Wednesday, July 23, 2014
Flying Fire Fighters and Fabrick
By Steve Herte
By Steve Herte
This weekend I had the opportunity to attend a small family reunion at my sister's house in Milford, Connecticut.
My niece Julie and her husband James were up from Florida with their one-year-old daughter Annabelle. When they named her I immediately thought of the beautiful poem by Edgar Allan Poe. When I heard that her middle initial was "E" (for Elizabeth) the reference was complete - Annabelle E! She's a very serious looking child, absorbing everything in her surroundings, and not leaving Mommy or Daddy (she can walk) until she decides it's safe to do so. In that way she's like I was (and still am partially). My guard is always up until you prove trustworthy. Probably that's why I have less than 100 on Facebook. But being cautious has worked for me in general. The few real adventures I engaged in were exciting but not life threatening. But over the years I've gained the ability to trust certain sources that were reliably consistent. One of these is Pixar (even though the Mouse that Roared swallowed them up) and the other is David Burke. Which brings me to this week's Dinner and a Movie. Enjoy!
Planes 2: Fire and Rescue (Disney, 2014) - Director: Roberts Gannaway. Writer: Jeffrey M. Howard. Cast/Voices: Dane Cook, Ed Harris, Julie Bowen, Curtis Armstrong, John Michael Higgins, Hal Holbrook, Wes Studi, Brad Garrett, Teri Hatcher, Stacy Keach, Cedric the Entertainer, Dale Dye, Danny Mann, Barry Corbin, Regina King, Jerry Stiller, Anne Meara, Curtis Armstrong, Corrie English, Matt Jones, Fred Willard, Bryan Callen, Danny Pardo, Erik Estrada, John Ratzenberger, Rene Auberjonois, & Kevin Michael Richardson. Color, 83 minutes.
It’s always amazing when a sequel out-entertains the original because of the extreme rarity of the occurrence. Planes 2 succeeds where others fail through the professionalism of the film artists and animators at Disneytoons. Although both Planes movies are spin-offs of Pixar’s Cars, the production rights go to Disney Corporation under the directorship of Roberts Gannaway. When I was anticipating seeing this film it was for the spectacular camera angles that were so realistic they swept me into the action of the moment and made me forget that the characters were talking vehicles (there’s not a person nor animal in the entire flick). My expectations were met and exceeded. I was glad I didn’t see it in IMAX or in just 3D, when I joined the audience in following (or preceding) Dusty Crophopper (Cook) as he soared in daredevil maneuvers between pylons, under bridges and in loop-the-loop flying. It was breathtaking and a little dizzying.
Dusty’s days as a racer plane are over when he tries a stall climb and strips a gear in his gear-box and learns from his able mechanic, the forklift named Sparky (Mann) that the replacement part isn’t being made anymore. Though his friends Dottie (Hatcher), Skipper (Keach) and Chug (Garrett) try to console him, he leaves their company and goes flying after dark, trying to push his engine “into the red zone,” which he was warned never to do again, stalls out, and careens into the local gathering place for his friends, setting it on fire. Mayday, the fire truck (Holbrook) can’t put the fire out by himself and enlists the help of both planes and cars to topple the water tower and extinguish it that way. This sparks an investigation by Ryker (Richardson) of TMST (“This Means Serious Trouble” suggests one character) Transportation Management Safety Team, with the result being that Mayday needs an overhaul because of his age and the “town” needs a second firefighter. Feeling guilty for being the cause of this, Dusty flies off to Piston Peak National Park to become trained and certified as such.
There he meets Blade Ranger (Harris) a serious helicopter, Maru (Armstrong) a whiz of a mechanic forklift, Windlifter (Studi) an enigmatic and stolid Cherokee helicopter, and Lil’ Dipper (Bowen), a star-struck tanker plane who has followed Dusty’s career avidly. Also in this group are Cabbie (Dye) a huge transport plane, and the Smoke Jumpers, Dynamite (King), Pinecone (English), Avalanche (Callen), Blackout (Pardo) and Drip (Jones). After Maru trades his landing gear for refillable pontoons Dusty starts his training with the reluctant Blade Ranger.
