In Search Of Heroes Of The Great American Hispanic Night-Mi Hombre Senor Zorro-The ‘Z’ Man Of My Youthful Dreams-Antonio Banderas’s “The Mask Of Zorro” (1998)-A Film Review

In Search Of Heroes Of The Great American Hispanic Night-Mi Hombre Senor Zorro-The ‘Z’ Man Of My Youthful Dreams-Antonio Banderas’s “The Mask Of Zorro” (1998)-A Film Review

DVD Review

By Si Lannon

The Mask Of Zorro, starring Antonio Banderas, Catherine Zeta-Jones, Anthony Hopkins and assorted sleaze-ball Spanish dons and their senoras and senoritas, 1998

I have made no secret here or in private conversations that in my youth, my childhood really, I was crazy to watch the Zorro half hour on 1950s black and white television. For a reason that only a few people knew then, mostly family, and excluding my corner boys, some of who work for this publication, and whom I grew up with in the heavily working- class Irish and some Italian neighborhood of the Acre in North Adamsville a suburb south of Boston. I suppose every family has its family secrets, its skeletons in the closet like some looney grand aunty up on the batty attic, a brother, a hermano in home speak, who has spent more time in jail for various armed felonies than on the outside, that some cousin was in the vernacular of the day in our family at least was “different” meaning then a “fairy, fag” you know what I mean and today proudly LGBTQ, a young female relative who also in the code words of the day had to travel to “Aunt Emmy” for a while, meaning that she was pregnant out of wedlock and had to leave town to avoid family disgrace and dagger neighborhood dowager grandmother eyes probably never to come back.

In my family the deep dark secret which also reveals in passing why I loved Zorro as my youthful hero was that my mother was a Latina, Hispanic, you know from Mexico whose last name was Juarez, Bonita Juarez. No big deal right, now anyway although in the age of the long knives, in the age of Trump and all the animosities he has helped stir up, bring to the ugly surface of American life, that may no longer be true. But back then, back in 1950s growing up Irish-Italian Acre that was a no-no. The way around it devised by my parents was that sweet Bonita was “passed off” as Italian. An entirely respectable ethic designation in a town that drew Italians back around the turn off the 20^th century to work the granite quarries that dominated the topography of the landscape (that work died out with the exhaustion of the quarries to be replaced by a booming shipbuilding industries which by the 1950s has in their turn faded this time by off-shore outsourcing and eventual departure which explained a lot about the wanting habits of we corner boys in the 1950s while other working class towns were observing something of a golden age-also mainly gone now with globalization). While there were names, derogatory names, for Italians in some Irish working-class homes in the neighborhood there was enough intermixing to level things off.

Almost universally though since there were absolutely no Hispanic families in the whole town the normal terms of abuse applies-spics, wetbacks, braceros, and the like. My father could not stand for that and even his relatives in the neighborhood believed my mother was from Italy. She had come up to California from Mexico during World War II with her family to work the grape and melon fields and my father stationed at Fort Ord at the time met her at a USO dance and wooed her after that. Since Bonita’s English was halting she was forbidden to speak Spanish when others were around. The only way any corner boys knew that she was Spanish was in high school when in ninth grade my best friend Jack Callahan had been taking Spanish and had come to the house unannounced and heard her speaking that language and not Italian. Naturally asking what gives and I told him and from there to the rest of the guys who hung around Tonio’s Pizza Parlor. [In the interest of today’s seemingly compulsory transparency statement Jack Callahan has not only occasionally written in this publication but has been a substantial financial backer-Greg Green]

The corner boys when they found out since we were “brothers” today hermanos were pretty cool about the whole thing since she was my mother and that counted a lot even when we were at civil war with them, con madres. In general though it was not until many years later after Bonita passed away that people became aware of her nationality in a time when such things were more openly okay-even in the Acre.                    

Secrets aside I loved Zorro the same way my corner boys loved say white gringo good guys, avenging angels like Wyatt Earp or the Maverick boys from the television our main source outside of the movies from having characters we could identify with. Swashbuckling Zorro taking on all-comers, bad ass gringos especially but also batos locos paid soldiers and other scumbags and of course the oppressor hombres-the mainly Spanish dons who had the huge land grants from the Spanish kings when California was part of the fading Spanish Empire and later after formal independence and creation of a Mexican state who gouged the peasantry into the ground to maintain their freaking luxurious lifestyles. I would have to keep my devotion something of a secret although in general Zorro was a positive figure among the television-watching corner boys.

I was therefore very interested in doing this review of The Mask of Zorro when site manager Greg Green decided that enough was enough as Mexican Nationals, immigrants, citizens, hard-working peoples were being bashed for no good purpose by the Trump unleashed dark alt-right-Nazi-fascist-white nationalist cabal and had to be defended on all fronts including popular culture-including films. And in a very definitive way-beyond the obvious romance between Zorro, played by a youthful Antonio Banderas and his lovely senorita and soon to be marida and madre of his child, Elena, played by drop-dead beautiful Catherine Zeta-Jones-this film shows a heroic and honorable side of the Mexican saga-of cultural super-heroes among the oppressed peoples of the world. 

