ARCHIVE FILES (see complete listing below)
February 7, 2010
AVATAR is Not the Future of American Cinema; It is An Affirmation of its Past!
While I seldom go out to the movies anymore, preferring to wait for movies to be released on home DVD/Blu-ray to watch in our home theater, I wanted to go out and experience AVATAR theatrically. And not just theatrically, but at an IMAX 3-D theater (where the ticket price was $12 per adult).
My friend Bill Littman is a fan of the so-called Road Show theatrical releases of the 1950s and 1960s, where seeing a film theatrically, mostly downtown, became an event. Many of these Road Show movies featured an elaborate souvenir program book, which could be purchased for a few dollars extra. Many of the films were released in Cinerama or Todd-AO, or perhaps in 70mm. And the major way to recognize a Road Show release was to notice the sometimes-longer running time, experience the movie with Intro and Exit music. And of course the required Intermission occurred before the final hour or so of the production. Going to downtown theaters, virtual urban palaces, was also part of the experience. And nothing since has rivaled such cinematic exhibition prowess. Until now. Newly emerging IMAX theaters, being slightly downsized from the original IMAX theaters, now modified and housed in multiplexes, allow large curved screens to present, in 3-D no less, something akin to the spectacle of the long gone Road Show production of bygone eras. Once again going to the movies becomes something very special again.
Of course I must mention a few negatives. On the ticket I purchased online, it states that the purchase of the ticket only guarantees a seat, but ticket holders are expected to appear half an hour early, required to wait in long lines, to be assured of a good seat (imagine sitting in the front row and having to look straight up to watch the movie). Also, while waiting for the movie to begin, we are bombarded with never-ending commercials, many of them for TV shows. Also, on the more positive side, loads of theatrical trailers are shown (most of which in 3-D). While the eloquent pageantry of the past has been replaced by the blatant commercialism of the present, IMAX 3-D is still rather special. And I will say that the sharpness of the digital print and the quality of the 3-D, along with oversized and very comfortable 3-D glasses, only increased the theatrical experience. Bravo!
But what about AVATAR, the movie? I must say that AVATAR was an excellent movie and one that grabbed me both emotionally (most important) and visually. But it was a movie not without flaws. As many noted, the film presents us with an archetypal cinema experience, but one that has been explored many times in movies past. The archetypal plot blueprint used before in the past (noticeable in movies such as DANCES WITH WOLVES) delves into the relationship between Native Americans and American settlers, where the so-called savages are revealed to be primitive yet intelligent and imbued with an innocence and closeness to nature. In such stories we see the roots of AVATAR. In such films, by the last reel, the primitives are revealed to be more humane, kind and attuned to nature than the so-called civilized folk. But just because we have seen this story many times before does not mean it cannot be recreated in a new way for a new generation. Think back to the original STAR WARS trilogy, where the Empire's reliance on technology and super-science, as symbolized by Darth Vader, is contrasted to the natural alignment of inner energy (the Force) and primitive and seemingly more pure lifestyles, as symbolized by the Ewoks. And as RETURN OF THE JEDI demonstrates, when technology meets the power of the primitive, the primitive kicks ass! AVATAR took its time developing its background narrative, and the sequence where Jake Sully's Avatar is indoctrinated into the Na'vi culture, absolutely necessary and vital to the film's message, seemed drawn out. Here the film threatened to become a big over-bloated yawn. I enjoyed all the visual marvels of Pandora and enjoyed the overblown symbolic characterizations. But at the same time I was aware I was sitting, watching a movie.