Meanwhile, Park Superintendent Cad Spinner (Higgins), a fast-talking luxury SUV, is holding a huge gala at his lodge and is expecting attendees and celebrities from all over (including Boat Reynolds and the Secretary of the Interior – voiced by Willard) and he doesn’t want to hear anything about a forest fire heading straight toward his lodge. This becomes the major challenge for the fire-fighting planes and the still uncertified Dusty, who has to prove himself in a real emergency.
I loved Planes 2 for the sheer scope of the film and the cast of excellent characters and their famous voices. In addition to those I’ve already discussed, Stiller and Meara voice two elderly recreational vehicles, revisiting the place where they first met. Estrada revisits his television role as a Police helicopter side-kick Nick ‘Loopin’ Lopez in CHoPS with Blade Ranger. Ratzenberger revives his part as Brodi and Auberjonois joins the cast as Concierge, a French-accented forklift at the lodge.
Bring the children to this movie and have a great time, though I would not suggest bringing babies. There are several scenes with loud noises and the babies in my audience did not react well to them. The film is squeaky clean with regard to language and any sexual content and the violence is played down. The worst expletives I heard were “Chevy!” and “Stick Shifts!”
Rating: 5 out of 5 Martini glasses.
David Burke Fabrick
47 West 38th Street (between 5th and 6th Avenues), New York
Having dined at david burke and donatella (yes, all lower case, but now the David Burke Townhouse), Fishtail, Kitchen, and David Burke Prime at Foxwoods Casino, I was delighted to see a new David Burke establishment called Fabrick in the Archer Hotel. You could say I’m a fan of the chef, especially after meeting him at Kitchen in the James Hotel downtown. He’s a great personality with a zeal for innovative cuisine. I really should visit his restaurant in Bloomingdale's department store, once called Le Train Bleu. It’s the only one I’ve missed.
The Archer Hotel is recessed from the main sidewalk on 38th Street to allow for a sidewalk café attached to Fabrick. Inside, the bright red chairs and yellow banquettes at bare wood tables are arranged informally to create an indoor “outdoor” experience. The dark wood and open brick walls lead to a beautiful skylight over the “shack” that is the kitchen in the back. The ceiling over my table was a colorful tapestry from which twin antique fans hung and spun. All of David Burke’s restaurants have some unusual decorative accent such as the glass “balloons” at Townhouse. Fabrick has a wrought iron chandelier enclosed in a birdcage hanging from a coiled rope that was purchased from an outfit known as Restoration Hardware. (Thus I was informed by my waiter Erik, with whom I was on a first name basis by the end of the meal).
After a fantastic Manhattan infused with maple syrup (the perfect Welcome Back drink after my stay in Vermont), Erik assisted me with the menu which was organized into four categories: Mostly Veg, Meat, Fish, and Sides with the smaller sized dishes listed first and the larger ones second in each half of a category. I told Erik what interested me, how big my appetite was and how slow an eater I am and that I was looking at a three-course meal. When he heard my choice of entrée, he added a course and I agreed. I asked for the wine list and chose the 2012 “Geyserville” Zinfandel from Ridge Vineyards in Sonoma County – a delicious deep red varietal consisting of mostly zinfandel (71%) and rest is Carignane, Petit Syrah, Alicante Bouchet and Mataro (Mourvèdre) – fruity yet authoritative without being heavy.
While Erik was off attending to my order the executive chef arrived with the Amuse Bouche, a delicately sliced fluke dish with a citrus sauce and basil olive oil – a nice beginning, understated but tasty. But then my first appetizer arrived – a Foie Gras Torchon (goose liver paté formed into a patty) on a small bun with a peach sauce – a special for the day. It was wonderful as well as strange. Really, eating foie gras as if it were a burger! But that’s David Burke. The two girls at the next table were being served the candied bacon suspended by clothespins on a miniature washing line.
