"I still remember the day my father took me to the Cemetery of Forgotten Books for the first time."

Novel: The Shadow of the Wind
Author: Carlos Ruiz Zafon
Published: 2001, Penguin Books
Genre: Mystery



That is the first sentence of Carlos Ruiz Zafon's The Shadow 0f the Wind. A first-time reader would read that opening line like any other ordinary opening line to a new novel they decide to pick up. They are unaware of the incredible journey that they are about to embark on: a whole 487 pages of lost books, mystery, murder, doomed love, and much more that must be kept hidden for the reader to find out all on their own.

The story follows a young man named Daniel Sempere in Barcelona, Spain, still recovering from the civil war. When he is 10 years old, his father brings him to the Cemetery of Forgotten Books, a top-secret establishment hidden amongst the Barcelona streets where rare and lost books are given an everlasting home. Part of the routine when someone visits the Cemetery for the first time is being able to choose a book to keep as their own, to cherish and protect. Daniel chooses a novel called The Shadow of the Wind, written by a man named Julian Carax. "Perhaps the bewitching atmosphere of the place had got the better of me, but I felt sure that The Shadow of the Wind had been waiting for me there for years, probably since before I was born." Daniel goes home that afternoon and begins to read the book. Midnight passes, and he is unable to put the book down, knowing that he must finish it right then and there. He falls in love with it.

Daniel finds out that not many people are familiar with Carax, and he has trouble finding any of the author's other works. He learns of an eerie rumor that has circulated about Carax and his books: there is a man who goes by the name of Lain Cobert (a name Carax gives to the Devil in The Shadow of the Wind) who is responsible for the disappearance of Carax's novels. Supposedly, he travels to different places in search of Carax's books, in order to burn them. Daniel can't help but be intrigued by this mystery and begins to dig deeper and deeper into the past; only he doesn't realize what he is really getting involved in...

________________________________________________________

So I feel pretty confident in saying that my prediction was true. After reading this novel for the second time, I really believe this one is my favorite. Anyone who thought the gothic novel died out, think again. There is nothing darker and sexier than The Shadow of the Wind. Zafon has created a tale that wraps itself around so that you cannot move. Thing is, you don't want to move. All you want to do is turn the page and find out what will happen next in Daniel's life.

There are a lot of sub-plots in the story, but never too many. They all end up being intricately connected to each other, and it's a real treat to witness how they rise to the surface and begin to take shape with one another.

The relationships between different characters play a very important part in the story. While you are learning about Carax's past, you are also witnessing Daniel's coming-of-age while he falls in love with a particular girl. Then you realize that Daniel and Carax's stories are strangely similar in a lot of ways. As I've stated, it just gets better and better.

Anyone who doubts the the level of sophistication that comes with writing a mystery novel, read Carlos Ruiz Zafon's novel, and come back to me in a week so I can shame you for ever doubting in the first place.


Oh yeah, and enjoy your stay in Barcelona. You'll discover many beautiful place along the way. Just be careful that you don't get too involved with certain somebodies.

ST/KH

Ya can't beat em, folks.

Busy. Busy, Busy!

I've just recently moved in to my spankin' new casa in Binghamton. I must say, it is a real great feeling to be living here on my own and all. I do have my house mates, but you understand what I mean. Going out shopping for the works, making meals for the group of us, hanging back and relaxing with the homies I will be becoming much tighter with over the next year or two. And going out to find myself a job tomorrow, so that I can pay my car payments every month and afford to survive?! I feel like this is a nice big step up on the latter of responsibility, and I couldn't be more genuinely excited. Now, let's get that job...


Reviews will be arriving shortly, I just have to get settled in and find the time to back into my film viewings. Once I get the cable installed into my own bedroom, shit will most definitely be back on ball!

Happy Birthday William Wyler!

William Wyler turns 106 years old today. Since I've gotten into Classical Hollywood films within the last year or so, some of the most memorable belong to this great director. He is responsible for directing some of the most timeless classics of them all. Films such as Wuthering Heights (1939), The Best Years of Our Lives (1946), Roman Holiday (1953), Ben-Hur (1959)...these are only a few of his great works. The man could make a great film, and worked with only the best. Today, we remember William Wyler and all the pleasure he has brought into our hearts through his profound body of work. Happy Birthday!

Play it again Holger...Play "Intermezzo"...

Title: Intermezzo: A Love Story
Director: Gregory Ratoff
Producer: David O. Selznick
Writer: George O'Neil
Starring: Leslie Howard, Ingrid Bergman, Edna Best, John Halliday
Year: 1939
Genre: Romance, Drama
Distributer: Selznick International Pictures, United Artists


"In music, an intermezzo (pl. intermezzi), in the most general sense, is a composition which fits between other musical or dramatic entities, such as acts of a play or movements of a larger musical work. In music history the term has had several different usages, which fit into two general categories: the opera intermezzo and the instrumental intermezzo."


The story of a famous violinist named Holger Brandt (Howard) who seduces a pianist named Anita Hoffman (Bergman), but Anita isn't just any pianist: she is the one who gives lessons to his 8-year-old daughter, Ann Marie. After coming home from touring, the family introduces him to Anita. After witnessing her piano skills, he seems to be intrigued. Later on, they meet after a show and get together for some glasses of wine at a restaurant. From that point on, things get hectic. They fall in love, leading to Holger's decision to leave his family and run off with Anita to do more touring, this time with Anita as his accompaniment. Things seem to be going well for the two, but they both has repressed feelings of guilt that lead to their separation. Anita goes to Paris in order to fulfill her dream now that she learns she has received the scholarship she had previously been working so hard for. Now Holger must decide what he shall do: should he live a lonely life in Paris, or should he return to his original home and family?


If you are looking for the cheese of the crop, I must declare you look no further. This is the most melodramatic a melodrama can get! The story is one of the classic formulas: man seems to have a great, happy life with a loving family and a prosperous career; man finds himself falling in love with a beautiful stranger who he cannot resist; the man and beau-strange run off together to find their happiness; eventually, things die out for them in sonme way or other, and they must move on with their lives. The acting is something a rat would eat up the minute he got his hands on it, and the script! You know how the scripts go with these tearjerkers.

