Hello all, and Happy Thanksgiving! Here are 13 movie quotes from some movies that I like. To enter the contest, please e-mail me your answers. This will keep your answers confidential, so that others won't see them. The winner will receive a valuable prize ($10 gift card). The winner will be the FIRST person to give me all of the answers, or the earliest entry with the most correct. I will take entries until Tuesday, 11/29 at noon. Please do not consult the internet---let's see how many you can get on your own.
To enter, email me at losbascoms@mac.com...
Have fun. I will contact the winner to coordinate the prize.
Happy Thanksgiving!!!
1. You'll meet them all again on their long journey to the middle.
2. What are you, a lawyer?
3. Pop quiz hotshot.
4. First medicinal wine from a teaspoon, then beer from a bottle.
5. Son...kick their butt.
6. A laugh can be a very powerful thing.
7. I don't want a cookie!
8. That's impossible, they're on instruments!
9. It's all part of life's rich pageant.
10. Come along Mrs. Thornhill....
11. "I now declare this bridge open"
12. If you don't have something nice to say, come sit by me.
13. Mordecai!
Thursday, November 24, 2011
Friday, November 18, 2011
The Princess Bride
Stephanie and I watched this movie for the first time with our kids a little bit ago, and two things struck me. First (and this was not totally unexpected) was how much they laughed. Sometimes when you have watched and loved a movie for so long due to its adult wit, you can forget how many moments of simpler comedy are in a movie. Second, it really surprised me how much the story kept their interest. Herein lies, to me, the same genius in this movie that lies in many great movies.
The genius we find here is the ability of the film maker(s) to create something that is at once sophisticated and simple. The story of this movie is basic enough that any child can follow it. However, the dialogue and the humor are complex enough that we can all find ourselves returning to the film and gaining new laughs and appreciating the wittiness of the dialogue. I first saw this movie when it came out in the theater when I was 12, but I mainly got to know it through countless viewings on video. The fact that my High School church youth group nearly always watched this movie at camp gatherings further shows this movie's appeal. In my youth group (which was hundreds of students strong), it was always tricky to find a movie that is edgy and innocent. This movie fit the bill, and I have very clear memories of watching it at Camp Surf in San Diego on the beach near the US/Mexican border.
The movie is a story within a story. A young boy (Fred Savage) is sick, and his grandfather (the recently departed Peter Falk) comes to his house to read him a story while he is laid up. The story he reads to his grandson ends up being the principal plot of the movie, as we follow the adventures of Westley (Cary Elwes) and Buttercup (Robin Wright) as they attempt to find a way to live happily ever after. They encounter various obstacles as well as several funny characters along their way. They are pursued by Prince Humperdink (Chris Sarandon), a trite, smarmy royal who makes it his business to start unnecessary wars and make Buttercup miserable.
The story itself is nothing extraordinary. What makes the movie special is the characters and the dialogue between them. The best example I can think of is the sword fight between Westley and Inigo Montoya (Mandy Patinkin, who also happens to have the most famous piece of dialogue from the movie). This is a standard, swashbuckling kind of scene that is made special by countless winks in the dialogue. Example: "Montoya: Why do you wear that mask-were you burned with acid or something? Westley: "No, they're just terribly comfortable...I think someday everyone will wear them." There are many other memorable lines, many of which can make one feel as though they are in an exclusive club if others recognize the dialogue in social interaction. But, in spite of all the sassy dialogue, the movie still works because of its heart. It is able to find a giant with a great heart (Andre the Giant), and a story that really is sentimental. It seems that this movie has achieved a sort of classic status. It deserves it. It is something special, and I think the reason for that is how universal its appeal really is.