But then something special occurred. The sequence when the bulldozers appear, suddenly and violently, everything changed. From this shocking sequence (not shocking it occurred--we knew it was coming--but shocking how it was introduced) until the last shot of the movie, pure visual magic occurred. Not just the fact that this final section of the movie featured pure action, but it also featured gut-wrenching emotion with horrible destruction and unnecessary deaths. It just did not enthrall the audience visually, but it engaged us emotionally, all at the same time. Nothing that came before could rival what follows. Just the visuals, with or without 3-D, were storyboarded and photographed to perfection. Also, the manner in which female Neytiri (Zoe Saldana) defends her mate Jake contains such stark imagery that her dramatic stances are frozen into our consciousness and will remain embedded there. The eventual battle between masterful villain Colonel Quaritch (Stephen Lang) and Jake is iconic and gripping (and those mechanical body armor machines are more than a little bit similar to the machine used by Ripley in James Cameron's ALIENS). But these sequences, dazzling in visual execution, are equaled by the emotional wallop they deliver. Perhaps Cameron would argue the first two-thirds of the movie was necessary for the fast-paced payoff of the final third, but this same argument did not work for me during the decade of the 1950s when movie-makers argued that the best monster shots and attacks were saved for the final reel of the movie in order to ratchet up the suspense and not overdo the sequences of the giant monsters early on. Once we grew up we knew that the decision was almost entirely a budgetary one, but in AVATAR it seems the film's initial two-thirds could have been tightened up with some tough love editing. Unfortunately, Hollywood grants directors too much creative control and films, at times, suffer because of that single-minded control.
I do not believe that the future of movies has to be a world of expanded CGI and 3D. James Cameron should be proud of creating old-style moviemaking in such a technologically advanced production. His story is old school, as are his characters and the manner in which they are presented. Good storytelling is good storytelling (even if the rehashed plot is instantly recognizable) and it is Cameron's ability to assemble the film visually by creating such a fully realized world that becomes its major artistic success. Even though everyone is lauding 3D as the only answer to Hollywood's ills, I still feel that the wearing of goggles takes one out of the movie experience and makes us aware that we are, in fact, watching a movie. I admire the ability of Cameron to envision a world in his head that he makes real on the big screen, and his creation of such a believable society, complete with all its rituals and mythology, is nothing short of amazing. Yet, viewed flat, I feel such an accomplishment would prove to be almost as great. Yes, the 3D in this case embellished the movie experience, but the 3D embellished the experience by using a gimmick, though admittedly used quite effectively. But for me such a gimmick took me out of the viewing experience and only emphasized that I was watching a movie. Someday, if 3-D could be accomplished without the use of goggles, then perhaps the format might become one that sticks.
So, finally, AVATAR is one of the most gripping movie experiences of the decade, an overblown production that was worthy of the production expenses. But at heart it is only superficially nouveau and remains simply an old-style movie done right, with good storytelling, characterization and cinematic style creating a world we never before experienced. James Cameron is a sly devil, having both his cake and eating it too. To youngsters he is avant-garde and cutting edge; to veteran movie buffs he continues to do what great filmmakers of the past has always done. And AVATAR continues its journey to become the most successful movie of all time. Bravo to James Cameron for remaining true to his political vision and having the guts to follow it through to the end. And any movie where we come to hate a segment of humanity and cheer for the alien race to destroy human greed is innovative and gutsy in the most pure artistic sense. Now that is totally subversive cinema, presented upon the mainstream movie platform!
December 31, 2009
The Best DVDs/Blu-ray Discs of 2009
This was the year that people started to turn "blu" and buy both standard definition DVDs and high definition Blu-ray discs. This was the year I made the switch, and boy, am I glad I did. Even though up-conversion makes standard def discs look pretty good, nothing beats a Blu-ray disc shown on a 1080p monitor or projector. When it comes to my list of the best discs of 2009, I avoid selecting my favorite movies for this particular year and instead select the "best" presentation of the finest movies, from any era, that came out on DVD during the year.
A few comments first. Even though years ago people said only classic films will ever make it to DVD, necessitating the need to keep their VHS tapes, such has not been the case. Well, let's face it, most of the horror and science fiction film classics (of every major decade) have been released, and now we are awaiting the release of movies sliding way down in the barrel of quality. The same is true with all movie genres. So welcome both the Warner Archive Collection and the TCM Vault Collection, two made-to-order (print on demand for the movie buff) distribution companies that will be releasing those less-in-demand movies, but movies that fans nevertheless are dying to see and own. And I believe it is this made-to-order video that should be considered the trend of the year and perhaps even the decade. Some may complain that Universal's HOUSE OF HORRORS was released before Paramount's ISLAND OF LOST SOULS, but the neglect of releasing such classic titles is a rare occurrence these days. Therefore, besides the classics, this year we applaud the release of those films that typically fell between the cracks, but films that deserve to be watched and enjoyed.