Next came the dish Erik recommended, the Red Snapper Ceviche in a fiery grapefruit sauce and topped with fried plantain chips. I was amazed how something so fruity could be so spicy at the same time. Various spicy items raced through my thoughts as I tried to isolate what was causing the fiesta in my mouth (probably some hot pepper essence).
If you’ve kept up with my reviews you would know by now that octopus and I are old friends. The Angry Tacos featured grilled octopus with garlic, soft tortillas, an avocado purée, chipotle aioli, and pico de gallo. Though a bit messy to eat, they were fun to construct and delicious. I particularly loved the little iron pan the octopus was served in.
Erik brought a formidable steak knife for the main course bearing the David Burke logo on it. I would compare it to an amalgam of a steak knife and a meat cleaver. The Lamb Chops and Ribs were served on a cutting board with the grilled ramps. The curried shoestring fries were in a neat paper cone supported by a silver bowl nearby. As Erik advised, the Vindaloo barbeque sauce on the ribs was not the Indian style hotter-than-hot sauce but a respectable spicy topping. The curried fries however, were seriously addicting and the lamb almost did not need the horror-film knife.
Of course I was ready for dessert after this and normally I retain the slip showing what I had, but this time, for some reason I was really enjoying myself and neglected to do so. Let it just be said that in involved exotic fruit flavored sorbet, meringue and a slice of dense sweet pie looking like a sailing ship with caramelized sails. That and a cognac finished a truly David Burke dinner-experience. Fabrick has only been open for a month but I can see it going for a long time with Chef Burke at the helm.
For the Dinner and a Movie archive, click here.
Posted by Celluloid Club at 12:06 AM
Monday, July 21, 2014
TCM TiVo ALERT
July 23–July 31
DAVID’S BEST BETS:
BELLE DE JOUR (July 23, 12:30 am): Catherine Deneuve as a prostitute already sounds like it's going to be a good film even if the script is mediocre. It turns out the storyline of this 1967 film is excellent, the acting is fantastic and it's all expertly directed by the great Luis Bunuel. Deneuve is a bored and prim French housewife, with a very kinky side even though she's a prude when it comes to her husband. She ends up making some of those fantasies come true when she becomes an afternoon hooker at a brothel. The film blends reality and fantasy leaving the viewer wondering what is real and what isn't. While this can be frustrating in other movies, it somehow enhances this film. It's one of Deneuve's finest performances and is a landmark in mainstream erotic films even though it never shows any explicit sex scenes.
WILD STRAWBERRIES (July 28, 10:00 pm): You can't go wrong with any of the six Ingmar Bergman films TCM is airing on July 28, starting at 8:00 pm. They all come with my highest recommendation. However, if you have to choose one – and really, is there any reason to watch only one? – go with 1957's Wild Strawberries. Bergman isn't light viewing, but the insight into humanity his films provide are worth it. This film is about a 78-year-old professor (Victor Sjostrom) who is traveling across Sweden to receive an honor from the university of which he earned his doctorate. Accompanied by his daughter-in-law (Ingrid Thulin), he picks up young hitchhikers and through nightmares, flashbacks and reflections as well as observing his fellow travelers, he learns about his life. It's so brilliant and moving that the viewer also learns about himself/herself if that person allows it. It's easily one of the 10 greatest films ever made.
ED’S BEST BETS:
THE MUMMY (July 26, 12:15 am): Boris Karloff gives one of his strongest and best-remembered performances as Imhotep, an Egyptian mummy revived after thousands of years. Zita Johann co-stars as his reincarnated love. Billed as “Karloff the Uncanny” in publicity for this film, Boris lives up to the moniker – and then some. Watch for the great scene when archaeologist Bramwell Fletcher reads the magic scroll that brings Karloff back to life and laughs himself insane when Karloff revives and walks away with the scroll. The makeup was years ahead of its time, adding to the eerie atmosphere. It’s one Karloff performance not to be missed.