Here is the way the thing worked on this one although one can take the production to task for not have more Hispanics, Latinos, etc. in key roles like Elena, who could have worthily been played by Penelope Lopez, and certainly Zorro, the elder, played by venerable and ubiquitous high-toned Brit actor Anthony Hopkins could have had a better casting. The elder Zorro has a running battle in the Mexican independence struggle with the soon to be departed Spanish viceroy, a real bastard whose name is legend so no need to give him some human surname over the way the peasantry and others were treated by him. More importantly over the elder Zorro’s wife and daughter since that msl hombre viceroy was smitten by her. Eventually the bastard was the cause of the mother’s death and the elder Zorro’s imprisonment leaving the field clear for him to raise that daughter, Elena, when going back to Spain in comfort and culture.    

Then fast forward twenty year later and the bastard returned with Elena and with the idea of turning via those well-off land grant Dons California into an independent republic by stealth and cold hard cash to the Mexican leader Santa Ana, known as a villain in U.S. history via the Alamo and Jimmy Polk’s Mexican War adventure. The one guys like young Abe Lincoln and Henry avid Thoreau couldn’t stomach. Enter a rejuvenated elder Zorro who nevertheless is too old to go mano a mano with the bastard and his hired thugs. Through serious trial and error he trains a new generation Zorro, played by Banderas, to lead the struggle against the returned kingpin oppressor and let the peasantry live off the their lands in some peace. Once our new Zorro finishes his basic training he is off and running to woo the lovely Elena, tweak the bastard, fight a million sword fights, woo the lovely Elena, fight a few million more sword fights, and well you know the “and” part by now. A most satisfying film which only rekindled my love of the sacred youthful character-thanks young and old Zorro.         

Far From The Outlaw Minute-Willie Nelson’s Outlaws And Angels (2004 )-A Musical Film Review

Far From The Outlaw Minute-Willie Nelson’s Outlaws And Angels (2004 )-A Musical Film Review   

DVD Review

By Film Editor Sandy Salmon

Willie Nelson: Outlaws and Angels, starring Willie Nelson and a cast of outlaws like Merle Haggard and angels like Lucinda Williams and everything in between including a retired outlaw like Jerry Lee Lewis, 2004     

I freely admit that as a tough mean city streets New Jersey-bred guy I did not have anything like an “outlaw country music minute” back in early 1980s when traditional country music, Nashville-driven music by the likes of George Jones and say Loretta Lynn ran out of steam. Or out of ideas beyond whiskey nights, faded love, fast cars, fast women and good old boy foolishness. The time when guys like the central figure in this music video Willie Nelson, Waylon Jennings, Guy Clark, Jerry Jeff Walker and Townes Van Zandt and gals like Emmylou Harris and Rachel Farling stepped off that reservation and gave a new definition to the parameters of country music. Brought an updated beat, an update ethos and some quirky twists to the genre. In some cases as well living the real outlaw life, by approximating the free spirit life.        

My admission has a purpose since under normal circumstances I would not review a country music video having neither expertise nor interest in the genre. The only reason I have done so is as a favor to my old friend and fellow film critic from the American Film Gazette Sam Lowell who is my immediate predecessor at this site who actually did have a “outlaw country music minute.” Since he is in retirement and only wishes to review material periodically when something like say the celebration of the 50^th anniversary of the Summer of Love, 1967 sparks his interest. At least that was the story line he spun when he practically begged me to do this review. (I really think that he just wanted to see the expression “outlaw country music minute” used in a review here like he used to hammer endlessly on the “folk minute” of the early 1969s in a lot of his reviews).

That short flirtation was driven by the musical stalemate of those early 1980s when classic rock and roll had had one of its periodic fallow periods like it had in the late 1950s and Sam was looking for something interesting musically to listen to and maybe drive to wider critical notice. According to Sam he was snagged into the moment not by Willie Nelson but by Townes Van Zandt one night at Jackie Speed’s in of all places Harvard Square in Cambridge. Hardly a known Mecca for country music although well know back in the “folk minute” days of Sam’s blessed memory. He had appreciated Willie as outside the Nashville club (although Nelson had started in traditional 1950s Nashville fashion with Crazy made a big of by the premier woman traditional country singer of the time Patty Cline, who still has the best version of that classic). But something about the painful Van Zandt lyrics and rough-hewn sense of humor appealed to his strictly urban upbringing like there might be a bridge somehow.           