These releases appear in no particular order, but all of them remain favorites of mine that saw release in 2009.
BORIS KARLOFF AND BELA LUGOSI HORROR CLASSICS--Yes, it is about time that THE WALKING DEAD saw release (even if I consider the movie to be over-rated), but it was also delightful to see the release of those enjoyable B productions YOU'LL FIND OUT, ZOMBIES ON BROADWAY and FRANKENSTEIN 1970. Most of these programmers have been slammed over the years, but upon fresh-eyed review, looking at gorgeous video prints, we can re-evaluate these entries and deem them all to be entertaining fun.
ICONS OF SCI-FI: TOHO COLLECTION--When it comes to those wondrous Japanese monster romps of our youth, besides the early GODZILLA movies and THE MYSTERIANS, the three Toho films that I remember fondly are the three released in this collection--BATTLE IN OUTER SPACE, MOTHRA and THE H MAN. Presented in both Japanese subtitled and dubbed versions, these movies are presented with saturated color, sharp and clear. The truth of the matter is that these movies were made for children and what thrilled us as children might not perform the same magic as adults. But the cross-genre crime/horror thriller THE H MAN still features moments of visual horror difficult to forget.
THE WARNER ARCHIVE COLLECTION--Where to begin? Should we select the long-anticipated Gordon Scott Tarzan Collection featuring all six of his feature films? Or should we select those lesser but eagerly sought after film noirs that never before saw DVD release? Films such as THE FALLEN SPARROW, NORA PRENTICE and EXPERIMENT PERILOUS. Or how about those delightful mystery thrillers such as THE UNSUSPECTED, starring Claude Rains as the masterful murderer? Or how about those propaganda war movies or post-war movies? Movies including I WAS A COMMUNIST FOR THE F.B,I., THE MASTER RACE and BERLIN EXPRESS. Even horror movies made their first appearances on DVD, including Hammer's SHE and the delightful B romp FROM HELL IT CAME. Seeing the official release of such titles has been the video highlight of the year for me. Warner Archive, bring it on!
THE TCM VAULT COLLECTION--Appearing late in the year, TCM's Vault Collection first release was the box set, THE UNIVERSAL CULT HORROR COLLECTION, featuring the release of eagerly anticipated B gems such as HOUSE OF HORRORS, THE STRANGE CASE OF DR. RX, THE MAD GHOUL, MURDERS IN THE ZOO and THE MAD DOCTOR OF MARKET STREET. After this collection, not too many more Universal horror/mystery titles remain unreleased, so this TCM release is essential for even the casual fan. Also TCM Vault Collection released the rarely seen Christmas classic REMEMBER THE NIGHT, with Fred MacMurray and Barbara Stanwyck, working from a script by Preston Sturges. This rambling bitter-sweet "road" romp is a true delight and provides something different to watch during the Christmas season.
COLUMBIA PICTURES FILM NOIR CLASSICS, VOL. 1--Yes, the classic and formerly released THE BIG HEAT is included in this collection, causing somewhat of a sour taste in our mouths because we are forced to re-buy a movie most of us already own, but those other releases demand our attention. Not all of these movies are anything resembling classic noir, but for now seeing those minor gems that have eluded us for years is a real treat. The movies included in this package are 5 AGAINST THE HOUSE, THE LINEUP, MURDER BY CONTRACT and THE SNIPER. And with Volume 2 forthcoming, featuring four more new to DVD releases, the wealth of rarities from film noir, affordably priced, just keeps coming and coming.