TO BE OR NOT TO BE (July 31, 2:15 am): No, it’s not the 1942 Ernst Lubitsch original, but the 1983 Mel Brooks remake. And it almost equals the original. Brooks merges the separate roles of Joseph Tura (played by Jack Benny in the original) and bit part player and Hitler imitator Bronski (Tom Dugan) into one Frederic Bronski, but is very careful not to go too far astray, and the changes he does make are excellent. But the real gem in this production is Mel’s wife, Anne Bancroft. As Anna Bronski, she brings to the role the love for her husband and the frustration with his antics. Brooks, like Lubitsch before him, has an excellent supporting cast and makes good use of each. Jose Ferrer makes for a wonderful traitorous Professor Siletski, and Charles Durning almost walks away with the picture as the hilariously inept Gestapo Colonel Erhardt. Usually I wince whenever a remake is mentioned, but this one is funny and well-paced. By the way, look for the tribute to Jack Benny.
WE DISAGREE ON ... LUST FOR LIFE (July 24, 8:00 pm)
ED: A+. When considering a biopic about a person as passionate as Van Gogh, one needs an actor who can be passionate without chewing up the available scenery. And in Kirk Douglas we have that perfect actor. He brilliantly conveys the emotional state of Van Gogh without resorting to stage theatrics or trying to outshine his co-stars. In fact, there are times throughout the film when Anthony Quinn, who won a well-deserved Oscar as Paul Gauguin, outshines Douglas in their scenes together. (More kudos to Douglas for placing the importance of his subject before his ego.) As with any quality production, it is absolutely essential to have a good director and an excellent supporting cast. And Lust for Life has both. Vincente Minnelli has the good sense to stand back and let the story unfold while getting superb performances from a stellar supporting cast, including the underrated James Donald, Henry Daniell, Lionel Jeffries, Niall McGinnis, Laurence Naismith, and the always-dependable Everett Sloane. But in the end it’s up to the star to carry the project, and Douglas does just that with a textured performance for the ages. This is a film I can watch time and time again without feeling bored.
DAVID: C-. You won't get an argument from me that Kirk Douglas is one of cinema's all-time greatest actors and that over the years, Anthony Quinn showed himself to be a fantastic talent who delivered great performances in the right circumstances. While Quinn won an Oscar for Best Supporting Actor for his eight-minute performance in this 122-minute film and Douglas was his excellent self, this movie about Vincent Van Gogh, an interesting and intense figure in the history of art, does very little for me. I don't enjoy the story, how it's told, the pacing of the film or most anything else even though I recognize the strength of the acting. It's that strength in this overly melodramatic film that saves it from me giving it a grade lower than a C-. Not that it has much to do with this film, but while Van Gogh's life was fascinating, his art is highly overrated.
For the complete list of films on the TCM TiVo Alert, click here.
Posted by Celluloid Club at 7:39 AM
Saturday, July 19, 2014
The Master of the Short Horror Tale
By Steve Herte
Scars and Other Distinguishing Marks by Richard Christian Matheson (New York: Tor Books, 1988), 288 pages.
By Steve Herte
Scars and Other Distinguishing Marks by Richard Christian Matheson (New York: Tor Books, 1988), 288 pages.
Read any good books lately? I just finished a dandy. A good friend recommended this to me, advising me to think of “Twilight Zone” and Stephen King while reading it. Well, that was all I needed to hear. Scars and Other Distinguishing Marks by Richard Christian Matheson (1988) is a collection of short stories featuring plot twists reminiscent of Twilight Zone episodes. In fact several of them were published in Twilight Zone Magazine.
I didn’t have to wait too long for the “Stephen King” part because the man himself wrote a glowing forward to the book, complimenting Matheson on style and amazing brevity while getting to the point of each story without wasting words. After having read 61 of Mr. King’s books, I trust his opinion implicitly and he did not disappoint. In addition, there is the introduction by Dennis Etchinson, another noted writer of fantasy and horror, author of The Dark Country (who tied with King in 1982 for the World Fantasy Award) that set my curiosity humming for Matheson’s tales.