The genius we find here is the ability of the film maker(s) to create something that is at once sophisticated and simple. The story of this movie is basic enough that any child can follow it. However, the dialogue and the humor are complex enough that we can all find ourselves returning to the film and gaining new laughs and appreciating the wittiness of the dialogue. I first saw this movie when it came out in the theater when I was 12, but I mainly got to know it through countless viewings on video. The fact that my High School church youth group nearly always watched this movie at camp gatherings further shows this movie's appeal. In my youth group (which was hundreds of students strong), it was always tricky to find a movie that is edgy and innocent. This movie fit the bill, and I have very clear memories of watching it at Camp Surf in San Diego on the beach near the US/Mexican border.
The movie is a story within a story. A young boy (Fred Savage) is sick, and his grandfather (the recently departed Peter Falk) comes to his house to read him a story while he is laid up. The story he reads to his grandson ends up being the principal plot of the movie, as we follow the adventures of Westley (Cary Elwes) and Buttercup (Robin Wright) as they attempt to find a way to live happily ever after. They encounter various obstacles as well as several funny characters along their way. They are pursued by Prince Humperdink (Chris Sarandon), a trite, smarmy royal who makes it his business to start unnecessary wars and make Buttercup miserable.
The story itself is nothing extraordinary. What makes the movie special is the characters and the dialogue between them. The best example I can think of is the sword fight between Westley and Inigo Montoya (Mandy Patinkin, who also happens to have the most famous piece of dialogue from the movie). This is a standard, swashbuckling kind of scene that is made special by countless winks in the dialogue. Example: "Montoya: Why do you wear that mask-were you burned with acid or something? Westley: "No, they're just terribly comfortable...I think someday everyone will wear them." There are many other memorable lines, many of which can make one feel as though they are in an exclusive club if others recognize the dialogue in social interaction. But, in spite of all the sassy dialogue, the movie still works because of its heart. It is able to find a giant with a great heart (Andre the Giant), and a story that really is sentimental. It seems that this movie has achieved a sort of classic status. It deserves it. It is something special, and I think the reason for that is how universal its appeal really is.
Monday, November 14, 2011
Into Great Silence
"Then a great and powerful wind tore the mountains apart and shattered the rocks before the LORD, but the LORD was not in the wind. After the wind there was an earthquake, but the LORD was not in the earthquake. After the earthquake came a fire, but the LORD was not in the fire. And after the fire came a gentle whisper."
---1 Kings 19:11-12
The film maker Philip Groning uses this quote from the history of Israel as bookends to his extraordinary documentary. This is the 52nd entry on this blog. I have covered films from many different genres, and in several different languages. The more I watch movies, the more I become convinced that there are certain artistic statements that can only be made with film. While some feel the written word is the ultimate form of expression (and it is amazing), we must not forget that it is only a medium...it is not art itself. With each type of art (be it painting, music, film etc), there are certain things that can be captured that simply could not be caught any other way.
And so, we turn to this extraordinary work by Philiip Groning. It is so simple, yet so profound. The film maker lived in the Grande Chartreuse monastery in the French Alps for 6 months, and captured the lives of its residents on film. The film has no score, no written dialogue, and no special effects. It simply records the lives of the monks: the sights, sounds, and rituals. As such, the viewer can approach this work from a number of different angles. For the secular viewer, one could watch as the quiet lives of these men are recorded, and marvel at the simplicity of their lives, and the beauty of their surroundings. Groning's camera shows us a vast spectrum of nature. It shows us the majesty of the French alps, the quiet of a brook, the lines in an old man's face, and the meditative world that is the monastery. For the believer, this film can be one of two things. One, it could be a simple act of challenging our devotion to God and how much do we meditate on his work. One of the devices that Groning uses to to intersperse different prayers over a black screen during the film. This dovetails nicely into the second thing this film can be for the believer. The film itself can be an act of mediation on God and on his creation. The viewer can see men, young and old, eating together, worshiping together, living together. We can also see them conversing, walking in the mountains, and even enjoying some sledding on a nearby slope. The film takes a certain discipline to watch, and I think that is why this film can be a meditation in and of itself. As we see the discipline these men have over their lives, we are challenged to sit through it for a mere 2 and a half hours.