THE THREE STOOGES COLLECTIONS (Volume 8 is the final release for 2009), which debuted in 2008, continue in 2009, and every Stooge short through most of 1954 has been released. As the declining quality of the more recent releases has been noted by critics, also duly noted has been the release of the first widescreen Three Stooges shorts and the release of the 3-D Stooges shorts (available in the collection in both a flat and 3-D version, complete with two pairs of glasses included). With fantastic restoration of the complete, uncut prints, I have gotten so much pleasure and so many laughs out of this series of releases that I had to add it to my top-10 best-of-list for a second year in a row.
The remainder of my top-10 list contains Blu-ray discs restored, re-mastered and replicated in 1080p. Such is cause for celebration! Simply stated, whether classics or modern, these movies have never looked or sounded better than they do here.
SNOW WHITE and PINOCCHIO, two of Disney's greatest classics, arrived in pristine looking and sounding Blu-ray discs during the past year, and both of them are outstanding and bargain priced. Remember, PINOCCHIO is truly a tale of horror, showcasing the fear of little boys turning into animals and dealing with the horror of body parts that grow too large, too fast. Disney spares no expense in the Blu-ray releases of their classics.
IT'S A WONDERFUL LIFE and A CHRISTMAS CAROL both saw wonderful restorations (with IT'S A WONDERFUL LIFE an absolutely pristine, perfect one; with A CHRISTMAS CAROL a noticeably improved one) presented in Blu-ray. IT'S A WONDERFUL LIFE can be watched in both the original black and white version, or the superbly colorized one (by Legend Films) that is also well worth seeing. To me, these are classic Christmas movies that transcend the Christmas film genre to produce profoundly emotional studies of the human condition. Both are superb productions that look the best they've ever looked in Blu-ray.
SIN CITY (Theatrical and Extended Director's Cut Edition)--For me this is perhaps one of the most eye-popping cinema experiences of the decade. Frank Miller and Robert Rodriguez, coming from the world of movies and the graphic novel, combine talents to co-direct one of the most uncompromising dark crime/film noirs ever produced. The film made money and was critically recognized, but for me, the film was not recognized to the extent that it needs to be. It was truly, and still remains, cutting edge for the ages, taking comic books and film noir and transforming them to the screen in the way they can once again be relevant for today's younger film generation. I love the interconnected stories, the acting, the stylized photography, the makeup and the crisp dialogue. On Blu-ray, this film kills.
THE WIZARD OF OZ 70 TH ANNIVERSARY ULTIMATE COLLECTOR'S EDITION--Yes, it costs a lot. But besides getting three discs of movie watching, we get collectable cards, an Oz watch and marvelous reproductions of the movie's pressbook and a wonderful book that details the film's production. In other words, we get the movie and the entire kitchen sink thrown in (stores such as Walmart and Target sold less expensive movie-only Blu-ray versions at a more reasonable price). But the restoration performed on THE WIZARD OF OZ is mind-blowing and becmes a demonstration of how Blu-ray can make even movies made 70 years ago look pristine and vital once again. Even if you already own the movie, this version is worth buying once again. Don't fight it, just go out and buy it. You won't regret your decision.
NORTH BY NORTHWEST--Not as old as THE WIZARD OF OZ, but this 1959 Alfred Hitchcock suspense classic looks as though it were filmed last month, or perhaps looks as though it were mastered from a negative that was stored in a vacuum-sealed vault under ideal conditions, so that the video prints made look as good as the theatrical prints struck when the movie was brand spanking new. It is not only the picture but the sound that is also just perfect. True, Blu-ray was made to make today's movies look their absolute best. But for anyone who still thinks his VHS of NORTH BY NORTHWEST is anywhere in the same ballpark as watching this masterfully restored Blu-ray version, that person is certifiable and needs to be sealed away in a time capsule immediately. To be honest, movies such as NORTH BY NORTHEST only testify to the fact that classic movies, those made 50 years ago, or 70 years ago, look and sound incredible in a Blu-ray 1080p release. Blu-ray brings the classics to rip-roaring life, and that's why I want to see studios reach further back when releasing new Blu-ray titles.
Another year of home video entertainment has come and gone, but 2010 threatens to see the release of even more vital and breathtaking movie experiences. Read about all of them in MAD ABOUT MOVIES and MIDNIGHT MARQUEE.
