My Life in Music: Europe – The Final Countdown

europe the final countdown

I used to write a series entitled “Random Shuffle.” This is where I’d literally put my entire music collection (all ripped to iTunes), put it on shuffle mode, and then talk about whatever songs came up. Sometimes I’d talk about the music, but mostly I talked about the memories the music brought to mind. It became kind of an emotional journal, a history of my life in music.

I love the way music does that. How a certain song can take you back to a specific moment in your life. It is transportive. I love that sometimes it isn’t a specific memory but a feeling. There are songs that remind me of being sixteen and driving around in my beat-up Plymouth with the windows rolled down and not a care in the world.

I loved writing those posts. I think it’s still some of the best writing I ever did. I often think about starting it again. But the thing is I just don’t listen to music like I once did. I no longer buy an album and listen to it over and over and over again. Those long nights where I’d lie on the floor with my headphones on, letting the music take me far away, never happen anymore.

These days I generally listen to music in my car as I’m riding around for work or at home while I’m cooking dinner. Or in my office while doing some work or playing a game. I hate to say it, but more often than not I’m letting Spotify or Amazon Music, or some other streaming service, pipe in a playlist curated for me off of songs I’ve told it I liked. These things usually aren’t that inventive and rarely play me new music that interests me. And I admit when they do play something I don’t already know, I often skip it.

So now when I put my music on shuffle, it doesn’t bring up any new memories. I haven’t connected to music in the way that I used to. I don’t mean I never listen to anything new or that I haven’t found music I loved recently. But I don’t connect to them in the same way.

Maybe I’m just not having the adventures I used to. Maybe my life is too boring to bring in new memories. It doesn’t help that I now own hundreds of albums that I’ve barely listened to or that my music player is filled up with thousands of live concerts. Shuffle looks a lot different now than it did back then.

But I want to write about music in a meaningful way again. My idea is to do something similar to Random Shuffle but more long-form. With Random Shuffle I usually talked about 4-5 songs; now I want to hit on just one album or one song.

This will still be autobiographical. I’ll still be talking about how the music connected to me on a personal and emotional level. I actually hit on this idea because a friend of mine is doing a list of the best 1,000 albums ever, but in a very personal way. He’s not trying to be objective about it (as if that even exists) but making it very subjective. They are his favorite albums.

I like that. I won’t necessarily only be talking about albums. Sometimes I’ll just talk about one song. And I won’t be counting anything down. They won’t necessarily even be songs/albums that I love. Just ones that I’ve connected to at some point in my life. I suspect they’ll start out more or less chronological, but then we’ll just see where it goes.

The third album by Swedish rock band Europe, The Final Countdown, was the first album I ever owned. I got it on cassette tape. I can’t remember now if I bought it with my own money or I got it for a Christmas or birthday present. I can’t remember much about the album now. I remember I liked it. I know I loved the single “The Final Countdown.” 

I had probably owned some cassette singles before owning this album. I’m quite sure I had some blank tapes that I recorded songs from the radio onto. to tell the truth, I really don’t remember if this was the first album I ever owned. It is the first album I remember owning, so we’ll leave it at that. 

What I do remember is losing it. I took it with me to church one day. This would have been either Sunday night worship or Wednesday night Bible Study. It definitely wasn’t for Sunday morning worship; that would have been uncivilized.  I would have been about ten years old.

I vaguely remember taking the tape out of the case. We probably played it on the way to church, but I would have taken it out before going into the building. I probably did not properly put it back into its case. I liked looking at the liner notes and staring at the pictures.

 When we got home that night, I realized I did not have the tape. I had the cover, but not the tape. I looked everywhere for it. I tore that car apart.  Our best guess at the time was that I had probably laid it on the exterior of the car somewhere. Maybe I put it on the trunk or the hood when I and the boys played around after services. I had a vague notion I may have laid it on the bumper absentmindedly.

I can’t remember now if my parents drove me back to church that night or if they said it was too late and we went the next day. I do remember for weeks after every time we drove to church I’d look out my window hoping I’d see it lying on the side of the road somewhere.

We never did find it.

I was heartbroken.

Years later I remember finding a copy of that album. I think a friend had it or something. I definitely didn’t ever buy it again. This was a CD, and I nostalgically pressed “play” only to discover I didn’t recognize any of the songs. In that memory I loved the entire album, but none of the snippets I played (and I only played snippets; I didn’t have time to play the entire album in that moment) were familiar to me.