But on to the music DVD. This is the third in a series of Willie Nelson driven DVDs with various themes and various guest singers and hangers-on. This one took place in Los Angeles under the guise of outlaws and angels. The line-up was certainly filled with guys with outlaw reputations like Bob Dylan (who “mailed in” his duet with Willie on the Hank Williams classic “You Win Again” reportedly via YouTube being drunk on stage in the days when he used to drink), legendary Merle Haggard (who passed away in 2016), Kid Rock and Keith Richards among others. And gals like Lucinda William and Ricki Lee Jones who can make the real angels weep for their inadequacies. Overall though other than showing that Willie has a great command of the American (maybe world) songbook most of the performances were unremarkable. Except, and this is a big exception, when the ancient rock and roller Jerry Lee Lewis whose prime before that fallow time in the late 1950s previously mentioned who “stole” the show with his two songs. Leave it to a rocker to bail things out. You would grab this one for that performance.          

Crossing The Color Line-When It Counted-Baseball’s Jackie Robinson Story-Chadwick Boseman’s “42”-(2013)-A Film Review

Crossing The Color Line-When It Counted-Baseball’s Jackie Robinson Story-Chadwick Boseman’s “42”-(2013)-A Film Review

DVD Review

By Laura Perkins

42, starring Chadwick Boseman, Harrison Ford, 2013

Although the number of female sports reporters, including anchors and such, has grown exponentially since my pre-Title X in college days I admit I have never been a sports fan, never really followed, seriously followed in any case, the subject of the film under review, 42, baseball. Except to vicariously root for the New York Yankees whenever they raised their heads come World Serious times since I grew up around Albany in New York (that “World Serious” expression courtesy of Ring Larner via his You Know Me, Al  stories via Sam Lowell who was, is a baseball nut). That rooting for the Yankees a not unimportant factor in the lives of both Sam and I since we have been long time companions and Sam growing up in North Adamsville south of Boston a rabid Red Sox fan which has led to many an “armed truce” come rivalry time. (I was experienced in “armed truces” well before meeting Sam many years ago since Albany is a “divided” city, or at least my clan was, is between loyalty to Yankees and Sox).   

Since I am not a baseball fan, as defined by Sam and many others-meaning knowing all kinds of arcane information about every aspect of the game how do I wind up getting this assignment. Well let’s get back to Sam, that well-know long time companion who as film editor here back a few years before he retired would routinely do the sport films as they came up like the film adaptation of Bernard Malamud’s The Natural starring Robert Redford. Sam and I wound up watching this film not under the baseball hook but under my long-time “crush” on Harrison Ford every since early Star Wars and my interest in seeing Chadwick Bozeman who plays Number 42, Jackie Robinson in something other that comic book super-hero Black Panther.  

After watching the film, as is our wont, Sam’s old-time expression, we discussed the merits of the film. That is where I made my “fatal” mistake. I told Sam who was awash in the glory of seeing the first black man in major league baseball (not capitalizes as now) when major league baseball really was the king of the American pastime day-and later night when the lights came. Robinson helped integrate the sport AND help win the National League pennant for Brooklyn in 1947 AND win Rookie of the Year although the film was not really about baseball. Sure that was the tag line but the real deal was how for blacks since slavery times every step forward was something like a world-historic ordeal, was fought for with blood and guts by a few and then carried on by many. Since Sam had been assigned the film by site manager Greg Green (as he would have been even under recently sacked previous site manager Allan Jackson who was a boyhood friend of Sam’s and fellow baseball nut-Red Sox version) since he told me and Greg that he would have concentrated on the sports angle and somewhat downplayed the racial angle to have me to the review in order to say what I have just said above.

Greg hemmed and hawed for a while since he also is a member in good-standing of the baseball nut fraternity and wanted to highlight the incredible athletic ability and dedication that Jackie Robinson had which he believed added greatly to his ability to withstand the racial taunts and “assorted bullshit” his term, which Robinson had to withstand that first and later seasons for those “crackers,” my term who saw the game as another white preserve. A white preserve just as later, as today for that matter, blacks and others of color have had to break the white preserve on riding buses, voting, housing, employment, education you name it. All things that whites have taken for granted and not given it another thought. I include myself in that category as well.

I will now get off my soapbox since I have said what I wanted to say about my angle on the film and give you as Sam eternally said “the skinny” on the film some of which I have already telegraphed. Branch Rickey, played by Harrison Ford old time good old boy talking out of the side of his mouth, owner of the Brooklyn Dodgers, later to be the Los Angeles Dodgers which some of the diehards in Brooklyn have never forgotten or forgiven, for a whole series of reasons personal, professional and business-wise which get a work out in various scenes in the film decided baseball, or at least his team needed to be integrated to be successful and to cater to the fair number of blacks who attended Dodger games. As in the case of Rosa Parks later and others Rickey did not want to get just any black but one that represented the better aspects of the black race. Up steps Jackie Robinson who was playing excellent no money baseball in Negro League dungeons in the South and who would have continued to do so if Rickey hadn’t given him a call. That decision for good or evil would drive the rest of the film except for the off-hand romance interspersed between baseball scenes between Robinson and the woman who would become his wife and mainstay Rachel.            