December 15, 2009
Warner Bros. Archives Series and TCM Vault Collection: Why the Complaints???
Isn't it logical that after Warner Bros. released multiple collections of film noir, gangster movies and vintage Hollywood star-powered box sets, that the demand for the lesser classics might be commercially bankrupt?
Let's face it, scores of classic movie fans want to purchase gems such as THE MALTESE FALCON, THE BIG SLEEP, OUT OF THE PAST, LITTLE CAESAR, THE ROARING TWENTIES and the list goes on and on. But how many people want to purchase those similar movies that might have been awarded two to three star ratings and that come up a little short when compared to the best of the best?
In the world of book publishing, Midnight Marquee Press can afford to release a paperback for $25, while similar smaller publishers like McFarland can release paperbacks for $30 to $45. Many book buyers complain that mainstream publishers can release similar-sized quality trade paperbacks for $15. So why should they pay almost double or triple to buy a similar product?
The answer is a simple one. Those mainstream trade paperbacks might evaluate the careers of Johnny Depp or Leonardo DiCaprio, or touch upon the films of such modern directors as Judd Apatow. Even casual buffs might shell out minimal money to read about the current blockbuster playing at the multiplex. Or better yet, anything on the TWILIGHT series or HARRY POTTER is bound to sell copies through the roof. But this is not the audience that most small press publishers are chasing after.
Instead, small press publishers try to appeal to a smaller, less hip niche audience, one whose love of movies extends 50 to 75 years ago. Instead of profiling prolific mega-stars such as George Clooney or Megan Fox, they analyze the careers of celebrities that appeared left of the dial, cult stars and directors such as Peter Cushing, Terence Fisher, Andre Morell, Brett Halsey and Edgar Ulmer. Publishers can expect to sell thousands of copies of any book on the TWILIGHT film series, but a book about Andre Morell can hope to sell 500 copies tops (and that's being rather optimistic). So with smaller press runs and more frequent print-on-demand titles, the cover price for small press books is higher simply because the demand for these titles is much smaller than the demands of mainstream titles.
The same is true with the release of more and more esoteric and non-classic vintage movie titles. How many copies of THE MALTESE FALCON sold? How many copies of, say, Jacques Tourneur's EXPERIMENT PERILOUS will sell? That is the point precisely. Warner Bros. initiated their Archive Series several months ago as a type of print-on-demand or made-to-order archive of titles that will never be mass released. These titles have not been restored to impeccable standards with costly re-masterings, but the titles themselves have been mastered to the highest standards from the best negatives and prints that currently exist. To be quite honest, the quality for the Archive series does vary slightly, from film to film, but when projected on my nine-foot screen, all of these titles appear crisp with deep contrast and inky blacks. The sound is as good as any audio on the other box-set release titles. Yes, the titles cost $20 each (Warner does not charge for shipping but TCM does), while typical mainstream release titles cost $15 when sold alone or $5 to $10 each when sold in thematic box sets. But these $20 DVDs are the titles that most likely would not have ever been released. These are the titles that many of us love and have a fondness for, but these are the titles that would only sell in small quantities, making their mainstream release unprofitable.
So instead of celebrating the fact that FROM HELL IT CAME is finally released on DVD, many people state they would not pay more than $10 to own it and that charging $20 is highway robbery.
But if these same people follow the Warner Archive website they can see multiple sales are available every week, and, praise the celluloid gods, for their Black Friday weekend, the Archive series offered pretty much their entire catalogue for 50% off (shipping free), if you purchased 10 titles. Now that's a bargain. And the Archive series bundles movies together to sell them in box sets (although titles are shipped individually always). For instance, the six Gordon Scott Tarzan movies finally became available at a cost of $10 each, if you purchased all six together (or you could purchase the two best, TARZAN'S GREATEST ADVENTURE and TARZAN THE MAGNIFICENT, for $20 each). Fans have been crying for a decade for the release of these superior Tarzan entries, and now that they have arrived, many fans are disappointed that they cannot be purchased for $5 apiece.