It wasn’t until the TV series Arrested Development made “The Final Countdown” popular again that I remembered that song. For me now, that song is a cheesy bit of nostalgia. Something that makes me smile and raise my fists when I hear it, but only if I hear it every once in a while. I had it on one of my Spotify playlists for a while, but that made me hear it too often, and that’s definitely a song you do not need to hear too often.

So this is the type of thing I’ll be doing now. Songs and albums that mean something to me. That provokes memories.  I’d like to say this will become a weekly article. I’d like to say that, but I won’t.  I’ll likely forget to write it fairly regularly, but hopefully it will at least pop up once a month or so.

Encouraging comments will help me keep it up.

Predator: Badlands is the Pick of the Week

image host

It is kind of amazing to me that the Predator franchise is still a thing. Not only that, but the last couple of films have been some of the best in the entire series. Predator: Badlands might just be my very favorite of all of them. It was definitely one of my favorite films of last year, and you can read all about that here.

It is getting a variety of releases in different formats and covers (plus it is now streaming on Hulu, but I guess I shouldn’t talk about that in a post covering physical releases).  And now it is my pick of the week.

Here’s what else is coming out this week that struck my fancy:

Ben-Hur: William Wyler’s biblical epic took home a whopping 11 Oscars in 1959, and now it is getting the UHD treatment. It has been a long time since I watched this, but now I’m itching to see it again in HD glory.

Song Sung Blue: Loosely based on a true story, this film follows a married couple who form a Neil Diamond cover act and see both success and failures along the way.

Rental Family: Brendan Fraser stars in this drama about an American living in Japan who is hired as a token American for a rental-family company.

All the President’s Men: Robert Redford and Dustin Hoffman star as the real-life Woodward and Bernstein, the reporters who helped uncover the Watergate Scandal and bring the Nixon presidency down. A great film in every way, and this UHD upgrade is getting good reviews.

Dexter: Resurrection: The Complete First Season: I think I watched the first season of the original Dexter, and I’ve not really paid it much attention after that. But I know it has fans.

Cloud: Kiyoshi Kurosawa is one of my favorite modern Japanese directors. His latest features a guy who gets into the resale business, but his carelessness puts him in harm’s way. That’s a terrible description, but the film is great.

The Visitor: This absolutely insane film is about an intergalactic warrior who joins a Christ-like figure to battle a demonic eight-year-old.  Arrow has the release.

Eclipse Series 8: Lubitsch Musicals: I’ve only seen a couple of Ernst Lubitsch movies, and none of them have been musicals, but all of them have been enjoyable.  He’s one of those directors who is beloved by a lot of people I like, but I’ve never truly dug into him.  Maybe now is the time to start.  The films include The Love Parade, Monte Carlo, The Smiling Lieutenant, One Hour With You.

Spencer Tracy 4-Film Collection: I’ll have a review of this up soon. The films include Bad Day at Black Rock, Fury, Northwest Passage, and Libeled Lady.

The Saturday Morning Horror Movie: All That We Destroy (2018)

image host

Last night the family and I went to see the King Cabbage Brass Band in concert. I’ll probably have more to say about that later, but for now I’ll say we had a blast. It was a great show.  To get there we had to leave about 6:30, and we didn’t get home until almost midnight, at which point I was utterly exhausted, and was not capable of sitting down to watch a horror movie.

I had actually planned for this and watched a movie earlier in the afternoon.  I got about half of this post written before it was time to go. So, I’m finishing it now, and we’re calling it the Saturday Morning Horror Movie. I guess I could call it the Friday Afternoon Horror Movie since that’s when I watched it, but let’s not make things complicated.

There is just too darn much stuff to watch. My daughter wanted to watch Hamilton a couple of weeks ago, and the only way to stream it is to get Disney+. Apparently, the only way to get Disney+ is to bundle it with Hulu. Being the good father that I am, I ordered both, and we all enjoyed Hamilton.

Then I started to enjoy Hulu. They’ve got some good movies, and some great shows, and I decided to keep it for another month. Tonight I figured I’d see how their horror selection was and came across this film. The trailer looked intriguing, and I gave it a go.

Turns out it is part of a horror anthology series from horror stalwarts Blumhouse Pictures. Into the Dark, as the series was called, ran for two seasons with roughly one movie coming out per month. Each movie was holiday themed, grabbing whatever big holiday happened during the month it aired.

Somehow, I’d never heard of this.  Like at all.  Which is weird because this sort of thing is right up my alley. Like I say, there is just too darn much stuff to watch.