Obviously, Rickey, and Robinson, knew that what they were facing was a daunting task from confronting those white preserve crowds to fellow baseball players, teammates and opponents, who heated the idea to fellow baseball owners to the Jim Crow conditions which precluded blacks in the South, and in the North too but less publicly blatant from white only facilities. The centerfold on this was Robinson’s grit on and off the field and Rickey’s drive to do the right thing. All of that gets thoroughly vetted throughout the film. Of course the great plays and the marching toward the pennant get worked in as well. Despite Sam’s thrill a minute at the baseball plays this one is a good close look at American sport in a day when football which has replaced baseball as the American pastime is knee-deep in controversy around black players and their allies “taking a knee” and putting a bright spotlight on the role of the police in the black community. What else is new.       

*A Working Class Anthem For Labor Day- " Solidarity Forever"

*A Working Class Anthem For Labor Day- " Solidarity Forever"

A YouTube's film clip of Pete Seeger appropriately enough, performing old Wobblie songwriter Ralph Chaplin's labor anthem, "Solidarity Forever". Good to hear on our real labor holiday, May Day, and even on this country's competing holiday.

If I Could Be The Rain I Would Be Rosalie Sorrels-The Legendary Folksinger-Songwriter Has Her Last Go-Round At 83

By Music Critic Bart Webber

Back the day, back in the emerging folk minute of the 1960s that guys like Sam Lowell, Si Lannon, Josh Breslin, the late Peter Paul Markin and others were deeply immersed in all roads seemed to lead to Harvard Square with the big names, some small too which one time I made the subject of a series, or rather two series entitled respectively Not Bob Dylan and Not Joan Baez about those who for whatever reason did not make the show over the long haul, passing through the Club 47 Mecca and later the Café Nana and Club Blue, the Village down in NYC, North Beach out in San Francisco, and maybe Old Town in Chicago. Those are the places where names like Baez, Dylan, Paxton, Ochs, Collins and a whole crew of younger folksingers, some who made it like Tom Rush and Joni Mitchell and others like Eric Saint Jean and Minnie Murphy who didn’t, like  who all sat at the feet of guys like Woody Guthrie and Pete Seeger got their first taste of the fresh breeze of the folk minute, that expression courtesy of the late Markin, who was among the first around to sample the breeze.

(I should tell you here in parentheses so you will keep it to yourselves that the former three mentioned above never got over that folk minute since they will still tell a tale or two about the times, about how Dave Van Ronk came in all drunk one night at the Café Nana and still blew everybody away, about catching Paxton changing out of his Army uniform when he was stationed down at Fort Dix  right before a performance at the Gaslight, about walking down the street Cambridge with Tom Rush just after he put out No Regrets/Rockport Sunday, and about affairs with certain up and coming female folkies like the previously mentioned Minnie Murphy at the Club Nana when that was the spot of spots. Strictly aficionado stuff if you dare go anywhere within ten miles of the subject with any of them -I will take my chances here because this notice, this passing of legendary Rosalie Sorrels a decade after her dear friend Utah Phillips is important.)

Those urban locales were certainly the high white note spots but there was another important strand that hovered around Saratoga Springs in upstate New York, up around Skidmore and some of the other upstate colleges. That was Caffe Lena’s, run by the late Lena Spenser, a true folk legend and a folkie character in her own right, where some of those names played previously mentioned but also where some upstarts from the West got a chance to play the small crowds who gathered at that famed (and still existing) coffeehouse. Upstarts like the late Bruce “Utah” Phillips (although he could call several places home Utah was key to what he would sing about and rounded out his personality). And out of Idaho one Rosalie Sorrels who just joined her long-time friend Utah in that last go-round at the age of 83.

Yeah, came barreling like seven demons out there in the West, not the West Coast west that is a different proposition. The West I am talking about is where what the novelist Thomas Wolfe called the place where the states were square and you had better be as well if you didn’t want to starve or be found in some empty arroyo un-mourned and unloved. A tough life when the original pioneers drifted westward from Eastern nowhere looking for that pot of gold or at least some fresh air and a new start away from crowded cities and sweet breathe vices. A tough life worthy of song and homage. Tough going too for guys like Joe Hill who tried to organize the working people against the sweated robber barons of his day (they are still with us as we are all now very painfully and maybe more vicious than their in your face forbear). Struggles, fierce down at the bone struggles also worthy of song and homage. Tough too when your people landed in rugged beautiful two-hearted river Idaho, tried to make a go of it in Boise, maybe stopped short in Helena but you get the drift. A different place and a different type of subject matter for your themes than lost loves and longings.  

