelled out in dialogue. To let the camera convey meaning. Sara Rue’s best moments are when she’s singing, though I think making her a Stevie Nicks clone was a mistake. She’s confident and instinctive, and it’s truly pleasurable to listen to her gravelly, magnificent voice. The rest of the time her performance and Kett Turton’s feel just horribly forced. They look really good, but lack conviction. And frankly, I never thought a film of this sort could be so hokey. During their road trip to The Big Apple the two pick up an Amish hitchhiker (Anson Scoville) and he’s so stiff (not because he’s Amish but amateurish) that you get the impression Stephens chose him solely on pretty-boy appeal. In an early scene where Gypsy tells off a dowager, clearly intended to represent Decent Society, the movie just comes to a halt. The old woman’s speech sounds so flat and didactic. This may be in a sense accurate, but it’s bad writing, bad acting. The two women aren’t connecting with each other or the audience. It’s pretty sad when a film can’t incite animosity for a character we’re predisposed to hate. Gypsy 83 has all the earmarks of a project that looked good on paper. And it has the plot elements for good narrative: search for identity, the missing mother, coming clean, owning up, painful truths, escape to the shining Metropolis, the homoeroticism behind fraternities. Though, of course, the problem is less about content than execution. Stephens wastes numerous opportunities to dramatize what he pisses away on text. The film is 92 minutes long, but goes it on and on. There are plausible, impressive episodes like when Gypsy succumbs to fear at a karaoke contest, or Zechariah (Amish boy on the lam) spontaneously kisses Clive on the mouth, but unfortunately, these are rare. It’s unusual, I think, to find a low-budget, Independent film that seems so facile, so self-congratulatory. There’s no tension, no enhancement between the interpretive attitude of the filmmaker and the attitude of the actors. Such as it is. There isn’t a lot of steam behind Rue and Turton’s work. They don’t seem to be tapping into genuine passion or seething with it underneath. In a way it’s inexplicable, we see Clive and Gypsy at times of emotional upheaval; traumatic, humiliating, life-changing moments when we want to empathize, but there’s nothing to engage us. To pull us in. When we care less about the characters than we would for a Smurf.
]]>Tue, 14 Aug 2007 07:09:00 GMTjlgdrdWicked Fun8/14/2007 3:09:00 AM Often there comes a time when a bad (or inept, or failed) movie will unwittingly tip its hand. It could be a piece of dialogue that encapsulates a central flaw, or it might be a device that functions as damage control. In Gypsy 83, it’s a chapter when Gypsy and Clive, en route to a singing competition in New York, spend an evening with a more or less retired singer, Bambi LeBleau (Karen Black). She is congenial, down-to-earth, unperturbed and dishonest only in the sense that she is trying to put a brave face on adversity. Black has been acting for at least thirty years now (Five Easy Pieces, Nashville, Easy Rider) and her screen presence and skill are so effortless that they too often go unnoticed. Her performance appears to infect Sara Rue (Gypsy) and Kett Turton (Clive) who seem completely different in this sequence, and outshines them in the rest of the film. She’s invested in the role, but experienced enough to trust her intuitions. When they decide to leave Bambi behind as if she were some kind of albatross, the irony could bring down a skyscraper. And you have to wonder if even the director, Todd Stephens, was in on the joke. Twenty minutes into Gypsy 83, watching Clive and Gypsy tape each other in a graveyard, chilling in Clive’s basement and shocking the bourgeoisie bumpkins in Sandusky, Ohio, I wanted to pull out my hair. It’s not that I couldn’t understand why they loved each other, spent all their time together, or sought refuge in Goth regalia. Living in a middle-class, Midwestern wasteland, I’m sure jet-black hair dye and purple eye shadow would provide a great sense of relief. But it all felt so contrived. So lame. When I compare it to other films where we’re asked to sympathize with outcasts and fringe dwellers or at least enjoy their anarchy, it rings hollow. In movies like Rumble Fish , Prey For Rock and Roll , Better Luck Tomorrow, even Rebel Without a Cause, we care about the protagonists, we understand their struggles, but we never feel sorry for them. When the Greasers kicked ass at the end of The Outsiders, you’d better believe I was cheering for them. I was yelling at the screen. Gypsy and Clive don’t even play out as antiheroes, they’re just a little too waiflike. To an excessive degree, Stephens doesn’t trust us to recognize their