But now that I’ve watched this, I’m kind of glad I’d not heard of it before. There are some intriguing ideas in All That We Destroy, but none of them are explored with any real gusto.

Dr. Harris (Samantha Mathis) is a geneticist who has found a way to make perfect human clones. In her house. It is perfect timing because, as it turns out, her son Spencer (Israel Broussard) is probably a serial killer. He’d shown all sorts of signs of that growing up, but when he actually kills a human – a drifter named Ashley (Aurora Perrineu)—she’s sure of it. Instead of turning him in or getting him some kind of therapy, she clones Ashley and lets him keep killing her. 

The idea is that if she observes his killings, then maybe she can figure out what makes him tick and change him. Or at the very least, killing a clone will get those instincts out of his system (for a time), enabling him to live a normal life. And whenever those instincts pop back up, he can come home and kill another clone. 

That’s an interesting idea, but again the film doesn’t do much with it. It doesn’t really explore what makes him tick. The mom could turn into a great villain. It makes a certain sense that any mom would protect their son, but she just keeps churning out clones for him to kill. Even when the clones start to have memories of themselves and increasingly seem human, she just keeps making them.

The trouble is Spencer knows he’s killing a clone. That makes her not human, and he can tell the difference. It just isn’t the same killing a clone.  Enter Marissa (Dora Madison), the cute, effervescent neighbor who takes a liking to Spencer even though he speaks in monotone and acts very strangely. She becomes the love interest but also a real human he might have to kill.

Spencer’s Dad (Frank Whaley) shows up at some point, but only through these very strange virtual reality phone calls with his mom. When he calls, the mom picks up these little dots she attaches to her head and gets transported to a virtual world where they both walk and talk together. There are some other odd technological moments in this film that seem to exist to show that we are living in the near future or something. 

The script does nobody any favors. Madison and Perrineau give it their best, and both are quite good with what they’re given. There really is something to this story, but it’s like the filmmakers didn’t quite believe in it enough and wound up falling back on some stupid tropes.

The Brewsters Are Not Going To China

We live in Shanghai back in 2007-2008. I wrote a separate blog called The Shanghai Cafe. It still exists as you can see. I want to import it to this blog just so that I won’t ever lose the posts I made back then (or forget about them.)

For one reason or another I can’t figure out how to import them to this blog, so I’m going to have to manually copy/past them here. I am able to set the date of the posts to match the dates of when I originally posted them. WordPress will accept that so they will exist in the correct timeline. But if you subscribe to my emails you will still get a new one.

I just posted one as a trial and it seems to have worked. But I then realized if you are getting my emails then you may be really confused. So we are not going to China again, but you are going to get a bunch of emails about those adventures many years ago.

Five Cool Things and Jo Nesbo’s Detective Hole

image host

I always seem to forget to post these things shortly after they go up at Cinema Sentries. I don’t know why other than that they don’t go up the moment I send them to that site. They go past an editor and then they decide when they want to actually publish it. By the time that happens I think I just forget all about it.

But here we are, a week after it did get published. This week I’m talking about Bob Weir, the excellent Australian series The Newsreader, the final season of Stranger Things, The Vast of the Night, Send Help, and the trailer for a new TV series based on Jo Nesbos’ popular crime novels. You can read all about it here.

Red Dust (1932)

image host

Warner Archive and Kino Lorber both put out a lot of what you might call second-tier classic films. These are movies with big-name stars or directors that, for one reason or another, are not all that well known all these decades later. 

I quite enjoy watching and reviewing them because you never know what you are going to get. Sure, most of them are not the greatest films, but usually they aren’t bad, and once in a while you find a real gem.

Red Dust is a very enjoyable little film. It stars Clark Gable as a rubber plantation owner in Asia and Jean Harlow as the no-nonsense sex worker he falls in love with. Mary Astor also appears as the prim and proper lady Gable’s character initially falls for.  Anyways, I quite enjoyed it, and you can read my review here.

Foreign Film February: Pierrot le Fou (1962)

image host

I am an emotional cinephile, not an intellectual one.  What I mean by that is that when I watch a film, I respond to it with my gut, with my heart, not my mind. My favorite films are ones that move me in some way. As is probably painfully obvious from my reviews, I don’t spend a lot of time analyzing a film for its deeper meanings or its themes. I don’t necessarily spend hours digging into the filmmaker’s personal beliefs, what they’ve said in interviews, or the political climate the film was made in.