In a similar move, TCM, working with Movies Unlimited, have opened up movies from their vault and are selling them in a similar print-on-demand way. The first release is THE UNIVERSAL CULT HORROR COLLECTION, containing five sought after B movies from the Universal vaults--MURDERS IN THE ZOO, HOUSE OF HORRORS, THE MAD DOCTOR OF MARKET STREET, THE MAD GHOUL and THE STRANGE CASE OF DOCTOR RX. And the price is $60 for all five movies. As a bonus, they ship in a very attractive case. True, if Universal had released the box set, it would street price for around $21 to $25, but again Universal would only release classic mainstream titles such as THE BLACK CAT, FRANKENSTEIN and THE WOLF MAN. How many people, except true fans, would purchase THE STRANGE CASE OF DR. RX?
If we truly want to see every Universal horror title released, now that the classics are all available (I know, everyone still awaits a DVD release of ISLAND OF LOST SOULS), we need to support the release of less desirable, less mainstream titles to see the DVD release of all the rest. It's time to stop bellyaching and step up to the plate.
Let me put it this way. I purchased recently the KARLOFF LUGOSI box set that featured THE WALKING DEAD, FRANKENSTEIN 1970, YOU'LL FIND OUT and ZOMBIES ON BROADWAY for around $21. I paid $60 for THE UNIVERSAL CULT HORROR COLLECTION mentioned above. For me the $60 purchase was the true "bargain," containing those titles that mean the most to me. I would have preferred to pay $25 for the set, but once we all understand the difference between releasing mainstream titles and esoteric, less commercially viable ones, we can understand the logic that states I would rather purchase the McFarland BELA LUGOSI AND BORIS KARLOFF bio book for $75 instead of some mainstream modern Hollywood celebrity bio for one-third the cost. When it comes to esoteric, niche products we all must expect to pay a little more. [We at Midnight Marquee Press do manage to provide esoteric niche titles at the most affordable prices for fans, but we realize that selling fewer copies of such titles makes it more and more difficult to make a profit and to continue publication of future titles.]
But at last we can add the Rondo Hatton thriller HOUSE OF HORRORS to our collections. That is cause to celebrate, isn't it???? At any price!!!
July 1, 2009
Busy Being Born or Busy Dying? Why Many Adults Hate New Music and New Movies
I hear it and read it all the time. Baby boomers claim that the best rock and roll ended about 1976, along the time that punk rock broke and became popular... before Disco hit the scenes. Even many of the teens I teach claim that classic rock of the 1960s and 1970s blows away everything recorded today. But is this true?
The same thing seems to be true with movies and the baby boomer generation. Movies from the 1930s through the 1970s are the only ones that matter. Many boomers bemoan the death of the delightfully unreal Technicolor movies, replaced by the de-saturated color photography of the 1970s and beyond. Many boomers feel classic cinema died by the late 1960s, or at least by the mid-1970s.
People of my generation constantly argue that art created today is just not as good as art created 30 years or more ago. And to their way of thinking, they may very well be right. Remember when dialogue in movie screenplays was literate, adult and intelligent? Not so today!
Basically, when we are pre-teenage or teenagers, or even college age 20-somethings, movies and music are perhaps the most important way how we define ourselves. Just as we may dress preppy or punk, watch classic Hammer or AIP black and white teenage monsters wreak havoc or listen to garage bands, Phil Spector's Wall-of-Sound, Prog or Psychedelic rock, we define who we are by what we watch, what we listen to and all this affects what we wear. Or at least, during adolescence, this is very much true. During those days, for baby boomers, waiting for the new Rolling Stones album to arrive was a life-altering event. In the mid-1960s, Bob Dylan sporting leather and plucking an ELECTRIC guitar was huge, after deserting his corduroy cap and acoustic guitar. The art we enjoyed was life defining, or at least life altering. The movies and music that touched our psyches during adolescence were the most profound of our lives. And for most generations, this truth is a constant.