Silence and meditation is something which is lacking in my life. This film made me think of ways that I could taste this gift. I once read the great abstract expressionist painter Mark Rothko explain his paintings as webs of meditation. This film acts this way. It not only documents its subjects, but it allows us to come close to actually living along side them and practice along with them. The patience and commitment that it took to make this film is noteworthy. The hours and days it must have took in order to simply catch a second of magnificent beauty is noteworthy. If possible, it seems that the way to best experience this film would be in a movie theater. Only there would the viewer truly be able to be immersed in this world with all its sights, sounds and experiences. I was able to get a copy from my local library, and I watched most of it while jogging on my treadmill. It was a good way to experience the film since it takes a certain discipline for me to get on the treadmill.
This is a profound work. I love what it says about its subjects. It gives us a very honorable picture of these men who have devoted their lives to prayer and meditation. But this film also says a lot about film. It shows us another angle about what movies are, and the possibilities that lie within the art of cinema.
---1 Kings 19:11-12
The film maker Philip Groning uses this quote from the history of Israel as bookends to his extraordinary documentary. This is the 52nd entry on this blog. I have covered films from many different genres, and in several different languages. The more I watch movies, the more I become convinced that there are certain artistic statements that can only be made with film. While some feel the written word is the ultimate form of expression (and it is amazing), we must not forget that it is only a medium...it is not art itself. With each type of art (be it painting, music, film etc), there are certain things that can be captured that simply could not be caught any other way.
And so, we turn to this extraordinary work by Philiip Groning. It is so simple, yet so profound. The film maker lived in the Grande Chartreuse monastery in the French Alps for 6 months, and captured the lives of its residents on film. The film has no score, no written dialogue, and no special effects. It simply records the lives of the monks: the sights, sounds, and rituals. As such, the viewer can approach this work from a number of different angles. For the secular viewer, one could watch as the quiet lives of these men are recorded, and marvel at the simplicity of their lives, and the beauty of their surroundings. Groning's camera shows us a vast spectrum of nature. It shows us the majesty of the French alps, the quiet of a brook, the lines in an old man's face, and the meditative world that is the monastery. For the believer, this film can be one of two things. One, it could be a simple act of challenging our devotion to God and how much do we meditate on his work. One of the devices that Groning uses to to intersperse different prayers over a black screen during the film. This dovetails nicely into the second thing this film can be for the believer. The film itself can be an act of mediation on God and on his creation. The viewer can see men, young and old, eating together, worshiping together, living together. We can also see them conversing, walking in the mountains, and even enjoying some sledding on a nearby slope. The film takes a certain discipline to watch, and I think that is why this film can be a meditation in and of itself. As we see the discipline these men have over their lives, we are challenged to sit through it for a mere 2 and a half hours.
Silence and meditation is something which is lacking in my life. This film made me think of ways that I could taste this gift. I once read the great abstract expressionist painter Mark Rothko explain his paintings as webs of meditation. This film acts this way. It not only documents its subjects, but it allows us to come close to actually living along side them and practice along with them. The patience and commitment that it took to make this film is noteworthy. The hours and days it must have took in order to simply catch a second of magnificent beauty is noteworthy. If possible, it seems that the way to best experience this film would be in a movie theater. Only there would the viewer truly be able to be immersed in this world with all its sights, sounds and experiences. I was able to get a copy from my local library, and I watched most of it while jogging on my treadmill. It was a good way to experience the film since it takes a certain discipline for me to get on the treadmill.
This is a profound work. I love what it says about its subjects. It gives us a very honorable picture of these men who have devoted their lives to prayer and meditation. But this film also says a lot about film. It shows us another angle about what movies are, and the possibilities that lie within the art of cinema.
Monday, November 7, 2011
It Might Get Loud
I have already put down my thoughts on one of Davis Guggenheim's films ("Waiting for Superman). While the last one was a controversial and emotional film, this film is a great breath of fresh air. It reminds us why we spend so much time listening to music and finding out about the artists who make music. We do it because the stories behind people are fascinating, and when the person whose story is being told is someone whose art we love, we are immediately interested.