I had my own personal reason for watching Intermezzo: the film is Ingrid Bergman's Hollywood debut; her first English-speaking film after leaving Sweden. I feel like an amateur when I admit that I haven't seen any other films of Ingrid's besides Casablanca (1942), but I have been wanting to see more of the actress ever since I was first introduced to that enchanting film. In Intermezzo, the audience was lucky enough to get a first look at who was to become one of the all-time greats of the cinema. Those close-ups of Ingrid that everyone has come to cherish and adore, they truly do showcase her beauty in a way that is completely different from any of the other actresses classical Hollywood.

Ingrid had real talent. Whenever you watch her on the screen, you become a witness to something special that you can't get anywhere else but in her films. The way her voice tingles down your spine, the way she woos you as she lifts her head and lets you see her watery eyes; she had IT, and that is something that only a select few actresses have.


Just look at her...she is most definitely IT. No ands, ifs, or buts about it.

________________________________________


A scene from Intermezzo: A Love Story, with Howard and Bergman

"In my schoolboy reveries, we were always two fugitives riding on the spine of a book, eager to escape into worlds of fiction and secondhand dreams."

The next novel I am picking up has me extremely excited. It's called The Shadow of the Wind: A Novel, written by Carlos Ruiz Zafon and released in 2001. Now, I've been waiting for the time to come when I would get around to reading this book for the second time. A few years back, someone I know who works at my local bookshop recommended that I try it out. I absolutely loved the book, and it has been the top book that I recommend to people I know whenever I get the chance.

Today I started getting into the novel again. I must say, after reading the first 30 pages, I have a feeling that by the time I get through this one for a second time, I'll be able to officially declare it as my all-time favorite book, thus far. I can only hope that I enjoy it more than I did the first time around.

I'll probably post up a review of The Shadow of the Wind once I finish it. Until then!

Introducing Nick and Nora...

Title: The Thin Man
Author: Dashiell Hammet
Published: 1934
Genre: Detective, Crime Fiction


So after reading Chandler's The Big Sleep, I moved back in time to some Dashiell Hammet. This was my first time reading a Hammet novel. I started with his last, The Thin Man. It's not very like me to start at the end of an artist's works. While I was in Barnes and Noble trying to decide which Hammet novel to start with, I noticed a DVD set also called The Thin Man. It turns out that Hammet's last novel was turned into a film in May, 1934, which was followed by five more consecutive comic detective films with the same protagonists, the lovely married couple that is Nick and Nora Charles. That was the deciding factor in purchasing the novel, plus the fact that I had no idea which of his works was the first (Red Harvest).

Everyone needs to read this book. It is a great read. From the moment I started turning the pages, I didn't want to put it down. All I wanted to do was find out what part of the mystery was going to be revealed next. Nick and Nora are two of the greatest detectives I've ever read or seen. You'll love the relationship they have with one another. They seem to be content with one another, and life is simple for them. Nick is a former detective who is slowly reeled into a murder case by the people around him, and Nora loves every minute of it. She enjoys playing the role of co-detective along her hubby. She also helps him with a few of her own clues along the way.

One stand-out characteristic of the perfect couple are their drinking habits. The bottom line is that they are basically alcoholics, especially Nick. The man is always asking for a drink, and he is never at a point where he admits that he's had too many. It's really interesting that Hammet decided to have them drinking so much, maybe he was trying to use it as a way of representing the period around the Roaring Twenties and the following decade. Either way, it only adds to the memorable fun that is brought about by reading The Thin Man, and the two never seem to get drunk either. They certainly know how to handle their liquor well. The Japanese would be mighty proud of them!

If you enjoy reading some excellent dialogue as much as I do, the works of Hammett are right up your alley. I sometimes feel less sophisticated because of preferring dialogue over longer passages in a novel, but a book like this makes me realize how silly that idea truly is. Hammet keeps the story moving at a great pace, filling his readers in with what's going on through the use of some top-of-the-line dialogue between the characters. Bottom line: I love this book, and I can't wait to read more of Hammett's stuff.

Dashiell Hammett is considered one of the greatest mystery writers of all time. Without characters like Nick and Nora, or Sam Spade from Hammett's The Maltese Falcon (1930), the characters of today's modern mystery writers would be nonexistent. Everybody should pay their respects and read some of his work. You won't regret taking my advice.

It wouldn't hurt you to check out the link at the top on Dashiell Hammett either. The guy had a pretty interesting life, and it might help in giving you the proper boost.

______________________________________________

Trailer for The Thin Man (1934), starring William Powell as Nick and Myrna Loy as Nora

The trailer is great!

"I locked up again,choked my car to life, and rode off home to a shower, dry clothes and a late dinner..."

Novel: The Big Sleep
Author: Raymond Chandler
Published: 1939
Genre: Detective, Crime


Reading this novel was well overdue. Ever since I first saw the film version starring Bogart & Bacall, I've been very interested in reading up on the world of pulp fiction that manifested in the '20s and went on well into the '50s. The whole thing flourished with the rise of pulp magazines, the first one dating as far back as 1896. The term "pulp" came from the cheap wood pulp paper that the magazines used. The most prominent of the pulp writers were people like Dashiell Hammett, Raymond Chandler, and Cornell Woolrich. Many consider their bodies of work to be the first real examples of "film noir". Many pulp novels were adapted for the big screen, creating timeless classics such as the above-noted title.

The Big Sleep is the first of Chandler's eight novels. All of his novels have the same protagonist, the one and only Philip Marlowe. The novel is not only considered one of Chandler's best, but also a prototype of the crime/detective genre. There were two film versions made: the B+B film I already mentioned which was released in 1946 and a 1978 version starring actor Robert Mitchum. I never got a chance to see the latter, but as one can tell from the title of my blog, I absolutely love the '46 film. It gets more enjoyable every time I watch it, and only certain films have that great everlasting quality. It's one of my personal favorites.

As my first official Chandler read, I thoroughly enjoyed the book. It's a great piece of work to put out as a first novel, and immediately proves that the author is not fooling around. Chandler really knows how to create characters. You can't help but absolutely love Marlowe and the way he presents himself to everybody he meets. Robert B. Parker from The New York Times Book Review puts it well when he states, "Chandler seems to have created the culminating American hero: wised up, hopeful, thoughtful, adventurous, sentimental, cynical and rebellious."