frailties without having them spelled out in dialogue. To let the camera convey meaning. Sara Rue’s best moments are when she’s singing, though I think making her a Stevie Nicks clone was a mistake. She’s confident and instinctive, and it’s truly pleasurable to listen to her gravelly, magnificent voice. The rest of the time her performance and Kett Turton’s feel just horribly forced. They look really good, but lack conviction. And frankly, I never thought a film of this sort could be so hokey. During their road trip to The Big Apple the two pick up an Amish hitchhiker (Anson Scoville) and he’s so stiff (not because he’s Amish but amateurish) that you get the impression Stephens chose him solely on pretty-boy appeal. In an early scene where Gypsy tells off a dowager, clearly intended to represent Decent Society, the movie just comes to a halt. The old woman’s speech sounds so flat and didactic. This may be in a sense accurate, but it’s bad writing, bad acting. The two women aren’t connecting with each other or the audience. It’s pretty sad when a film can’t incite animosity for a character we’re predisposed to hate. Gypsy 83 has all the earmarks of a project that looked good on paper. And it has the plot elements for good narrative: search for identity, the missing mother, coming clean, owning up, painful truths, escape to the shining Metropolis, the homoeroticism behind fraternities. Though, of course, the problem is less about content than execution. Stephens wastes numerous opportunities to dramatize what he pisses away on text. The film is 92 minutes long, but goes it on and on. There are plausible, impressive episodes like when Gypsy succumbs to fear at a karaoke contest, or Zechariah (Amish boy on the lam) spontaneously kisses Clive on the mouth, but unfortunately, these are rare. It’s unusual, I think, to find a low-budget, Independent film that seems so facile, so self-congratulatory. There’s no tension, no enhancement between the interpretive attitude of the filmmaker and the attitude of the actors. Such as it is. There isn’t a lot of steam behind Rue and Turton’s work. They don’t seem to be tapping into genuine passion or seething with it underneath. In a way it’s inexplicable, we see Clive and Gypsy at times of emotional upheaval; traumatic, humiliating, life-changing moments when we want to empathize, but there’s nothing to engage us. To pull us in. When we care less about the characters than we would for a Smurf. Spout Post: The Great Movies: Nashville http://www.spout.com/blogs/erico_77375/archive/2007/7/22/15549.aspx

Post By: erico_77375
Post To: erico_77375 Blog
Post Date: 7/22/2007 6:49:27 AM
Body: I have never had a problem writing a review before trying to tackle what has to be one of the most difficult films to discuss. There's just so much to talk about, so many different characters, all of them playing major parts in an epic story of music, politics, and eccentricities put together with the magic touch by screenwriter Joan Tewkesbury and director Robert Altman. Nashville is a film you can dissect for days and still find new things to talk about, or you can float through it and allow the film to surround you. Either way, you're in for a great time.There are 24 major characters played by actors who live inside these roles. They are bound together in a string of events held together by other characters and events that out of each other's control. It spirals into an event that blindsides you away from convention and leaves you with a sense of wonder. The film winds through five days in Nashville in the midst of a political campaign for Hal Phillip Walker of the "Replacement Party". Although we'll never met Mr. Walker, he is probably the most important character in the film. His voice travels around town wherever the action is, giving off canned speeches and making us very aware of his existence.The rest of Nashville is filled with music superstars, working-class people, and hopefuls looking for an opportunity to rise. The intermediaries between all these people are three voices that range from silent to loud: a mysterious biker (Jeff Goldblum) who says nothing throughout the film, a BBC reporter named Opal (Geraldine Chaplin), star-struck and a little crazy to the point of fearlessness. And finally there's Mr. Walker's van. They go from the recording studios where mega-star Haven Hamilton (Henry Gibson) is recording his centennial tribute, to the airport where Barbara Jean (Ronee Blakley) returns home to perform and revive her career, to a car crash where everybody is upset, but no one forgets a chance to talk to everybody else and enjoy ice cream from a van that fortunately is also stuck. We enjoy various Friday night activities, a Saturday night at the Grand Ole Opry, and ultimately to a political