The film depicts the life stories and musical philosophies of three musical giants. They each represent different generations as well as different approaches and inspirations. The common thread that they share is the instrument that has become the passion of their life: the electric guitar. In depicting these three artists, we gain a new appreciation for what makes each of them unique. We also are entertained as we watch professional musicians' appreciation for other practitioners of their craft, and we get to see them play together.
The three guitarists who are the subject of the film are Jimmy Page of Led Zeppelin, The Edge of U2, and Jack White of the White Stripes. The diverse backgrounds of these three alone could warrant a film. Jimmy Page grew up in working class England. The Edge grew up in turbulent Dublin Ireland in the 60's and 70''s. And Jack White came of age in a Mexican neighborhood in Southwest Detroit. Each of them give their story, and how they ended up coming up with the style with which they are now synonymous.
To me, what makes a great documentary is also what makes a great film of any other type. The film needs to tell a story and tell it in a way that engages me. There is a lot more to my philosophy of film watching, but a lot of it does come back to those two factors. In these two ways, this film works very well. It is about these three individuals, but it is also about what inspires all of us. For each of these musicians, inspiration was vital. Each of them get a chance to play some of their favorite music for the film, and we can see how it affects them. In my book, the most entertaining line comes from The Edge. The line is a reflection after seeing the film "This is Spinal Tap" for the first time, and on what he views as the excesses the 1970's. He states, "I didn't laugh. I wept." Here, we see that The Edge's story has to do with a different kind of inspiration. In part, he was inspired to do something different than what was going on rather than being inspired to do something similar.
At the end of the film, and interspersed throughout the film, the three of them sit in a studio and reflect on their work. It is fun to watch the Edge teach Jimmy Page how he plays "I Will Follow". And when Jimmy Page reflects on the construction of "Stairway to Heaven", you watch the two younger guitarists sit in awe of the guitar god.
Whether you love rock guitar or not, this is a great movie. That fact illustrates why it is great movie. If a filmmaker can take a subject, and then engage audiences with varying levels interest, that filmmaker has truly accomplished something.
The film depicts the life stories and musical philosophies of three musical giants. They each represent different generations as well as different approaches and inspirations. The common thread that they share is the instrument that has become the passion of their life: the electric guitar. In depicting these three artists, we gain a new appreciation for what makes each of them unique. We also are entertained as we watch professional musicians' appreciation for other practitioners of their craft, and we get to see them play together.
The three guitarists who are the subject of the film are Jimmy Page of Led Zeppelin, The Edge of U2, and Jack White of the White Stripes. The diverse backgrounds of these three alone could warrant a film. Jimmy Page grew up in working class England. The Edge grew up in turbulent Dublin Ireland in the 60's and 70''s. And Jack White came of age in a Mexican neighborhood in Southwest Detroit. Each of them give their story, and how they ended up coming up with the style with which they are now synonymous.
To me, what makes a great documentary is also what makes a great film of any other type. The film needs to tell a story and tell it in a way that engages me. There is a lot more to my philosophy of film watching, but a lot of it does come back to those two factors. In these two ways, this film works very well. It is about these three individuals, but it is also about what inspires all of us. For each of these musicians, inspiration was vital. Each of them get a chance to play some of their favorite music for the film, and we can see how it affects them. In my book, the most entertaining line comes from The Edge. The line is a reflection after seeing the film "This is Spinal Tap" for the first time, and on what he views as the excesses the 1970's. He states, "I didn't laugh. I wept." Here, we see that The Edge's story has to do with a different kind of inspiration. In part, he was inspired to do something different than what was going on rather than being inspired to do something similar.
At the end of the film, and interspersed throughout the film, the three of them sit in a studio and reflect on their work. It is fun to watch the Edge teach Jimmy Page how he plays "I Will Follow". And when Jimmy Page reflects on the construction of "Stairway to Heaven", you watch the two younger guitarists sit in awe of the guitar god.