I love the crazy lines that Chandler comes up with. His metaphors are off the charts. He uses very abstract ideas that any normal, average person would find great. "The purring voice was now as false as an usherette's eyelashes and as slippery as a watermelon seed." A watermelon seed! I'm in love with that! That's the type of play on words that I fall in love with at first sight. Reminds me of the time I was completely blown away by Faulkner's Light in August and his creation of the word "bugswirled" on page two (I think).

I'm not going to go through a detailed breakdown of the book. I'm just going to recommend it to any of you who are looking for some really fun summer reading. Go for it! You won't be disappointed, I promise.

Last night I started reading Dashiell Hammett's The Thin Man (1934) and had a load of trouble putting it down. I'm looking forward to tonight's session.




Peace, Love, and Novels.

Everyone, Say Hello...

...to my new baby !!!





I introduce to you, my very own 2005 Pontiac Sunfire.

My first major purchase in life. I'll be paying off the loans on my own, $230 per month. Now that I'll have wheels to get around Binghamton, it won't be hard for me to find a job that pays well enough.


GOOD SHIT.

Film: The Incredible Hulk (2008)
Director: Louis Leterrier
Producers: Avi Arad, Gale Anne Hurd, Kevin Feige
Written By: Stan Lee, Jack Kirby, Zak Penn
Starring: Edward Norton, Liv Tyler, Tim Roth, William Hurt
Genre: Action/Adventure, Comic Book
Distributer: Universal Studios, Marvel


Got around to checking out this film today with my little brother. The end result? I think it was a well-executed film in certain aspects, but I was most definitely craving more than what it offered me.

I wasn't aware that the film was actually a continuation of the previous one, Ang Lee's The Hulk (2003). I liked how Leterrier went about getting that across to people who might have not seen the 2003 film. Different scenes from the previous film were re-enacted by the new actors and shown through a flashback form while the opening credits were running. That way, when the film actually opens with its first scene, we are where we last left of, with Bruce Banner hiding out from the U.S. government in a impoverished city in Brazil.

The story line was enjoyable in itself, but I wasn't exactly feeling the way it was unraveling itself. Maybe it seemed to me like Leterrier was spending too much time on parts of the story that weren't as important in the long run? It just seemed very drawn out at parts to me. I really noticed this when the film was over, thinking to myself, "That film was cool, but I wish there was more scenes with Banner after he turns into the Hulk!" I understand that these newer comic book films have been focusing a lot on the storyline and trying to stray a bit more from the over-the-top action sequences in order to be taken more seriously as films, but my personal opinion is that The Incredible Hulk wasn't able to find that perfect balance of the two like other films have (coughIronMancough). I was just really loving the CGI in this one and wanted more than was offered to me.

I think the casting in this film helped a lot in making it what it is. I'm not going to lie, I think people really go overboard when they talk about how "amazing" Edward Norton is. I never understood the Ed-Fanatics, and I still don't, but he did a good job. I think he's a fine actor, I just think he's average, nothing special. Liv Tyler wasn't half bad either. She's a real pretty gal and fits well into the role of Betty Ross. It was really cool watching her stand alongside the Hulk in the pouring rain; very reminiscent of King Kong. Saving the best for last, I must say that the cream of the crop awards go to Tim Roth and William Hurt. What's so funny is that it's almost as if Hurt is actually meant for a military outfit. The dude probably came out of his mother's womb with wings pinned on to his chest. He's perfect for the role of General Ross, and does an awesome job of it too.



The real star of the film is Tim Roth. Watching him play the role of Emil Blonsky, the U.K. Special Forces officer who eventually turns into the Abomination, is simply awesome. The way his character evolves in the film is great, from a normal officer to an officer injected with a strength-serum to a greedy man who wants all the power that the Hulk has and more. After this film, I realized how great of an actor Roth is. I'd like to see more of his films. The only films of his that I've seen are the ones that Tarantino directed. Also noteworthy, he was the guest programmer on TCM for the month of May and I really enjoyed the films that he chose ( see my review on David Lean's Hobson's Choice (1954)). It's always nice to know that an actor you like as great taste in films, is it not?

I must say, while watching the film, I really missed the comic book-style editing that was done in the Ang Lee version. I was way impressed by that technique, and would've liked to have seen more of it. Then again, I guess the creators would have thought that was really overdoing it.

I give the film a whole lot of credit with the final action sequence. It was really, really great. I'd say the Hulk-Abomination showdown is one of my favorite comic book sequences that I've seen. Everyone should see the film just to check out the Hulk-Abomination showdown, it's well-worth the money.

I'd say this film is definitely worth seeing for anyone who enjoys the comic book films. It's a good one, but I'm almost completely content with stating that I enjoyed the Ang Lee film a lot more. Reading reviews of the film, I am surprised that so many people seem to prefer this one to the other, but to each their own.



PS - Iron Man is still way better.

"Socks up, boss!"

Title: The Teahouse of the August Moon (1956)
Director: Daniel Mann
Producer: Jack Cummings
Writer: John Patrick
Starring: Marlon Brando, Glenn Ford, Machiko Kyo, Paul Ford
Genre: Comedy, Satire
Distributor: MGM


This film was shown by TCM last night. It was part of their month long special, "Race and Hollywood: Asian Images in Film", which airs every Tuesday and Thursday night. The few films that I've been able to catch have been enjoyable, this one in particular being a stand-out.

The film is a satire of America and its opinion that it is their responsibility to change the world over to the great world of democracy. One year after World War II, Captain Fisby (Glenn Ford) is ordered to report to a village called Tobiki in the Okinawa Prefecture. Fisby has the pleasure of having a local named Sakini (Marlon Brando) join him as interpreter. Fisby is ordered to follow "Plan B" which deals with establishing different types of groups within the village that will promote democracy and, most importantly, building a schoolhouse in the shape of the Pentagon. Instead, Fisby becomes very fond of the way the locals do things and starts to follow in their footsteps in terms of style of dress and their daily rituals and practices. Instead of a schoolhouse, the people want to build a Teahouse for their village. Fisby can't refuse the idea of the Teahouse, and soon enough has to deal with his superiors because of not following orders...