Now, that doesn’t mean I don’t use my intellect when watching a film. I am often stimulated by the filmmaking techniques, the director’s sense of style, and how they tell their story. I love reading intellectual critiques of films; I’m just not all that capable of writing one.  I’ll let you decide if that is a good or a bad thing.

What this means is that sometimes I come across a film and have no idea how to talk about it.  Jean-Luc Godard’s Pierrot le Fou  is a meta-movie, a crime thriller, a relationship drama, and so much more. 

The plot is fairly simple. Ferdinand Griffon (Jean-Paul Belmondo) is sick of his average, boring life. His wife drags him to a party where the men talk like commercials selling cars and the women sound like an ad for skin cream. He leaves early and discovers the babysitter, Marianne Renoir (Anna Karina), sound asleep. He agrees to take her home, and they reminisce about how they used to be lovers. 

Those reminisces turn into something more, and they run away, turn to crime, and have a bit of a Bonnie and Clyde situation. It turns out she’s got a history; her brother has been a criminal for quite some time, and…well, now that I think about it, that simple plot gets a little complicated.

The thing is, Godard is taking a fairly standard crime plot, and he’s having all kinds of fun with it. The  title of the film literally translates to “Pierrot, the Fool.”  Marianne constantly calls Ferdinand “Pierrot,” to which he always replies, “My name is Ferdinand.”  The name Pierrot refers to the sad clown of Commedia dell’arte. 

The film makes various references to French literature (most of which went over my head, but my wife filled me in), and movies. At that party early in the film, the great American director Samuel Fuller shows up and discusses film by saying “Film is like a battleground. There’s love, hate, action, violence, death… in one word: emotion.”  Well known French actor Jean-Pierre Leaud shows up as an extra at one point. You can barely see him at the bottom of the frame while our heroes are at a movie.

The score often cuts out for a second only to come back as if Godard is trying to remind us we are watching a film and that real life doesn’t come with a soundtrack. At least a couple of times, characters look straight at the camera and speak to the audience.  Marianne catches Ferdinand doing it and asks, “Who are you talking to?” To which he replies, “The audience.”

This is where I come back to the part where I’m not intellectual enough to talk about this film. There is so much going on in every second of this film that I’ve barely covered it. I can’t cover it, because I know I missed most of it.  I’m just not qualified to give this a true review.

That isn’t to say I didn’t like the film. On the contrary, I loved it. I’ve seen enough films to understand that Godard is being playful, that he’s calling attention to the fact he’s making a film while also making a thoroughly enjoyable story.  

I don’t think you have to be a total film nerd or an intellectual to enjoy this film. I think it can be enjoyed at face value while providing many layers for smart people to sift through.  Highly recommended.

Foreign Film February: Elevator to the Gallows (1958)

elevator to the gallows

A woman whispers “I love you, I love you” over and over on the phone.

In an office, a businessman, Julien Tavernier (Maurice Ronet), talks mindlessly to a telephone operator. They talk about the long upcoming weekend. Then he goes into his office and closes the door. In a desk drawer he takes out a grappling hook, a pair of gloves, and a gun. He puts on the gloves and takes the rest with him.

He climbs out a window onto a long balcony. He uses the grappling hook to climb up to the floor above. He enters through a window and then walks to his boss’s office. They discuss an upcoming deal, and then Julien shoots his boss in the head. 

The boss was a war profiteer, and Julien is an ex soldier so it is possible that that the killing is political. Later we’ll learn that the voice on the telephone belonged to Florence (Jeanne Moreau), the boss’ wife and Julien’s lover. So, probably they cooked up a scheme to kill him and run away together.

He puts the gun into the boss’s hand, making it look like a suicide. Then he locks the doors, cleverly using a knife to block the lock until he closes the door from the outside, making it appear it was locked from the inside.

As he is climbing back down to his floor, his office phone rings. The operator is with the security guard, who is ready for them to leave so he can lock up. In a rush to answer, Julien forgets about the grappling hook. He tells them he’ll be ready in a minute, then walks out with them.

He walks across the street and starts his car only to look up and see the rope flapping in the wind.  He rushes back to the building and takes the elevator up. Before he can get there, the security guard turns off all the power, trapping Julian inside the elevator.

Outside, a young flower girl, Veronique (Yori Bertin) and her boyfriend, Louis (Georges Poujouly), stare at Julien’s car. It is fancy and fast and too much for Louis to resist. He jumps in and starts to drive away. Veronique protests, saying that Julien will kill him for the deed, as his body is full of medals and scars. 