Whether you love rock guitar or not, this is a great movie. That fact illustrates why it is great movie. If a filmmaker can take a subject, and then engage audiences with varying levels interest, that filmmaker has truly accomplished something.
Saturday, October 29, 2011
Moneyball
My cousin Jeremy and I made our way to a movie theater last just off 14th St. in Manhattan, and ducked into the theater to catch this new film last week. It was a thrilling experience, partly because we had just had a wonderful day of sightseeing in New York, and partly because we saw a film that was both highly engaging and entertaining.
One need not be a baseball fan to enjoy this film, but as a lifelong fan of the game, I was hooked by the premise of it. 9 years ago, journalist Michael Lewis wrote a book called Moneyball in which he recorded how the Oakland Athletics of the American League were able to continue to put together winning teams despite a very low payroll. To sum up, the idea was that the general manager of the Athletics (Billy Beane, the main character both of the book and the film) was able to find "undervalued players" by reassessing the priorities of baseball statistics. In this world, getting on base is the most important thing a batter can do...how that happens is irrelevant. In the process he undermines the establishment and is able to succeed despite no one believing in him except a young Ivy League educated assistant. Take the baseball away, and what is left? A classic Hollywood underdog story of one crazy person taking on the status quo and, in his own way, winning.
Being a lover of baseball, there are many things that help me love the movie more. As I watched Billy Beane (played wonderfully by Brad Pitt) argue on the phone with Johnny Damon's agent "Scott", I knew who "Scott" was. Knowing who that was added texture to my experience, but would not detract from the experience of someone who didn't. Also, the film brilliantly recounts Beane's own history as a hot young prospect who simply doesn't pan out in the major leagues. As Billy Beane has another shot to compete in baseball in a a different way, he is forced to make decisions about what is important to him, and in a way, possibly right some of the wrongs from earlier in his life. The reason this film is so good is that it is able to tell Beane's own story, and we see him develop. That is the mark of good storytelling, whatever the setting and content of the story. The fact that one can walk away from this film happy for the decisions the Beane's character made speaks volumes on how engaging the story is, and how well it is told.
In the midst of the great storytelling, there are some great laughs, some good baseball, and wonderfully powerful performances from Phillip Seymour Hoffman and Johah Hill (as the Ivy League educated numbers cruncher mentioned above). Hoffman plays the Athletics' manager Art Howe, an old school baseball man who thinks that Beane's ideas are crazy, and fights him every step of the way on controlling the team. There is a moment of brilliance that I recall in the movie. At one point, Beane is having trouble with a certain lineup decision that Howe (Hoffman's character) has made. This continues to be a point of contention between the two of them. Eventually, Beane plays his trump card and trades away the player who was creating the issue without Howe's knowledge. The reaction Hoffman gives when he finds out that one of his favorite players has been traded is truly priceless.
As a father, I also related closely Beane's relationship with his daughter. There are some sweet moments here which show a very human side to this driven and competitive man. And that, in many ways, best demonstrates how good this movie is. To be able to cover the drama of a baseball season, the ups and down of one man's baseball career, and see him grow in stature as a father, and have that all be in one movie is something unique. I hope the sports content does not scare people away from a wonderfully dramatic and funny human story.
One need not be a baseball fan to enjoy this film, but as a lifelong fan of the game, I was hooked by the premise of it. 9 years ago, journalist Michael Lewis wrote a book called Moneyball in which he recorded how the Oakland Athletics of the American League were able to continue to put together winning teams despite a very low payroll. To sum up, the idea was that the general manager of the Athletics (Billy Beane, the main character both of the book and the film) was able to find "undervalued players" by reassessing the priorities of baseball statistics. In this world, getting on base is the most important thing a batter can do...how that happens is irrelevant. In the process he undermines the establishment and is able to succeed despite no one believing in him except a young Ivy League educated assistant. Take the baseball away, and what is left? A classic Hollywood underdog story of one crazy person taking on the status quo and, in his own way, winning.