This film is very interesting to watch, being that it is an old Hollywood film from the 50's dealing with a subject matter as such. The casting of Marlon Brando immediately raises an eyebrow for anyone. I've read that both critics and film historians regard the casting of Brando as one of the worst moves in cinema, but I am not the only one who begs to differ. Everyone is aware of how great an actor the man is, and being that he is usually seen in dramas such as A Streetcar Named Desire(1951), On The Waterfront(1954), seeing him act in a comedy is a real treat for anyone who loves the cinema. Furthermore, we get to see him all done up in makeup, playing the role of an Asian man! Brando actually spent two months studying culture, speech, and gestures of Okinawa. Of course, one might think it wasn't the best choice to choose Brando over an actual Asian for the role, but for whatever reason, that was the decision made and it doesn't take anything away from the film. It's really funny and enjoyable to watch Brando as he appears in the beginning of the film, talking to the audience and introducing the story that is about to unfold on the screen. Right away, I could tell that Brando's method acting techniques were being put to great use, watching his hand motions and way of speaking.

An interesting thing about this film is the way it can be interpreted in terms of race. As I've already mentioned, the film is a satire on America and their ideas about spreading democracy throughout the East. This is definitely true. In the beginning, Glenn Ford's character is portrayed in a way that makes him come off as foolish and ignorant, almost child-like. Over the course of his stay, he begins to understand what it means to be a villager of Okinawa, and only then does he show signs of an adult male who takes pride in his own ideas and morals. On the other hand, there is the point that was brought up by co-host, Film Historian Dr. Peter X. Feng, following the film. Feng mentioned that while the film does in fact work as a film poking fun at America, it also pokes some fun at the Asians. It can be suggested that the film helps in portraying the Asian people as people who are unable to modernize like the Americans have. When Captain Fisby tries to come up with ideas for items that can be sold to Westerners as souvenirs in order to make money for the village, the only thing he is given to work with are cricket cages made of wood, chopsticks, and hand-made tea cups. A villager later returns to tell the captain that the westerners were not interested in any of the things he had to offer. When the villager told the man how the cups were hand-made, the man responded with something along the lines of, "So what? Why would I want these when we can have 10 cups per minute made back at home?!"

Some of the scenes in the film are really great to watch, and they show up right from the beginning. From all the reviews that I've read on IMDB, it seems that The Teahouse of the August Moon is one of those great films where it pays off to watch it numerous times. Supposedly it gets funnier and more memorable with each viewing. I made sure to keep it on the DVR.

The MAN from the NetherLANDS...

Artist: Nicolay & Kay
Album: Time:Line
Producer: Nicolay
Label: Nicolay Music Recordings
Year: 2008


The man is simply unstoppable. I have never felt so confident about a producer in all my years of enjoying Hip Hop. Everything that Nicolay releases is pure genius and absolute talent. When I first discovered him during my first year of college at Wagner, I was blown away by his beats. That was the 2005 record titled City Lights: Volume 1.5. The complete album is made up of instrumentals, one flowing into the next. I couldn't get over the amount of feeling and power that seeped through the speakers and into my oh-so-lucky ears. I'm pretty sure City Lights was all I was able to get myself a hold of at that time...ahhhh, actually not true. I also got my hands on The Foreign Exchange's Connected (2004) (Foreign Exchange is the collaboration between Nicolay and Phonte of the Justus League collective; this project is what most-helped the producer to get the recognition he deserved). Although I love The Foreign Exchange now, it wasn't really for me back during that time.

Anyway, within the next couple of years, I acquired basically all of Nicolay's releases and was left utterly speechless. I couldn't believe that all the records I got my hands on after City Lights were actually on a much higher level. For the first time, I was able to hear Nicolay's beats being rapped over by a variety of talented emcees from all over the place, and it was straight bliss. My personal favorite of these records is the Dutch Master's Mixtape: Volume 1 (2005). The record is mostly composed of remixes done by the producer, and it really exemplifies all the different styles that the man is all about, whether it's a bangin' beat or an R'n'B joint as smooth as the operator. Now, let's get into Time:Line...

This album is one hell of a ride, but not just any ride: the album is a document of one's journey through life, starting out with birth and ending with an inevitable death. Based on some of the tracks, it seems that Kay is telling the tales of the life of an emcee. It is possible that he is imagining his own future, but there is no way of knowing from listening to the record. Here's a track-by-track breakdown for ya:




Time:Line



1) Time:Line - This track is basically the introduction to the album itself, not the first song going with the "time-line" idea. The beat is a real nice way to get the listener moving and excited for what else is to come. Not too long, Kay spits one verse letting people know what's up.

2) Blizzard - This beat is off the hook, the perfect way to start off the whole story. The chorus is tight: "I was born in a blizzard in the dead of winter/ A child of God, entered to Earth's placenta/I live my life of change/ And even though folks are strange/ We gonna be al- be al- be alright." The baby is out of the womb now, and it ready to see what this thing called life is all about.


3) The Lights - A little strange, this song jumps straight into what seems to be teenage years. Although it's a far jump from the previous tune, it doesn't cause any problem. The song is about artists who lose sight of what they are trying to do in their life, "being blinded by the lights." This is the type of stuff that the youth who wants to be a big star thinks of. The song is a warning for all those who might let obstacles get in their way, such as cash, drugs, women, ect.

4) Through The Wind - So far into the album, this is the serious joint to groove to. The song sounds so beautiful, and all you want to do is get up and dance with your girl. The song is about the emcee falling in love with a particular girl. The hook talks about the two riding in a car, letting the wind blow through the hair and just chilling. The singing in the song is really key in what makes this song so great and soulful. "When she's looking at me/ I'm like 'Ohhhh!'"


5) What We Live - This is the only song that really seems out of place. The reason is that it doesn't really go along with the other songs in terms of talking about a specific trail or tribulation. Then again, now that I think of it, it could work, it's just more of a general idea then the others. The song is about loving what you do for a living, so one could place this in the the emcee's time-line as finally making it big and loving it all.


6) I've Seen Rivers - This song is a real pretty one, and Kay is responsible for a lot of it. The verses give it a type of sermon-like feel. It's real metaphorical, and the idea is borrowed from a poem by Langston Hughes. It speaks of the possibility of the artists' words standing the test of time. A real soulful one that really does make you feel as if you are floating down a river, due to Nicolay's production.