Rosalie Sorrels could write those songs as well, as well as anybody but she was as interested in the social struggles of her time (one of the links that united her with Utah) and gave no quarter when she turned the screw on a lyric. The last time I saw Rosalie perform in person was back in 2002 when she performed at the majestic Saunders Theater at Harvard University out in Cambridge America at what was billed as her last go-round, her hanging up her shoes from the dusty travel road. (That theater complex contained within the Memorial Hall dedicated to the memory of the gallants from the college who laid down their heads in that great civil war that sundered the country. The Harvards did themselves proud at collectively laying down their heads at seemingly every key battle that I am aware of when I look up at the names and places. A deep pride runs through me at those moments)

Rosalie Sorrels as one would expect on such an occasion was on fire that night except the then recent death of another folk legend, Dave Von Ronk, who was supposed to be on the bill (and who was replaced by David Bromberg who did a great job banging out the blues unto the heavens) cast a pall over the proceedings. I will always remember the crystal clarity and irony of her cover of her classic Old Devil Time that night -yeah, give me one more chance, one more breathe. But I will always think of If I Could Be The Rain and thoughts of washing herself down to the sea whenever I hear her name. RIP Rosalie Sorrels 

Solidarity Forever
Solidarity forever!
Solidarity forever!
Solidarity forever!
For the union makes us strong

When the union's inspiration
through the workers' blood shall run,
There can be no power greater
anywhere beneath the sun.
Yet what force on earth is weaker
than the feeble strength of one?
But the union makes us strong.


They have taken untold millions
that they never toiled to earn,
But without our brain and muscle
not a single wheel can turn.
We can break their haughty power;
gain our freedom when we learn
That the Union makes us strong.


In our hands is placed a power
greater than their hoarded gold;
Greater than the might of armies,
magnified a thousand-fold.
We can bring to birth a new world
from the ashes of the old
For the Union makes us strong.


This labor anthem was written in 1915 by IWW songwriter and union organizer Ralph Chaplin using the music of Julia Ward Howe's Battle Hymn of the Republic. These song lyrics are those sung by Joe Glazer, Educational Director of the United Rubber Workers, from the recording Songs of Work and Freedom, (Washington Record

Labor's Untold Story In Song- Remember The Heroic Lawrence Textile Strike Of 1912-"Bread And Roses"-Yes, Indeed

Labor's Untold Story In Song- Remember The Heroic Lawrence Textile Strike Of 1912-"Bread  And Roses"-Yes, Indeed

A YouTube's film clip of Joan Baez and her late sister Mimi Farina performing "Bread and Roses" about the famous textile strike in Lawrence, Massachusetts in 1912.

Poem and Song lyrics-"Bread And Roses"

Poem

As we come marching, marching in the beauty of the day,
A million darkened kitchens, a thousand mill lofts gray,
Are touched with all the radiance that a sudden sun discloses,
For the people hear us singing: "Bread and roses! Bread and roses!" 
As we come marching, marching, we battle too for men,
For they are women's children, and we mother them again.
Our lives shall not be sweated from birth until life closes;
Hearts starve as well as bodies; give us bread, but give us roses!
As we come marching, marching, unnumbered women dead
Go crying through our singing their ancient cry for bread.
Small art and love and beauty their drudging spirits knew.
Yes, it is bread we fight for -- but we fight for roses, too!
As we come marching, marching, we bring the greater days.
The rising of the women means the rising of the race.
No more the drudge and idler -- ten that toil where one reposes,
But a sharing of life's glories: Bread and roses! Bread and roses! Song Lyrics

Song

As we go marching, marching, in the beauty of the day,
A million darkened kitchens, a thousand mill lofts gray,
Are touched with all the radiance that a sudden sun discloses,
For the people hear us singing: Bread and Roses! Bread and Roses! 
As we go marching, marching, we battle too for men,
For they are women's children, and we mother them again.
Our lives shall not be sweated from birth until life closes;
Hearts starve as well as bodies; give us bread, but give us roses.
As we go marching, marching, unnumbered women dead
Go crying through our singing their ancient call for bread.
Small art and love and beauty their drudging spirits knew.
Yes, it is bread we fight for, but we fight for roses too.
As we go marching, marching, we bring the greater days,
The rising of the women means the rising of the race.
No more the drudge and idler, ten that toil where one reposes,
But a sharing of life's glories: Bread and roses, bread and roses.
Our lives shall not be sweated from birth until life closes;
Hearts starve as well as bodies; bread and roses, bread and roses

“You’ve Come A Long Way, Baby” – Julie Roberts’ Mona Lisa Smile” (2003)- A Film Review

“You’ve Come A Long Way, Baby” – Julie Roberts’ Mona Lisa Smile” (2003)- A Film Review

DVD Review

By Film Editor Emeritus Sam Lowell

Mona Lisa Smile, starring Julia Roberts, Kirsten Dunst, 2003   

I usually don’t like to start a film review by going off on a somewhat unrelated tangent but since I am now a well-established former film editor I will take that privilege here. Although the film under review, Julia Roberts’ Mona Lisa Smile, has little to do with Leonardo De Vinci’s famed portrait now uncomfortably housed in the Louvre in Paris it does have much to do as will be explained below about art history and so I may not be as tangentially off the mark as one might expect. To get to the point I have held the view that the reticent Ms. Lisa is not smiling at all but is rather perhaps the first pictorial sign in the modern age of ironic detachment. Fire away but that is what has always impressed me about milady (and maybe reflecting too an unsuspecting bit of wit and charade of the part of the famed Type A personality Leonardo).      