This led me into an examination of Matheson himself. I originally had him confused with his famous father, but Richard Christian Matheson stands on his own, living proof that the acorn does not fall far from the tree. He was born on October 14, 1953, to Richard Burton and Ruth Matheson. His mother was a clinical psychologist, specializing in cases of substance abuse. His younger brother, Chris, is also a writer, with Bill and Ted’s Excellent Adventure (1989) to his credit. Richard became a professional writer in 1978 and has written over 300 teleplays as well as screenplays for movies. When he’s not writing, he’s on the front lines for animal rights. And would it surprise anyone to learn that he’s also a ghost hunter?
Before we examine his television and motion picture work, let’s take a look at Scars. It’s a masterly collection of 26 short stories, one written in conjunction with his father, and a screenplay from Amazing Stories titled “Magic Saturday.”
I must admit that the first couple of stories were rather obtuse and had me wondering what Matheson was getting at, but then he hit his stride with the next tale and I was eager to find out what happened next and what will happen in the following story. Allow me to give brief encapsulations and you can be the judge of whether or not they entice.
"Third Wind” – A man trying to achieve a new personal best in his athletic running discovers he can’t stop.
"Sentences” – A man has his screwed-up life rewritten by a company called “Script Sure,” but they don’t consult the original scriptwriter.
"Unknown Drives” – A slow-moving farm truck driver frustrates an impatient driver in a Mustang on a narrow, two-lane road, deliberately.
“Timed Exposure” – A couple uses a carnival photo booth that doesn’t print the photos until later and another customer sees they predict murder.
“Obsolete” – A robot homeowner cans his old human woman servant.
“Red” – A father is picking up the pieces of his daughter who got caught on the car door handle while riding her bike.
“Beholder” – A woman artist paints herself into a steamy love scene.
“Dead End” – A couple in a Porsche trying to bring the life back into their marriage can’t avoid a dead end (literally) in the Hollywood Hills.
“Graduation” – Letters from college reveal a mysterious dorm room death and later a devastating fire but these experiences yield an “A” grade in Philosophy.
“Conversation Piece” – The only story in interview format, a man explains how he enjoys selling his own body parts for a living to support his family.
“Echoes” – A millionaire businessman suddenly hears screams and moans increasing in volume and pain and hurls himself out of a window.
“Incorporation” – A yuppie learns that the meaning of “I am the corporation” is literal in this case – over an open fire.
“Hell” – On a 100-degree-plus day in L.A., three cars block a woman’s car and push her over a cliff while the Doors “When the Music’s Over,” plays.
“Break-Up” – A man leaves his brokenhearted lover, immediately forgets her and transforms into someone else.
“Mr. Right” – A woman tells her psychiatrist about the psycho wife-beater she married but she can’t leave him because of his prowess in bed.
“Cancelled” – A network “King of the Spin-offs” imagines dead versions of himself in his house and dies of fright.
“Mugger” – A thieving team steals eyes for profit.
“The Dark Ones” – A dolphin family flees human fishermen, told from their point of view.
“Holiday” – Karl meets Santa Claus in Bermuda and gets a gift from his childhood.
“Vampire” – All one-word sentences, no verbs, articles, conjunctions, prepositions.
“Intruder” – An automated home protection system prefers to “remove” rather than “stun” intruders.
“Dust” – A man living on Mars is conducting a war against dust.
“Goosebumps” – A mysterious bump under a man’s skin is eating him from the inside and is growing.
“Mobius” – A cop grills a retarded man into believing and confessing that he’s a serial killer.
“Where There’s a Will” – A man wakes up buried in a coffin, claws his way out, and calls home from a gas station only to find out he really is dead.
“Magic Saturday” (screenplay) – A grandfather and his grandson magically exchange bodies as Grandpa is about to die.
It just wouldn’t be a discussion of Richard Christian Matheson if I were negligent in examining his work for television and the movies.
Matheson’s teleplays run the gamut of the times – from Three’s Company to several episodes of The A-Team. But as time went on Matheson began to involve himself in the family business of writing and adapting tales of horror and the fantastic.