7) Tight Eyes - This song is my personal favorite. The song simply talks of "getting tight-eyed" AKA going out to the club, getting fucked up and having a serious good time. The song is really incredible, I cannot say enough about it. As opposed to those "let's get crunk"-type songs that are loud club bangers, this tune uses the smoothest beat in the entire world, creating one of the sexiest atmospheres I've ever heard a from a song.

8) As The Wheel Turns - The duty of this song is to remind us all that we are not the only ones around in this world. When life gets rough, people seem to forget that other people exist and probably are struggling from a lot more than they are. A simple yet important reminder. Take it for what it is.

9) The Gunshot - At this point in the record, things turn to a darker side. The song is a anti-gun violence number, with a serious Nicolay beat that is one of the top three on the record. At the very end of the song, lyrics reveal that the song represents a robbery being committed. This is one of the songs off the album that you make sure you don't sleep on.

10) Grand Theft Auto - Straight up, this song is just awesome. The song works as a GTA car chase in Hip Hop form/continuation of what happens next after the robbery in "The Gunshot". It's a really creative song.

11) When You Die - This song is one of the best on the record, and most definitely the strongest one overall. It's a really serious one, a continuation of what happens after the car chase in "Grand Theft Auto". It tells the story of the protagonist being in a coma, hearing people such as his wife and mother crying over what has happened to him. "All the sorrow, the pain, I'm ashamed/ I got caught up in glamor that comes with this game".

12) Dancing With The Stars - At the end of "When You Die"'s second verse, the man wakes up out of his coma, kissing his wife and feeling the tears as they drop on his face. This song talks of his feelings of bliss that he experiences when they both leave earth together. "These are the things I think of/ When I choose to speak out on our love". The whole song is sung by Kay, and has a nice feel to it, finsihing up our main character's life on a heavenly note. It's a very different type of closing song for a Hip Hop record, but different in a very good way.



Way to go Nicolay, you did it again. Keep em' coming, I can't wait for the new Foreign Exchange record.

PS - Sami, now you should pop this one into the stereo. I promise you'll appreciate it _________________________________________________

Downloads:

Nicolay & Kay - Time:Line

Nicolay - Dutch Masters Mixtape: Vol. 1

Nicolay - Here (2008)


Youtube:

Nicolay & Kay - "The Gunshot"

Nicolay & Kay - "When You Die"

The Return !

Sorry about the absence over the last week or so. I took a trip back up to New York. I couldn't be any happier that I made the decision to go. I was able to see a few of my friends that I haven't seen in a long time and had some amazing times with my girlfriend Sam. We went to the Death Cab For Cutie show on Tuesday night and after only an hour and ten minutes, the show was stopped to do the storm that came along! It sucked, but after running through torrential downpour to get to the subway station, I can understand why they had to stop it.

I'm overly exhausted from a straight 13 hour drive from New York down to North Carolina that was started at 11:45 pm, so I'll be back up with a new review soon!

Take care!

The Mad Prophet of the Airwaves

Film: Network (1976)
Director: Sidney Lumet
Producer: Howard Gottfried
Writer: Paddy Chayefsky
Cast: Faye Dunaway, William Holden, Peter Finch, Robert Duvall
Genre: Drama, Craziness


The story of (fictional) TV network UBS and their rise and fall in the world of broadcasting. The network usually has very low ratings. After being given a two weeks notice because of low ratings, anchorman Howard Beale (Peter Finch) goes on the air declaring that he is going to "blow his brains out" one week from the day. Beale's antics cause an uproar, but producer/best friend Max Schumacher is able to get him one more day on the air in order to give his audience a farewell. When on the air once again, Beale angrily rants about life being "bullshit". After this, the ratings begin to skyrocket. The upper members of UBS decide to keep Beale on the air with all his crazy antics, against the personal opinion of Max. Beale soon has his own TV show called "The Howard Beale Show" which becomes the most tuned-in program in the country.

Parallel with the story of Howard Beale is the story of producer of entertainment programming Diana Christensen, played by Faye Dunaway. She gets her hands on footage of of a terrorist group who videotapes themselves as they rob back, which give her the idea for a show based on the terrorist group and the crimes they commit. She is able to get the idea rolling for other network executives and eventually gains control of a news/entertainment division. To further this control, she has an affair with Max (a married man).

A lot more happens between all of this, but you are better off checking it out for yourself.

I have a friend who is going to be very happy with me for finally watching this film (Mr. Bolanos, I hope Birthright was enjoyable). For a long time now, he has claimed Network is his all-time favorite film. After watching it, I can see why loads of people would feel that way. The film is excellent! The story is a very particular one, and I haven't yet seen anything quite like it. Going behind the scenes with UBS is such a fascinating journey for the viewers, and the network has some of the most interesting people aboard. You might as well call it the "Crazy Train". There are scenes in the film that one can tell are the type that will stand the test of time in cinema. I'd say the best example is when Howard Beale first returns to the air after having supposedly spoken with God. His rage spreads well enough through the television that he is able to have his audience scream out their windows all over the country. "I'm mad as hell, and I'm not going to take this anymore!". Watching as all the people stand outside their windows and scream, it's a really entertaining vision.

Faye Dunaway won her only Oscar for her performance in Network. I must say it bothers me that she didn't win for Chinatown (1974), but I totally agree with her win for this film. There is a lot of substance to her character, yet unfortunately that substance has this extreme connection with the world of television. It seems as if her character grew up during her adolescent years, always imagining that the real world was the same as the worlds she saw on the screen in her home. She tries to live a scripted-life. I'll never forget how over the top she is when her and Max get together. She continuously talks about her work at the network, even while they are having sex. It's outrageously funny, but in a way also outrageously frightening.

The film is one of the best I've seen in terms of forcing its audience to really think, to really reflect on themselves. There were so many things going on in my head while watching the film, I can't begin to even remember them all. The film definitely deserves at least a few viewings in order to grasp everything it says about the media. For one, it makes one question what they watch for entertainment...Do I really want to take part in watching a reality show where people are humiliated just to make its audience feel better about themselves? Also, how far are we willing to let the TV networks go with all the crazy shenanigans that they broadcast today, deeming it quality television? When has it gone far enough? Maybe it's time for this country to write thousands of telegrams to the White House, just like Beale convinces his audience to do in protest. The film reminds us that, sadly enough, television reigns supreme in this country.