Now back to business. Back to the art history part that forms the backdrop for the storyline here. Katharine Watson, Julia Roberts’ role, is a West Coast come East free spirit as an art instructor at Seven Sisters Wellesley College ready to do battle with old-fashioned views of women and of the traditional art syllabus. The time, the 1950s, seems to be out of another world to an early 2000s viewer brought up on the 1960s idea of the Seven Sisters schools and their Ivy League cohorts as elite bastions of privilege which kept the old elites stocked but also allowed the increasing number of arrivistes to gain the brass ring. Instead the 1950s version of Wellesley is far from the Hillary Clinton (Class of ’69) model of young women ready, willing and able to be President of the United States or to break any other glass ceilings out there.              

Art instructor Watson finds plenty of smart girls at the school, book smart as my old friend Pete Markin would say, as to be expected but they are wasting their talents preparing to be the perfect housemate (meaning well-mannered stay at home wives not significant others) for those up the road Ivy League guys who will form the next core of the men in the grey flannel suits come graduation. She also finds a clear class bias among those students taking her course in art history since while the place may or may not have been an upscale “finishing school” in the 1950s they knew she was not a brethren. Did not have the pedigree. The main concern then reflected in a good housekeeping course provided by the school was marriage, suitable upscale marriage, but marriage nevertheless which seems to be all they wanted to discuss including why Miss (now Ms.) Watson was not at the advanced age of 30 married herself.    

The battle is on as Ms. Watson tries might and main to get these fact heavy but by the numbers thinking young products of good schools and good families to think outside the box, to appreciate for example post-Impressionist art. As the school year grinds on she make some headway after butting heads with the most conservative girl, Betty, played by Kirsten Dunst, in the little coterie who are featured in the film who if you can believe this actually got married during the school year unsuccessfully as it turned out since she was filing for divorce before the school year was out. (Having gone to college in the 1960s I was astonished that anybody, any undergraduate, would get married during the school year. I do not remember any such person in any of my classes and have asked around and found the same thing. Now of course that is a common sight on college campuses.)

The fight between Ms. Watson and Betty got resolved in Ms. Watson’s favor at least formally. When the question of renewing her contract came up the administration was ready to heave her unless she agreed to several non-negotiable demands which she rejected out of hand and headed to Europe after having made serious inroads with those uppity students. Ms. Watson almost as an afterthought by the scriptwriters had an affair with a philandering male fellow teacher but that is just so much fluff since this is drop dead Julia Roberts after all and not some closet old maid. The heart of the story line here though is a slice of elite women’s college life in the red scare Cold War 1950s when thinking outside the box was more perilous than you might have thought. Maybe even thinking Mona Lisa was not smiling might have been suspect.            

On The 50th Anniversary Of The Summer Of Love-“The Monterey Pops Festival” (1968) –A Different View

On The 50^th Anniversary Of The Summer Of Love-“The Monterey Pops Festival” (1968) –A Different View

DVD Review

By Film Editor Sandy Salmon  

The Monterey Pops Festival-1967, starring Janis Joplin, Jefferson Airplane, The Mamas and the Papas, Ravi Shankar, and the usual suspects from the 1960s acid rock circuit on the West Coast, produced by D.A. Pennebaker, 1968 

Those of you who are regular readers in this space (or of the on-line edition of the American Film Gazette) may be surprised that I am reviewing a film, in this case the 1968 documentary of the first Monterey Pops Festival, when my Associate editor Alden Riley has already recently done so. And by his, and my, lights a decent job. The reason I am posting a review is due to a “controversy” or rather a few sentences at the start of Alden’s review where he had complained that he had been force-marched into the review by me as some kind of punishment for a remark that he had made to me after reading a review of my take on the 2015 biopic Janis Joplin: Little Girl Blues. He mentioned in passing that he had never heard of Janis, never heard her sing. I suggested to him that he might benefit from reviewing this documentary where one of the acts featured would by Janis Joplin and her band, Big Brother and the Holding Company doing her now classic Ball and Chain blues cover. That concert was a breakthrough for her (and several other iconic 1960s rock and roll figures like Jimi Hendrix and soulful Otis Redding) which occurred in June of 1967 right at the heart of the Summer of Love of which we are now commemorating the 50^th anniversary. I had originally intended to do the review myself as part of a series of pieces and sketches of that duel 50^th anniversary. But I will admit that he grudgingly decided to perform the service which I asked him.     