rally where Nashville's brightest show up to sing for Hal Phillip Walker.But the film isn't so much interested in the destination as it is in the journey. We meet interesting people with rich character (Gwen Welles), whether it be a waitress with hopes of being a star, but a voice that begs to differ. A rising rock star (Keith Carradine) that has no problem calling up the next woman he'll bed just before the first one leaves. His newest target is a married woman (Lily Tomlin), whose frustration with her husband (Ned Beatty) is very subtle, but runs deep. And let's not forget two strange observers (Glenn Scott and David Hayward) whose fascination with Barbara Jean has significance to the events that occur while Barbara Jean's husband (Allen Garfield) tries to ward off the vultures trying to pick his wife's sanity clean.And those are just a few of the characters. Another thing this film has that gives it more dimension is lots of music, which is mostly played live (written mainly by the actors who play these characters) without interruption. With exception of a very few songs that are intentionally bad, the rest are pretty catchy, a few I'd even go so far as to say are excellent, including the show-stopping "It Don't Worry Me" and Oscar-Winning "I'm Easy". Both songs are used to explore the moment when the song is sung. One explains a man's sadness of how easily he hurt's women; the other is a unifying anthem in the wake of a tragedy.It's easy to overlook great performances in Nashville when everybody is on their game. But there are some that would be a crime to not mention. Such as Tomlin's housewife, who sees an opportunity to get some emotional revenge against a husband who doesn't even try to involve himself in his deaf children's lives. I love Keenan Wynn's performance as a man whose wife is dying and is losing his grasp with his niece (Shelly Duvall). And I love Barbara Baxley's monologue where she talks about her feelings towards the Kennedy’s. But this is Robert Altman's finest film, which is saying something considering the list of works that he has been involved with. He weaves in and out of events and characters with glee and a wicked sense of timing. Not only able to keep a tight reign on all of these intersecting stories, but still have time to enjoy all the music.But to watch Nashville isn't to see a story, but to be washed away into a time and place where government and entertainment ultimately collide. Where the least likely heroes arise from disturbing developments. And where ordinary people are celebrated with the same joy as celebrities. Thank you, Robert Altman.
]]>Sun, 22 Jul 2007 10:49:27 GMTerico_77375erico_77375 Blog7/22/2007 6:49:27 AMI have never had a problem writing a review before trying to tackle what has to be one of the most difficult films to discuss. There's just so much to talk about, so many different characters, all of them playing major parts in an epic story of music, politics, and eccentricities put together with the magic touch by screenwriter Joan Tewkesbury and director Robert Altman. Nashville is a film you can dissect for days and still find new things to talk about, or you can float through it and allow the film to surround you. Either way, you're in for a great time.There are 24 major characters played by actors who live inside these roles. They are bound together in a string of events held together by other characters and events that out of each other's control. It spirals into an event that blindsides you away from convention and leaves you with a sense of wonder. The film winds through five days in Nashville in the midst of a political campaign for Hal Phillip Walker of the "Replacement Party". Although we'll never met Mr. Walker, he is probably the most important character in the film. His voice travels around town wherever the action is, giving off canned speeches and making us very aware of his existence.The rest of Nashville is filled with music superstars, working-class people, and hopefuls looking for an opportunity to rise. The intermediaries between all these people are three voices that range from silent to loud: a mysterious biker (Jeff Goldblum) who says nothing throughout the film, a BBC reporter named Opal (Geraldine Chaplin), star-struck and a little crazy to the point of fearlessness. And finally there's Mr. Walker's van. They go from the recording studios where mega-star Haven Hamilton (Henry Gibson) is recording his centennial tribute, to the airport where Barbara Jean (Ronee Blakley) returns home to perform and revive her career, to a car crash where everybody is upset, but no one forgets a chance to talk to everybody else and enjoy ice cream from a van that fortunately is also stuck. We enjoy various Friday night activities, a Saturday night at the