As we age, it was never a case of becoming un-cool. People who enjoyed the free form jazz of the late 1950s, people who grooved on Miles Davis, John Coltrane and Ornette Coleman would not suddenly embrace the Beatles a few years later (of course, some jazz fans actually would, but not the majority). The same is true with people who grew up in the 1950s grooving to the swinging pop sounds of hip Frank Sinatra. These generally were not fans of rockabilly and Elvis Presley.
As we baby boomers matured into our 30s--where career, marriage, savings accounts, preparing for retirement, relationships and the harsh realities of life took the forefront of our energies--music and movies still were important, but they were put on the backburners, squeezed in between these harsh slaps that life dished out, and while music commanded so much of our time, it soon became something to do while driving to the store, after putting the baby to sleep or perhaps during a few stolen minutes grabbed here and there. The new music was not OUR music. It belonged to younger people, or so it seemed. People who "got" the Beatles and the Stones perhaps "got" pre-punk such as The Stooges or The New York Dolls, but when the Ramones and The Sex Pistols came upon the scene, it became more difficult to embrace such new sounds and musical styles. The pressure was on to grow up musically, to stop being an adolescent and to embrace more adult sounds. And my god, how could we deal with Disco and Saturday Night Fever! Time surely had passed us by! And even if you were one of the few who simply followed the new music, and tried to embrace it, it become increasingly more and more difficult to understand Rap, Dance/Trance, World Beat and electronic-created/computer generated rock. (Was it still rock... with the guitar downplayed or omitted and drumbeats being just as often played electronically and not pounded out on the actual instrument we call the drums?). How can a baby boomer today relate to bands such as Grizzly Bear, Death Cab for Cutie, Deer Tick, LCD Soundsystem, Pains of Being Pure at Heart or Animal Collective??? Some of us try, because wouldn't it be sad to think that the best music of our entire lives was created by the time we turned 26 or so!
Well, some of us still try to be relevant. We live by that great Bob Dylan line that "he who is not busy being born is busy dying," and if we reject everything that is new, then we are dying artistically and becoming the old fogy that we always dreaded we would become. It's okay to love classic horror cinema, but when we state that splatter films repulse us, or that the nudity and sex quotient is overdone for our tastes, are we actually admitting that our tastes and sensibilities are becoming old? That we who ranted and raved in favor of eccentric and cutting edge New Wave music and French Cinema would now shut down when it comes to anything that smacks of cutting edge today? Are we just too zoned out, tired or lazy when it comes to appreciating today's movies and music? Since our adult lives are pulled in too many different directions, perhaps we simply don't have time to sit down and watch and listen and try to understand. Instead we assume that anything new is not as good, and when we listen to those vocal harmonies created by bands such as Animal Collective and Grizzly Bear, we remember that the Beach Boys did it first and did it better. It seems so much of today's modern art is too similar (meaning inferior in the sense of having been there, seen that, heard that) to the great movies and music of the past, and that when movies or music try something radically new or different, that it pales compared to the creativity of the best of (movies) Hitchcock, Ford, Hawks and Whale or (music) Chuck Berry, Muddy Waters, The Beatles, The Rolling Stones, Bob Dylan or The Velvet Underground (let alone Big Star or The Replacements!).
At least the best music of the past was collaborative, even solo artists recording and creating with a band, either in a garage or in the studio. Today, so much music in insular, created by one guy holed up in his bedroom with his computer, creating the equivalent of musical masturbation.
And with digital camcorders and computer-based editing systems such as Final Cut Pro readily available, now anyone can make a feature film at home for lots less money (of course, this is not saying such movies are any good!).
Movies today seem to either be the Big Products earmarked for the teenage demographic or the low rent independent production that frowns upon any commercial considerations. The best movies of the past combined the best of both extremes, without committing exclusively to only one.
Bottom line--I don't know if the baby boomers are simply getting old, complacent and too pooped to rock or really focus on current cinema, or, if the music and movies of the past were simply superior and we are sick and tired of being force-fed mediocre music and movies.
As Bob Dylan sang in 2006 on his classic album MODERN TIMES, "For the love of God, you ought to take pity on yourself."