Being a lover of baseball, there are many things that help me love the movie more. As I watched Billy Beane (played wonderfully by Brad Pitt) argue on the phone with Johnny Damon's agent "Scott", I knew who "Scott" was. Knowing who that was added texture to my experience, but would not detract from the experience of someone who didn't. Also, the film brilliantly recounts Beane's own history as a hot young prospect who simply doesn't pan out in the major leagues. As Billy Beane has another shot to compete in baseball in a a different way, he is forced to make decisions about what is important to him, and in a way, possibly right some of the wrongs from earlier in his life. The reason this film is so good is that it is able to tell Beane's own story, and we see him develop. That is the mark of good storytelling, whatever the setting and content of the story. The fact that one can walk away from this film happy for the decisions the Beane's character made speaks volumes on how engaging the story is, and how well it is told.
In the midst of the great storytelling, there are some great laughs, some good baseball, and wonderfully powerful performances from Phillip Seymour Hoffman and Johah Hill (as the Ivy League educated numbers cruncher mentioned above). Hoffman plays the Athletics' manager Art Howe, an old school baseball man who thinks that Beane's ideas are crazy, and fights him every step of the way on controlling the team. There is a moment of brilliance that I recall in the movie. At one point, Beane is having trouble with a certain lineup decision that Howe (Hoffman's character) has made. This continues to be a point of contention between the two of them. Eventually, Beane plays his trump card and trades away the player who was creating the issue without Howe's knowledge. The reaction Hoffman gives when he finds out that one of his favorite players has been traded is truly priceless.
As a father, I also related closely Beane's relationship with his daughter. There are some sweet moments here which show a very human side to this driven and competitive man. And that, in many ways, best demonstrates how good this movie is. To be able to cover the drama of a baseball season, the ups and down of one man's baseball career, and see him grow in stature as a father, and have that all be in one movie is something unique. I hope the sports content does not scare people away from a wonderfully dramatic and funny human story.
Monday, October 24, 2011
Hard Day's Night
Lately, I have been making my way through the Beatles' catalog with the help of the CD player in my brand new Subaru Outback. As I listen to these songs again (which never, ever grow old), I was reminded of this film, and it's place in my love of movies.
It might be that there would have been no "Monty Python" without this film. This movie has a sense of humor all its own, complete with the irony and surrealism that would eventually be front and center in the comedy of Monty Python. However, here there is very little iconoclasm. Instead, the spirit of the Beatles' early years is captured, almost as though it were a time capsule. We see the joy of the four of them in their early years. We see the distinct personalities of the Beatles (or at least, the images they wanted to portray). Also, for better or worse, we see in this film some very early music videos. The surrealism of "I Should Have Known Better" is a great example of an early music video. The four Beatles are playing cards in a train car, and voila, suddenly they are all playing instruments! Ringo's drums suddenly appear, the guitars pop out of thin air, and John sings the wonderfully vulnerable lyrics of this song.
The plot of the film is somewhat inconsequential. The four Beatles are suffering the slings and arrows of constant touring. Their unity is threatened by the presence of Paul's grandfather, who is a conniving "clean old man" who seeks to disrupt the unity of the group for no good reason.
All of the hijinks and separate paths the Beatles take culminate in the TV appearance at the end of the film. When I was young, I remember my dad instructing me to look at the girls in the TV audience and notice that all of them are calling out the name of their favorite Beatle. When one watches this film, one looks back beyond the brilliance and angst of the Beatles' later years and sees the freshness of the Beatles as they were first known.