If you enjoy this film, I recommend checking out David Cronenberg's Videodrome(1983). While it is a hell of a lot weirder, in it's own horrifying way, the film addresses a lot of the same types of questions. Also, who doesn't love James Woods?!


Well worth watching:

"I'm mad as hell, and I'm not going to take it anymore!!!!"

Crime within a jungle of clothes...

Film: The Garment Jungle (1957)
Director: Vincent Sherman, Robert Aldrich
Producer: Harry Kleiner
Writers: Lester Velie, Harry Kleiner
Cast: Lee J. Cobb, Kerwin Mathews, Gia Scala, Richard Boone, Robert Loggia
Genre: Film Noir, "Based on Article"



The Garment Jungle tells the story of the garment businesses in Manhattan during the 50's and how they worked as rackets for the gangsters. Lee J. Cobb plays Walter Mitchell, the owner of a womens-dress store who is protected by bad guy Artie Ravidge, played by Richard Boone. Mitchell's son Allen (Kerwin Mathews) returns after being away for more than three years, only to find out the truth about his father and his involvement with the gritty underworld. Going against his father, Allen meets Union leader Tulio Renata (Robert Loggia) and learns all about the Union's inability to help his father's workers because of Ravidge and his gang. He is also introduced to Theresa Renata (Gia Scala), Tulio's beautiful wife. Soon, Tulio is killed and there is a lot more to what happened then people think. With the help of Theresa, Allen must try to rightfully justify Tulio's death and knock some sense into his father so that he will start making some right decisions...

I've watched a few film noirs within the last week or so, and this little gem was one of the most enjoyable one. Rather than the usual "cops-and-robbers" plot, the film goes into the secret world of the garment factories. The audience gets to see what it is like to be behind the scenes of it all, both standing in the boss' office as he deals with dirty business and watching the chaos that unfolds in the workers area between the workers and the bosses as they fight for their right to have a Union.

Robert Aldrich was the original director of the film, but was then fired with only two weeks left until completion! That's when director Vincent Sherman stepped in to finish the job. When the film was released, Aldrich received no credit for the work he did. I can only imagine that a majority of the film's shots were done by Aldrich. The bottom line is, however the shots of both directors were put together, they work well in the end result.

Some of the acting in this film was just perfect. Lee J. Cobb is able to do a really great job in the role of "head boss VS. respectable father". I feel like I've seen him in another film once before, but I'm not completely sure. I was extremely impressed with the young Robert Loggia. He had a lot of passion in his performance, very fitting for a Union leader who puts helping other before looking out for himself or his wife and child (unfortunately). I'd have to say that my favorite part of the film was watching actress Gia Scala do her thing for the first time. She knows how to act and has a beauty to her that is different then other actresses. When she has control of what is happening on the screen, she knows how to take advantage of it so that she stands out strongly. I'm interested in finding out more about her and hoping to catch her in a few more films over the summer.

Also worth talking about is actor Kerwin Mathews. He doesn't do that great of a job as Alen Mitchell, that's for sure. His acting is very amateur, and it doesn't help being surrounded by supporting actors who are obviously much more talented. I wonder what could have possibly been the reason for giving him the part. I read somewhere that his acting career actually went downhill after this film was released. A way of looking at it on the bright side? Someone left a comment on IMDB, stating that Mathews' novice acting woks for the film. Since it portrays him as a type of outsider from the rest of the cast, the audience can identify with him as an outsider of the garment business, not being aware of everything that is going on.

When you watch the film, keep on the look-out for the great shot of Mathews and Scala in the bar, right before Tulio is killed. They are sitting with their backs to each other in opposite booths. The medium-shot shows each of them on the sides of the screen with the big piece of wood (the booth) right in between them. I loved it.

R.I.P. Sydney Pollack (July 1st, 1934 - May 26th, 2008)

On May 25th, 2008, Academy Award-winning film director, producer, and actor Sydney Pollack passed away at the age of 73 after a nine month bout with cancer.

I've never seen any of the films Pollack directed, but I knew it would only be appropriate to post something about him in his memory. Plus, it is never to late to start. That goes for both me and you...

TCM has changed their original scheduled programming for Monday, June 2nd, in order to salute Pollack who was a dear friend of theirs (Pollack actually used to host The Essentials segment!). Everybody should try to make it their duty to check out at least one of his films.


Monday, June 2nd on TCM

8:00 PM The Slender Thread (1965) (Directorial Debut, starring Sidney Poitier)
10:00 PM Three Days of the Condor (1975)
12:00 AM Tootsie (1982) (One of the most popular titles of his)
2:00 AM Jeremiah Johnson (1972)


Hope you enjoy the viewings.

A Film Serving 937...

Film: Voyage of the Damned (1976)
Director: Stuart Rosenberg
Produced: Robert Fryer, William Hill
Written: David Butler, Steve Shagan
Cast: Faye Dunaway, Oskar Werner, Lee Grant, Malcolm McDowell, Orson Welles
Genre: Drama, War, Antisemitism


In 1939, the S.S. St. Louis left Hamburg, Germany with 937 German Jews aboard, all in hopes of being able to flee from the country. Antisemitism was rising in Germany and the passengers felt this was there only chance left in escaping to safety. The ship was to make its way to Havana, Cuba where it would dock and the passengers would be able to leave. Little did they know, the ship was never meant to land and free the people. The German government was only letting the German Jews go in order to use them as a form of propaganda. Knowing that no other country would accept the refugees, the world refusal would work as a way for Germany not being held responsible for the fate of the Jews. In the end, the ship was denied by both Cuba and the United States. The Captain reveals that he plans on intentionally crashing the ship into a reef on the southern coast of England. Before the very end of the film, it is revealed that the governments of the United Kingdom, Belgium, France, and the Netherlands have agreed to accept a share of the passengers of refugees. The statistics on the screen then reveal that more than 600 of the 937 passengers eventually died in concentration camps, but it is strange since others have came up with statistics showing that over 700 passengers were in fact saved.