Maybe I had better go back a bit before discussing my views of the documentary and of the scene out in the West Coast at that critical juncture of the emerging “youth nation” 1960s counter-cultural explosion. A while back the now retired film editor in this space, Sam Lowell, who will figure in this “controversy” later asked me as an old friend and fellow critic of his in the old days at the hard copy version of the American Film Gazette to take over the day to day film reviewing at this site. I agreed stipulating that I would bring in an associate editor who would in the not too distant future take over the reins as my own retirement was coming up. I selected young and hungry Alden Riley whose work I knew from Current Times on recommendation from his editor there also an old friend of mine from Gazette days. I believe I have made a right choice in that regard.        

One of the virtues of this site (and of the Gazette from the narrower cinematic end) is that it has attempted to under Pete Markin’s guidance act as something of a “memory” for all kind of social, political and cultural occurrences in American history, and to a lesser extend internationally. In the film area that has meant that everything is up for grabs from the recent latest version of Wonder Woman back to the “silent” era. No rule had been set down by Sam Lowell about what could be reviewed. If you look at the archives you will see that the eclectic Lowell has review everything from 1930s noir to the Tom Cruise-etched Mission Impossible series. I have been in my long career the same way and the expectation on this site is that a whole range of material would be covered. Additionally special events, events like the 50^th anniversary of the Summer of Love which maybe was not some world-historical event in itself but which definitely represented the flavor of a turbulent part of the  history of America within memory (some memories anyway) should, and do, receive extra attention. It was under that premise, as well as broadening Alden’s reach, that I suggested the review. But enough of that internal politics stuff because while Alden did a crackerjack job of reviewing the documentary I want to expand on a few things he mentioned, and a few things he didn’t since I am old enough to have remembered most of the actors (if not like Sam Lowell having been out on the West Coast at that time).       

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Nobody of course is required in the film criticism business to have a knowledge of its history, of the definitive films and the break-through technological events which certain directors, producers and other film technician have worked on although it helps. For example when I reviewed Kirk Douglas’ classic big screen Technicolor version of Spartacus I did not have to mention that the film represented the first thaw in the hard-core red scare Cold War freeze that Hollywood had willingly gone along with when it listed “black-listed” Hollywood Ten writers who had been screwed over back in the 1940s for supposed Communist affiliations like they were Uncle Joe Stalin’s toadies or something. Maybe that was why the film turned out so well. I think so anyway. Alden mentioned in his Monterey Pops review that director D.A. Pennebaker’s work seems crude by today’s high-tech standards. And it was but I believe he missed the point that D.A. was on the cutting edge of cinema verite and some of the filming was consciously done at that level.           

That is only a minor sin. What I do not understand is Alden’s short seemingly in passing reference to the performances over those three days which is really the heart of the documentary. I would argue that the shots of the audience was so much filler to give some flesh to who was attracted to the event and why. Moreover this concert was a preliminary wide appeal event in what had been emerging over the previous several years of a different kind of rock-drug connected “acid rock” for lack of a better name which created a very different sound than had been current in the wake of the Beatles/Stones-led British invasion (those groups would be sucked into the acid rock maelstrom as well).

The sound is a return to primitive embryonic times which many in that time, usually but not always under the influence of drugs, were seeking as a whole slew of old taboos were tumbling down. Ms. Joplin’s break-out performance with her band Big Brother and the Holding Company on the old blues classic Piece Of My Heart complete with shouts, screams, wah-wahs and whatnot spoke to those primitive urgings. I do agree with Alden that such deep feelings had to have taken a toll if she had consumed that much energy on one song. I don’t know how she had gotten through a full set never mind a whole concert but maybe the drugs really did help keep her going. That is kind of the point. Such musical outbursts take much energy and no question drugs enhanced what the performers were trying to accomplish. Some of the music produced from that era like the Stones’ Their Satanic Majesties had not withstood the ravages of time (I don’t believe a have heard one cut from that album as part of their playlist for a long, long maybe since back in the day.) But Janis’ Ball and Chain, Piece of My Heart, and Bobby McGee still kick out the jams.        

I suppose it is hard to tell somebody not from that generation, our vaunted Generation of ’68, about what Alden claimed I would call creative “rock and rock” when he could not believe his eyes as the Who leader smashed and Jimi Hendrix burned perfectly good guitars on stage. Rather than a retort here I will gather up Sam Lowell from his retirement and together we will discuss a litany of such creative actions on the 1960s stages. That will protect Alden from any two hour lecture from us that he may be standing in fear of coming down on his young head. 

Finally maybe there is hope that Alden will grow into this job. Although as I have mentioned previously the audience shots were filler he hit the nail on the head when he mentioned that those close-up shots of the attendees, of the audience, of the mostly young audience in their best “hippie” garb looked very cool even now. Porkpie hats, old-time Victorian dresses, World War II G.I. surplus stuff like that. I also agree that when I watched the DVD most of the audience looked like they had done some serious weed or some drug before they got to the concert (probably there as well). Certainly I also wondered like he did about those young women then, women who looked very foxy indeed. I also wonder if anybody who watched the film today and who had been there then would be shocked by the footage of them in their “to be young was very heaven” days after an unsuccessful fight against the ravages of time. Alden won’t agree but the whole effect of the documentary had me thinking at the end that those were the days when men and women played rock and roll for keeps and everybody listened with baited breathe. Yes, indeed, we did.    