As a movie, three things set this movie apart. First, the movie is filled with so much energy and creativity that the viewer simply cannot look away. This is really a tribute to the wonderful screenplay. The script gives the Beatles wonderful dialogue and situations in which to act. The film feels like a string of sketches which are brought together to form a story. Second, the acting is very good. True, the Beatles are playing themselves, but they are still able to deliver the dialogue and make the situations funny through timing and reactions. If one adds to this the great support they receive from the character actors in the movie, one has a show of greta acting in the film. Finally, the movie has great music. All of the songs are Beatles' songs, and they are all good. The Beatles truly were one of a kind, and this film brings that to the forefront. It is such a wonderful thing to have this period in the history of rock and roll captured on film forever.
It might be that there would have been no "Monty Python" without this film. This movie has a sense of humor all its own, complete with the irony and surrealism that would eventually be front and center in the comedy of Monty Python. However, here there is very little iconoclasm. Instead, the spirit of the Beatles' early years is captured, almost as though it were a time capsule. We see the joy of the four of them in their early years. We see the distinct personalities of the Beatles (or at least, the images they wanted to portray). Also, for better or worse, we see in this film some very early music videos. The surrealism of "I Should Have Known Better" is a great example of an early music video. The four Beatles are playing cards in a train car, and voila, suddenly they are all playing instruments! Ringo's drums suddenly appear, the guitars pop out of thin air, and John sings the wonderfully vulnerable lyrics of this song.
The plot of the film is somewhat inconsequential. The four Beatles are suffering the slings and arrows of constant touring. Their unity is threatened by the presence of Paul's grandfather, who is a conniving "clean old man" who seeks to disrupt the unity of the group for no good reason.
All of the hijinks and separate paths the Beatles take culminate in the TV appearance at the end of the film. When I was young, I remember my dad instructing me to look at the girls in the TV audience and notice that all of them are calling out the name of their favorite Beatle. When one watches this film, one looks back beyond the brilliance and angst of the Beatles' later years and sees the freshness of the Beatles as they were first known.
As a movie, three things set this movie apart. First, the movie is filled with so much energy and creativity that the viewer simply cannot look away. This is really a tribute to the wonderful screenplay. The script gives the Beatles wonderful dialogue and situations in which to act. The film feels like a string of sketches which are brought together to form a story. Second, the acting is very good. True, the Beatles are playing themselves, but they are still able to deliver the dialogue and make the situations funny through timing and reactions. If one adds to this the great support they receive from the character actors in the movie, one has a show of greta acting in the film. Finally, the movie has great music. All of the songs are Beatles' songs, and they are all good. The Beatles truly were one of a kind, and this film brings that to the forefront. It is such a wonderful thing to have this period in the history of rock and roll captured on film forever.
Thursday, October 13, 2011
Conan O' Brien Can't Stop
I have been a Conan O' Brien fan for many years. I remember watching his very first program, and being somewhat unimpressed. However, as the years went on, I started to see some of his absurd humor, and I couldn't help but start to become a fan.
In January of 2010, something happened which polarized many in the country. Thankfully, it was inconsequential, but it did inflame a lot of passion, especially in people my age and younger. Jay Leno (who represented the establishment for many) got his job back on the Tonight Show, and Conan O' Brien was fired from his dream job as the host of the Tonight Show. I thought he got a bad deal, but knew he would be back on television eventually. Between the time that he left the Tonight Show and began his new program on basic cable, he took a live show on tour across the country and sold out every venue. Along the way, he allowed himself to be filmed, and the product of that was this documentary.
It is a very entertaining film for two reasons. First, Conan is a natural comedian. He is a very funny man, and that translates here as he jokes around with his crew and his coworkers on the road. Also, the clips from the live show itself are hilarious. In the same vein, Conan appears to be very friendly. He gives a lot to his fans in the film. He knows that many of his most rabid fans have come to see his show, and he does his best to accommodate them. He even does this at times when he is not thrilled about the prospect. His bitterness at the obligation leaks out a couple of times in the film. One wonders what it would be like to see yourself on screen (if you happened to be caught by the filmmaker's lens) adoring Conan right after he is honest about the draining nature of showing love to his fans.