Grand Ole Opry, and ultimately to a political rally where Nashville's brightest show up to sing for Hal Phillip Walker.But the film isn't so much interested in the destination as it is in the journey. We meet interesting people with rich character (Gwen Welles), whether it be a waitress with hopes of being a star, but a voice that begs to differ. A rising rock star (Keith Carradine) that has no problem calling up the next woman he'll bed just before the first one leaves. His newest target is a married woman (Lily Tomlin), whose frustration with her husband (Ned Beatty) is very subtle, but runs deep. And let's not forget two strange observers (Glenn Scott and David Hayward) whose fascination with Barbara Jean has significance to the events that occur while Barbara Jean's husband (Allen Garfield) tries to ward off the vultures trying to pick his wife's sanity clean.And those are just a few of the characters. Another thing this film has that gives it more dimension is lots of music, which is mostly played live (written mainly by the actors who play these characters) without interruption. With exception of a very few songs that are intentionally bad, the rest are pretty catchy, a few I'd even go so far as to say are excellent, including the show-stopping "It Don't Worry Me" and Oscar-Winning "I'm Easy". Both songs are used to explore the moment when the song is sung. One explains a man's sadness of how easily he hurt's women; the other is a unifying anthem in the wake of a tragedy.It's easy to overlook great performances in Nashville when everybody is on their game. But there are some that would be a crime to not mention. Such as Tomlin's housewife, who sees an opportunity to get some emotional revenge against a husband who doesn't even try to involve himself in his deaf children's lives. I love Keenan Wynn's performance as a man whose wife is dying and is losing his grasp with his niece (Shelly Duvall). And I love Barbara Baxley's monologue where she talks about her feelings towards the Kennedy’s. But this is Robert Altman's finest film, which is saying something considering the list of works that he has been involved with. He weaves in and out of events and characters with glee and a wicked sense of timing. Not only able to keep a tight reign on all of these intersecting stories, but still have time to enjoy all the music.But to watch Nashville isn't to see a story, but to be washed away into a time and place where government and entertainment ultimately collide. Where the least likely heroes arise from disturbing developments. And where ordinary people are celebrated with the same joy as celebrities. Thank you, Robert Altman. Spout Post: Re: Top 5 Movies About Music http://www.spout.com/blogs/chesterfilms/archive/2007/7/7/13347.aspx

Post By: chesterfilms
Post To: chesterfilms Blog
Post Date: 7/7/2007 2:19:32 PM
Body: 1. Almost Famous (2000) - I know a lot of people who dismiss this film, but It's one of my favorites. I truly captures the spirit of the era. 2. Nashville (1975) - An epic, sprawling masterpiece. One of Altman's finest achievements. 3. This Is Spinal Tap (1984) - What more should be said. Fantastic music & possible the funniest movies of all time.4. High Fidelity (2000) - Frears & company perfectly capture the spirit of the book. Made the whole Top 5 list process even more relevant.5. A Hard Day's Night (1964) - Obviously the songs are amazing, but this is one of the most fun films you could ever see.Runners Up:The Red ShoesFive Easy Pieces Amadeus
]]>Sat, 07 Jul 2007 18:19:32 GMTchesterfilmschesterfilms Blog7/7/2007 2:19:32 PM1. Almost Famous (2000) - I know a lot of people who dismiss this film, but It's one of my favorites. I truly captures the spirit of the era. 2. Nashville (1975) - An epic, sprawling masterpiece. One of Altman's finest achievements. 3. This Is Spinal Tap (1984) - What more should be said. Fantastic music & possible the funniest movies of all time.4. High Fidelity (2000) - Frears & company perfectly capture the spirit of the book. Made the whole Top 5 list process even more relevant.5. A Hard Day's Night (1964) - Obviously the songs are amazing, but this is one of the most fun films you could ever see.Runners Up:The Red ShoesFive Easy Pieces Amadeus Spout Post: Nashville http://www.spout.com/groups/Filmspotting/Nashville/304/9057/1/ShowPost.aspx

Post By: dlcollins
Post To: Filmspotting
Post Date: 5/20/2007 10:19:52 AM
Body: I know it's probably on the verge of being a pantheon movie, but I have to mention Henry Gibson as Haven Hamilton from Nashville. When we first see him, he's a singing a pompous and unbelievably cheesy song about how great America is, and then he throws a tantrum when the piano player screws up. Aside from being a really funny scene, it tells us a lot about him.