On The 50th Anniversary Of The Summer Of Love, 1967-“The Monterey Pops Festival” (1968) –A Documentary

On The 50^th Anniversary Of The Summer Of Love, 1967-“The Monterey Pops Festival” (1968) –A Documentary

DVD Review

By Associate Film Editor Alden Riley 

The Monterey Pops Festival-1967, starring Janis Joplin, Jefferson Airplane, The Mamas and the Papas, Ravi Shankar, and the usual suspects from the 1960s acid rock circuit on the West Coast, produced by D.A. Pennebaker, 1968 

I don’t mean to grouse every time I get an assignment from my boss, from film editor Sandy Salmon, but I think I have grounds to do so here. I only mentioned in passing in reading a recent review Sandy did of a 2015 biopic of Janis Joplin, Janis Joplin: Little Girl Blue, one of the icons of the 1960s and of the Summer of Love, 1967 which he and his old-time film critic friend Sam Lowell have gone into overdrive over that I had never heard of her and was not familiar with her work. That faux pas on my part got me this netherworld assignment to watch and review the DVD under review, The Monterey Pops Festival of 1967, the very first one, the three day affair, which has also (back in mid-June) celebrated its 50^th anniversary. Sandy’s idea was, I think, that once I heard and saw her and the other top West Coast groups from his generation that I would go out and buy a tie-dye shirt or look for the nearest commune or something.     

Sandy mentioned that the guy who put the documentary together about the two day concert was the very same guy who trailed after Bob Dylan in his classic Don’t Look Back (which I also haven’t seen but I will charge an unfair labor practice if he attempts to get me to watch and review that one since one thing I do know is that Bob Dylan couldn’t and can’t now sing whatever merits he has as a songwriter and part-time “voice” of his generation or whatever it was that Time magazine dubbed him back in the ancient folk times). Whatever merits the subject matter of this documentary has it certainly is not in the almost amateurish production values here especially in light of the huge technological advances that have been made which makes this documentary seen like one of those old silent movie flicks in comparison. Grainy, swirly footage, seemingly random and inchoate views (or non-views) of the acts on stage and some odd-ball sound effects (or non-sound effects) which I am sure Sandy and his crowd will glower over as efforts to “go back to nature” from a simpler time when everybody was looking intently at their electronic devises of choice.      

I will pass over the performances some of which were very good including Ms. Joplin’s break-out performance with her band Big Brother and the Holding Company on the old blues classic Piece Of My Heart. If she had that much energy consumption on one song I don’t know how she would have gotten through a full set never mind a whole concert but maybe the drugs really did help keep her going. Same goes for Jefferson Airplane with demonic Grace Slick and Marty Balin on High Flying Bird and the great harmonics of the Mamas and Papas (someone said they were “spot on” meaning very in tune) that came through even in this primitive production. But what was that all about with the Who leader smashing and Jimi Hendrix burning up perfectly good electric guitars on stage. I don’t get it and I don’t want to ask Sandy, and definitely not Sam Lowell who was actually out in San Francisco in 1967 although I am not sure he attended the festival, because I don’t want a two hour lecture about creative rock and roll and stage presence-thank you very much.

Here is the funny thing though since this was a billed as a Pops Festival the guy who stole the show (the shown part since I understand that several big-time performers wound up on the cutting room floor (which are shown in a separate disc in the three disc collection as “outtakes”-the other disc Jimi Hendrix and Otis Redding’s performances which I did not have time to view and in the case of Hendrix did want to after seeing that maniacal burning in the main frame) was Ravi Shankar who played the sitar hardly a new instrument and a did a rif that was probably about five hundred years old. The crowd loved it, hell, I loved it although it was perhaps a shade too long given the eighty minute length of the film. 

What really interested me and which Sandy will probably give me an earful about were the close-up shots of the attendees, of the audience, of the mostly young audience in their best “hippie” garb some of it which looked very cool even now. Porkpie hats, old-time Victorian dresses, World War II G.I. surplus stuff like that. Funny though and maybe Sandy will think the same thing when he watches the DVD or maybe re-watches most of the audience looked like they had done some serious weed or some drug before they got to the concert (or maybe at it although it didn’t seem like I saw a lot of smoke, weed smoke although a fair amount of cigarette smoke when that was cool. Some of the young women then, women who today would be my grandmother’s age certainly looked foxy. I wonder if anybody who watched the film today and who had been there then would be shocked by the footage of them in their “to be young was very heaven days”. I wonder if Sandy would think the same think thing or dismiss my observation and go back into his ecstatic dream world with Sam yakking about the days when men and women played rock and roll for keeps and everybody listened with baited breathe.