They’ll spend the evening driving aimlessly around Paris. Eventually they will cross paths with an older German couple in a sports car. They’ll race each other and then find themselves at a motel. Veronique is excited to register as man and wife, but afraid to use their real names. So she chooses Mr. and Mrs. Julien Tavernier. The two couples will drink and tell stories. Louis pretends to have lived Julien’s life. But the old man calls him out.

An act of violence will send Veronique and Louis on the run.

Meanwhile, Florence will wander the streets of Paris looking for Julien, while Miles Davis plays on the soundtrack.

Julien tears the elevator apart trying to find a way to escape. He manages to open the door, but it is between floors, and there isn’t enough room to escape. 

These three stories will come together in wonderful ways.

Elevator to the Gallows was the first film directed by Louis Malle. It is a fascinating take on the film noir.  Most noirs would begin much earlier in the story. We’d see Julian and Florence first meet – perhaps at a party or while she was visiting her husband at the office. They’d have a torrid affair and fall in love. She’d talk about how horrible her husband was, how he made money from those terrible wars. And they’d hatch a plan to kill him. The murder would come much later in the movie.

But here it is at the beginning. We see none of the love love or lust these two have for each other. Other than that telephone call at the very beginning, they do not talk to each other on screen, and they spend the entire film apart. 

You can see the beginning of the French New Wave in that. Malle is taking an American film genre, and he’s playing with it a little bit. This isn’t quite the full deconstruction folks like Goddard would be doing within a few years, but he’s clearly putting his own spin on things.The plot comes together perfectly. I’d seen the film before, but the details had been lost. My memory said it came out one way, but in reality it came out another, and that way was even better.  This is a near-perfect film, and it comes highly recommended. 

The Friday Night Horror Movie: Vengeance of the Zombies (1973)

vengeance of the zombies

As it is Foreign Film February, I wanted to do a non-English language film for my Friday Night Horror flick. It has also been a long day, so I grabbed the thing closest to me, which was my Paul Naschy boxed set. There are five films in that set, and I hope to watch and review them all over the next couple of months. I love the idea of reviewing all the DVDs I own, but that is a monumental task.

Vengeance of the Zombies is an absolutely bonkers film. In the booklet that came with this set, Naschy (who wrote the film) is quoted as having probably been on hashish when he sat down at his typewriter. That definitely checks out.

It also checks out that this was a chepie exploitation flick. Technically there is a plot, but it is so haphazardly put together it is impossible to make sense of.  

Someone is killing a bunch of women in London. Then someone else, a voodoo priest named Kantanka (Paul Naschy), is bringing them back to life as part of his zombie horde.  Naschy also plays Krisna an East Indian mystic.

Elvire Irving (Romy) thinks Krisna is one cool cat and follows him to his big mansion out in the country. The big mansion was once the home of an evil family who were eventually murdered and hung upon the trees in the yard.

There are a lot of dream sequences where Kantanka and some other foul faced fiends attack Elvire. In one particularly groovy dream sequence, Paul Naschy plays Satan, to whom various others make sacrifices.  Another sequence (which may or may not be a dream; it is difficult to tell), a lady wearing a big box painted like a man’s face dances around while Kantanka pours blood onto corpses to turn them alive.  Or something.

Scotland Yard gets involved but is mostly useless. 

Seriously, I just watched this film, and I’m having a hard time remembering anything about the actual plot.

There is lots of murdering. Plenty of ladies wearing sheer nightgowns. And loads of gratuitous sex.

I do love the sex scenes in these types of films. During one scene, the housekeeper is upset over something. Krisna tells her everything is going to be ok. Then he looks at her, the music starts up, and he then pulls down the covers, pulls down her top, and gropes her breasts three times. She then sits up and passionately kisses him.

In another scene, Elvire goes into a barn only to find a woman with her head nearly chopped off. Then she is attacked by a dude with a scythe. Krisna jumps in and saves the day. They then go to the house, where she tells him that he should call the cops. He brusquely says “no” to which she responds by making out with him.

I’ve been doing my seduction techniques all wrong, I guess.

The music is a wild mix of popular rock and funk. It is so crazily inappropriate for most of what’s happening on screen.

This is a ridiculously bad film in every imaginable way. But it’s also a lot of fun to watch. It is the kind of film you want to watch late at night with a group of friends while getting loaded. Check your brain at the door and get ready for ridiculousness.