This segues into the second reason this film is so entertaining. It shows us a human being and his struggle with fame. We live in a harsh culture that sees celebrities as our servants. True, Conan chooses to travel far away from his wife and children. No one makes him. The settlement he reached with NBC was so lucrative that I would imagine that he didn't need the money the tour provided. Obviously, he did it because he loves entertaining people. But after a few months on the road, it is clear that some of the obligations of the job were taking its toll. He still puts on a smile and greets his fans, but the camera away from his fans captures his true feelings as well. It is interesting to me why Conan would want for this side of him to be given to his fans. But it is also refreshing. It shows us the very human side to this man, and that celebrity of this level is unnatural. That is why near the end of his tour, he longs for the simplicity of driving his kids to school. He knows that is a more realistic life, and he yearns for it. But, he also loves the interaction he has while performing, and so he will live with the tension.
This film is so important. We as a culture must learn that celebrities are doing a job, and we don't really know them. Ironically, Conan gives us a chance to know him a little better here, and we see ourselves in him. Who amongst us wouldn't yearn for simplicity when millions of people demand your attention. How would I do if young women who were strangers to me began throwing themselves at me? It is a tall order to carry that well, and the moments when we see the weight of it become too much for him, we remember that O' Brien is a human like the rest of us. And, even with his frustrations, he comes out even more lovable. I wonder if that's what he wanted.
In January of 2010, something happened which polarized many in the country. Thankfully, it was inconsequential, but it did inflame a lot of passion, especially in people my age and younger. Jay Leno (who represented the establishment for many) got his job back on the Tonight Show, and Conan O' Brien was fired from his dream job as the host of the Tonight Show. I thought he got a bad deal, but knew he would be back on television eventually. Between the time that he left the Tonight Show and began his new program on basic cable, he took a live show on tour across the country and sold out every venue. Along the way, he allowed himself to be filmed, and the product of that was this documentary.
It is a very entertaining film for two reasons. First, Conan is a natural comedian. He is a very funny man, and that translates here as he jokes around with his crew and his coworkers on the road. Also, the clips from the live show itself are hilarious. In the same vein, Conan appears to be very friendly. He gives a lot to his fans in the film. He knows that many of his most rabid fans have come to see his show, and he does his best to accommodate them. He even does this at times when he is not thrilled about the prospect. His bitterness at the obligation leaks out a couple of times in the film. One wonders what it would be like to see yourself on screen (if you happened to be caught by the filmmaker's lens) adoring Conan right after he is honest about the draining nature of showing love to his fans.
This segues into the second reason this film is so entertaining. It shows us a human being and his struggle with fame. We live in a harsh culture that sees celebrities as our servants. True, Conan chooses to travel far away from his wife and children. No one makes him. The settlement he reached with NBC was so lucrative that I would imagine that he didn't need the money the tour provided. Obviously, he did it because he loves entertaining people. But after a few months on the road, it is clear that some of the obligations of the job were taking its toll. He still puts on a smile and greets his fans, but the camera away from his fans captures his true feelings as well. It is interesting to me why Conan would want for this side of him to be given to his fans. But it is also refreshing. It shows us the very human side to this man, and that celebrity of this level is unnatural. That is why near the end of his tour, he longs for the simplicity of driving his kids to school. He knows that is a more realistic life, and he yearns for it. But, he also loves the interaction he has while performing, and so he will live with the tension.
This film is so important. We as a culture must learn that celebrities are doing a job, and we don't really know them. Ironically, Conan gives us a chance to know him a little better here, and we see ourselves in him. Who amongst us wouldn't yearn for simplicity when millions of people demand your attention. How would I do if young women who were strangers to me began throwing themselves at me? It is a tall order to carry that well, and the moments when we see the weight of it become too much for him, we remember that O' Brien is a human like the rest of us. And, even with his frustrations, he comes out even more lovable. I wonder if that's what he wanted.
Subscribe to:
Posts (Atom)