]]>Sun, 20 May 2007 14:19:52 GMTdlcollinsFilmspotting5/20/2007 10:19:52 AMI know it's probably on the verge of being a pantheon movie, but I have to mention Henry Gibson as Haven Hamilton from Nashville. When we first see him, he's a singing a pompous and unbelievably cheesy song about how great America is, and then he throws a tantrum when the piano player screws up. Aside from being a really funny scene, it tells us a lot about him. Spout Post: M*A*S*H http://www.spout.com/blogs/hairylime/archive/2007/2/20/5650.aspx

Post By: HairyLime
Post To: HairyLime Blog
Post Date: 2/20/2007 8:23:00 PM
Body: In a discussion group recently the topic of 'book adaptations' has been brought up, and while I was watching this last night it occurred to me that this one is another good example of a successful 'book to movie' transformation that is neither too literal of a rote retelling, and stands on its own as a film.Caught the final third of this one a couple weekends ago while flipping channels, and then watched the rest of the movie yesterday evening. Not the first time I'd seen it (I've actually lost count how many times), and it struck me how very fresh and innovative it still seems 30 plus years after the fact. There wasn't really anything like it seen before, with its overlapping dialog, meandering storyline and counter-cultural viewpoints.Those brought up on the television series may find the flavor a little hard to digest, no neatly tied up plotlines, no laugh track, a subtler brand of humor.Gould and Sutherland are a great pairing, and would go on to costar in a few other 'anti-establishment' comedies after this to lesser success. Gary Burghoff is quite good as Radar and would go on to repeat the role on television (I actually find him funnier in the movie, more subversive, where he seems to turn into a cute little mascot on the television series), Bud Cort, John Shuck, Michael Murphy & Sally Kellerman would all go on to become Altman regulars, and Robert Duvall portrays a truly memorable Frank Burns, who is all the more frightful for his seriousness, where the television version is turned into a buffoonish caricature.A first feature by one of my favorite directors who unfortunately passed away last year, some other favorite Altman films: Nashville, McCabe & Mrs. Miller, 3 Women, Short Cuts, The Player, Gosford ParkSome other good 'anti-war' films and 'book adaptations': Catch 22, Slaughterhouse Five
]]>Wed, 21 Feb 2007 01:23:00 GMTHairyLimeHairyLime Blog2/20/2007 8:23:00 PMIn a discussion group recently the topic of 'book adaptations' has been brought up, and while I was watching this last night it occurred to me that this one is another good example of a successful 'book to movie' transformation that is neither too literal of a rote retelling, and stands on its own as a film.Caught the final third of this one a couple weekends ago while flipping channels, and then watched the rest of the movie yesterday evening. Not the first time I'd seen it (I've actually lost count how many times), and it struck me how very fresh and innovative it still seems 30 plus years after the fact. There wasn't really anything like it seen before, with its overlapping dialog, meandering storyline and counter-cultural viewpoints.Those brought up on the television series may find the flavor a little hard to digest, no neatly tied up plotlines, no laugh track, a subtler brand of humor.Gould and Sutherland are a great pairing, and would go on to costar in a few other 'anti-establishment' comedies after this to lesser success. Gary Burghoff is quite good as Radar and would go on to repeat the role on television (I actually find him funnier in the movie, more subversive, where he seems to turn into a cute little mascot on the television series), Bud Cort, John Shuck, Michael Murphy & Sally Kellerman would all go on to become Altman regulars, and Robert Duvall portrays a truly memorable Frank Burns, who is all the more frightful for his seriousness, where the television version is turned into a buffoonish caricature.A first feature by one of my favorite directors who unfortunately passed away last year, some other favorite Altman films: Nashville, McCabe & Mrs. Miller, 3 Women, Short Cuts, The Player, Gosford ParkSome other good 'anti-war' films and 'book adaptations': Catch 22, Slaughterhouse Five Spout Tag:music http://www.spout.com/members/0/tags/music/MemberTagFilms.aspxmusic
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