No matter how may passengers aboard the S.S. St. Louis were saved, it doesn't change the fact of how horrible a situation this was. I was never aware of the story of the S.S. St. Louis before watching this film. I feel director Rosenberg did a great thing by telling the passengers' stories to people like I, who never even knew they existed. The film dives headfirst into the emotional states of the passengers aboard, forcing the viewer to feel involved with the situation since they know what the fat of the ship is from the get-go. A very sad situation, Germany assigned the passengers tourist visas rather than immigrant visas in order to insure their plan. Hitler knew that antisemitism was rising in the West and that Cuba would not accept them; that way, Hitler would be able to prove that the world agreed on his idea of the so-called "Jewish problem".

What is even worse for a viewer like myself who is American, I must come to terms with the fact that my own country also denied the ship any access into Atlantic territory that was theirs. Later on they would go and defend the world against Hitler and his Nazi regime, but prior to WWII, they only helped him in solidifying his malicious ideas. America has made a mistake this detrimental more than once, but I guess no country can be perfect. Still, it's hard to hear that the country you live in, the one that is most known for its claim on "freedom", was the same country that denied other human beings that freedom. I know acknowledging this sort of thing is very redundant in terms of U.S. history, but that is exactly what this film aims at doing: making sure that people never forget the lives that have been lost and those who will forever be held accountable.



God rest their souls.

"Give me a scotch. I'm starving." - Tony Stark

Film: Iron Man (2008)
Director: John Favreau
Produced: Mark Fergus & Hawk Ostby (Screenplay), Stan Lee (story)
Cast: Robert Downey Jr., Terrence Howard, Jeff Bridges, Gwyneth Paltrow
Genre: Action, Adventure, Comic Book


I decided it would be nice if I took my little brother out to the movies today. Since he is a big fan of Spider-Man, I thought it would be a great opportunity to see Iron Man for the second time. I enjoyed it very much the first time around, and I stand by my personal opinion that every film should be viewed at least twice. As was expected, I loved it even more the second time. I am a huge supporter of this film.

The story follows the multi-billionaire that is Tony Stark (Robert Downey Jr.). Stark is the head of Stark Enterprises, an industry that was initially started by his father that deals with creating what are known to be the best weapons in the world. When Stark takes a trip to Afghanistan in order to present a demonstration on his brand new top-of-the-line missile, he is suddenly captured and held prisoner by a terrorist group who wants him to assemble a missile for them. Instead of assembling the missile, Stark, with the help of one other prisoner, creates a suit made out of iron that serves two purposes: 1) helping him to escape from the cave and his heavily-armed captors and 2) helping in the prevention of his death due to the shrapnel that his left in his chest from the initial attack. After escaping and being brought back to America by his men, Stark has a huge change of heart about what his corporation actually does for the world and decides to cease making weapons in the future. In his workshop, he then begins to work on a better and more updated version of his iron-suit creation, only to soon find out that his co-partner Obadiah Stane (Jeff Bridges) has been selling weapons under the table to the same people who captured him months before. Once the new suit is completed, Tony uses it in order to go back to Afghanistan and destroy all their arms. Next, he must find a way to stop Stane from misusing his researh, something that could lead to very serious consequences...

I knew this was a film that I would only love more after viewing a second time. Iron Man has to be at the top of my list in terms of comic book films I have seen. I might even go as far as to say in terms of action/adventure films I have seen, but I do warn you that the genre isn't my favorite in the first place. I can say that, without a single doubt, this is better than any of the flashy comic book films that have been coming out within the last five years or so. I don't have Hellboy (2004) and Sin City (2005) in mind when I say this, but more the Spider-Man's, X-Men's, and Fantastic Four's. While those films are ones that all the young children seem to love and flock to, Iron Man is one that will forever be loved by people of all ages for it's great storyline and awesome action sequences. Not to mention, it is Robert Downy Jr. who plays the role of Tony Stack; I mean, c'mon now.

I tip my NY Mets hat off to John Favreau in being able to make such a great film. This is the man's fourth feature-length film as dirtector, and I've yet to see any of the others. What I do know is that this little diddy is a ways off from films like Made (2001) and Swingers (1996) (the cult-classic favorite that Favreau stars in, along with Vince Vaughn). Who knew that Favreau even had it in him?! This film is so damn enjoyable that the man better be getting ready for the next installment, because this film has "sequal" written all over it.

Robert Downey Jr. does not disappoint in this film. When asked about his portrayal of Stark, the actor described it as "a challenge of making a wealthy, establishmentarian, weapons-manufacturing, hard-drinking, womanizing prick into a character who is likable and a hero." That does indeed sound like quite a challenge, and Downey proves that he was up for it fro the get-go. The opening scene with Downey and the military men (and woman) immediately ensure the audience that they are in for a great performance from the man who does what he does best: drinking martinis and making witty statements with a real "Im-The-Man" mentality.

The supporting actors aren't half-bad either, although I must say, after seeing Terrance Howard in Hustle and Flow (2005), he did seem pretty corny with that high-pitched voice throughout the whole 2+ hours. Now, here's my main issue with Jeff Bridges and his bad-ass role as Obadiah Stane/Iron Monger: Favreau should've known better. There is a scene in the film where Paltrow is sceretly downloading important information off a computer and Bridges walks in. He walks up to the bar and grabs himself a drink of what looks to be an expensive whiskey of some sort. Now, Swingers has some great references that pay tribute to other films, particularly Quentin Tarantino's Resevoir Dogs (1992). You know what I'm thinking of... the Coen Brother's The Big Lebowski (1998)! What Favreau should have done is have Bridges pour himself a White Russian, maybe ask Paltrow if she likes Kahlua? It would've been too good to be true. Maybe that's why it didn't happen. Interesting fact: The Big Lebowski actually borrows/pays tribute to Howard Hawks' The Big Sleep (1946), so paying tribute to the Coen Brothers' film would've been a great way of continuing the legacy.

This film is absolutely great. If you are looking for an actually well-crafted comic book film, look no further. The direction is top-notch, the acting is exceptionally worthy of more than one viewing (in terms of comic book numbers), and the storyline is such a great one, I could imagine this film doing just as well as an ordinary film about a wealthy industrialist that decides it is time for a change. Lastly, this film does something great for its audience: it gets them even more excited for the other comic book films that are being released this summer. Hellboy II, Dark Knight, here I come!


Good day, kind sir.


P.S. - Gwyneth does a good job as well. She's also a cutey. =]

Pre-Codin' it up!

"Pre-Code films were created before the Motion Picture Production Code or Hays Code took effect on 1 July 1934 in the United States of America. Although an existing code of conduct for the film industry came into being in 1930, many ignored it and it was not enforced very enthusiastically." - Wikipedia


June 3 Bitter Tea of General Wu, Mask of Fu Manchu
June 4 Mary Stevens MD (Kay Francis decides to have a baby w/out marriage...and isn't doomed to a miserable life!)
June 5 Shanghai Express (assortment of people on a train in China that is hijacked by a warlord--Anna May Wong is great as a Chinese hooker--also Dietrich as the "White Flower of the China Coast--"It took more than one man to change my name to...Shanghai Lily")
June 12 The Thin Man (wonderful dialogue!)
June 27 Public Enemy (Cagney as a street hood who makes it big as a gangster--features the famous grapefruit scene)
June 29 Rain (Joan Crawford as a South Seas floozy)


July 19 King Kong
July 30 The Most Dangerous Game (a crazy millionaire hunts shipwreck victims on a desert island) The Old Dark House


August 4 Dinner at Eight (snappy dialogue and Harlow all in white), Annie Christie (Garbo's first talkie)
August 7 Queen Christina (Garbo as a bisexual queen of Sweden), Mata Hari (Garbo as the famous spy) Grand Hotel (Joan Crawford as a stenographer who "understands")
August 19 pretty much the entire morning
August 20 Little Caesar (Edward G Robinson as Rico the gangster)
August 31 Man's Castle (Spencer Tracy and Loretta Young)



Thanks to traceyk65 from the TCM Forums for this list of all the Pre-Code films airing on TCM this summer. Happy viewing!

"Defy The Demon Drink !"

Film: Hobson's Choice (1954)
Director: David Lean
Produced: David Lean
Written: Harold Brighouse, David Lean
Cast: Charles Laughton, Brenda De Banzie, John Mills
Genre: Comedy, Romance, Remake

The term "Hobson's choice" is a euphorism that dates back as far as the 16th century. The term represents a free choice where only one option is given. One either has the choice to accept the one option given or accept nothing at all. An example of a modern-day equivalent is the phrase, "It's my way or the highway."

Director David Lean's mainstream fame lies amongst films such as The Bridge on the Rover Kwai (1957), Lawrence of Arabia (1962), and Doctor Zhivago (1965). Hobson's Choice is a film that he made before any of these other classics. Lean was already a Hollywood director by the time the film came around to him, but he decided to go back to England (his homeland) in order to shoot it. As well, the playwright he borrowed the story from and all his actors all hailed from England.

Originally a play written by English playwright Harold Brighouse, the story takes place in Salford, England in 1880. Widower/drunkard Henry Hobson (Charles Laughton) is the owner of a bootshop. He has three daughters who live with him and work for his shop. When Hobson proposes the idea of having his two younger daughters married off and states that his oldest daughter Maggie (Brenda De Banzie), age 30, is way too old to marry, Maggie wants to prove him wrong and get back at him. What does she decide to do? She decides to marry the unappreciated bootmaker of the shop, Willie Mossop (John Mills). Willie is a simple man who doesn't know much else besides making boots in Hobson's shop. Thing is, he makes the best boots in town. A determined Maggie forces the idea of marriage on Willie, who doesn't put up much of a fight against the idea even though he initially doesn't think it best. After the two go through with their marriage, they receive a loan of 100 pounds from a faithful lover of Willie's work. Thus, they are able to open up their own boot shop and live on their own. Certainly, Mr. Hobson will not like this idea...

Brighouse's story is a fun and lovable one, and although I haven't read the original myself, I can wholeheartedly assume Lean did it justice in this early work of his career. After viewing this and Lean's Brief Encounter (1945), I'm able to grasp certain aspects of Lean's directing and what makes him stand out amongst the others. For one, the cinematography is very important two him, at least concerning the two films I've seen of his. Hobson's setting in the cobblestone streets of Salford, surrounded by little independent shops, is a perfect place for the beautiful shadows and smoke to appear as they naturally do. The audience is always in for a treat when a scene takes place outside in the streets during the nighttime. A certain scene involving a drunk-as-usual Mr. Hobson stomping on the full moons reflected in rain puddles comes to mind, which leads to a 20-foot fall into a cellar of a man who promotes tolerance of alcohol.

I caught this film when it just recently had it's TCM premiere, courtesy of guest programmer, actor/director Tim Roth. When asked what he thought made Lean stand out as a director, Roth mentioned the director's unbelievable casting and his ability to bring such great performances out of his choices. No argument there! First off, Laughton does an outstanding job playing the role of Harry Hobson. This is one of the best performances I've seen in terms of playing a man who likes to drink a little too much of mother's milk. The above-mentioned scene is one I can't see myself being able to forget. In fact, I can't wait until I get around to watching the film again, that way I can rewatch the big man in all his glory and debauchery. Secondly, De Banzie does an excellent job in portraying the classy and independent oldest daughter. Maggie's determination in getting what she wants in perfectly executed. The way Maggie seems to hold herself in such high regard throughout the film's entirety, it wouldn't surprise me in the least if De Banzie felt the same way about herself in real life! Last, but certainly not least, is the superb job done by John Mills in the role of bootmaker Willie Mossop. A real stand-out in the film, I was blown away by how convincing he was playing the part. The shyness, the illiteracy, the inability to stand up for himself; all these aspects of Willie's character come to life on the silverscreen in a very powerful way. I don't know much about John Mills, but I'm very interested in seeing more of his work, because seeing him act as a completely different type of character would really open my eyes. When a viewer has a hard time imagining an actor playing a different type of role, that's sometimes a sure sign of real talent. My opinion will only be justified after I catch Mills in some other films. Until then!

I'd reccomend this film to anyone who is looking for something light,entertaining, and very enjoyable. It's also great to see an earlier B/W work of such a prestigious Hollywood filmmaker. The ability to make a masterful epic like Lawrence of Arabia had to stem from somewhere, right?

Thanks for reading.



First 4 minutes of Hobson's Choice (1954)