Sole Survivor (Columbia TriStar Television, 2000): This four-hour miniseries starring Billy Zane, Gloria Reuben and Isabella Hoffman is based on the best-seller by Dean Koontz. After his wife and daughter are killed in a plane crash, a newspaper reporter discovers that the crash may have been related to a secret scientific experiment involving children. A woman, who claims she was a survivor of the crash, approaches at his wife's grave. This leads into a plot by the Quartermass organization to capture her and a young girl she is protecting, for the girl has the powers to heal and to transport. A villainous killer and a young boy who can control minds from a distance lead the attack.
Loose Cannons (Columbia, 1990): This film, written in partnership with his father, concerns a veteran police detective whose new partner is a younger detective who's a brilliant criminologist. There’s only one problem: he has multiple personality disorder.
It Waits (Anchor Bay, 2005): A lone female park ranger (Cerina Vincent) tries to track down a vicious creature killing various people and terrorizing her at a remote national park.
And all this started with reading a book. All this research has me curious about his father as well, especially that classic William Shatner episode of Twilight Zone. Thanks Ed, for leading me on a new path of discovery!
Posted by Celluloid Club at 9:50 AM
Thursday, July 17, 2014
Echoes of French Cuisine
By Steve Herte
I woke up this morning with a song lyric in my head: "When the wint'ry winds are blowing and the snow is starting in to fall, then my eyes turn westward knowing that's the place I love the best of all..." Only a few Barbershop singers could tell you those are the first two lines of the intro to the song "California Here I Come." I guess they popped into my head because, One, it was the first song I ever sang in a quartet (as a Lead singer, Tenor was a little later), and Two, Hollywood seems to be running short of novel ideas for movies. We live in an era of spin-offs, sequels, prequels, revivals and mash-ups. On Broadway they use the excuse that "there's a whole generation that hasn't seen this and show, so we're bringing it back. Well, guess what? They still haven't. The revival of Pippin is ridiculously different from the one I saw in 1970. I don't get it. But I do know what I like and won't be fooled by yesterday’s leftovers. Neither should anyone else. Enjoy!
Earth to Echo (Disney, 2014) - Director: Dave Green. Writers: Henry Gayden (s/p and story), Andrew Panay (story). Cast: Teo Halm, Brian “Astro” Bradley, Reese Hartwig, Elle Wahlestedt, Jason Gray-Stanford, Alga Smith, Cassius Willis, & Sonya Leslie. Color, 89 minutes.
Have I ever mentioned that Hollywood has run out of ideas for new stories? Take the general plot from E.T. the Extra-Terrestrial, add a dash of Stand By Me, Goonies and It (for sibling interactions only); modernize the technology behind the mechanical owl in Clash of the Titans, and you pretty much have 90 percent of this film. Add to that the annoying hand-held camera photography of The Blair Witch Project, Quarantine, and Cloverfield, and the remaining 10 percent is covered. Then take away the element of surprise because all of the best scenes (including the spectacular ending) are in the trailers. Granted, it’s only an hour and 29 minutes long, but trailers should generate interest – not give the whole thing away.
The story is simple. Three best friends, Alex (Helm), Tuck (Bradley), and Munch (Hartwig), are planning their last night together in the same housing development because they all have to move out for a ‘Freeway’ that is coming through. They notice that their smart phones ‘barf themselves’ or display a messy pattern on their screens whenever they visit Munch’s house. It doesn’t take them long to figure out that the abstract image is a map of the desert outside their neighborhood. They decide to give their parents cross-instructions of sleepovers and video game playing at each others houses and take their bikes out to find where the “map” leads. Fortunately, all their parents are too preoccupied with moving to take notice. Tuck is the cameraman, carrying a pair of “camera glasses,” which are essential to scenes after the authorities eventually catch them.
The map leads them to a “No Trespassing” area where they find what appears to be a small, unexploded bomb. It reacts to Alex’s voice and indicates where it wants to go next on their smart phones. They name the creature Echo because it repeats any amount of syllables they speak to it. Little by little it adds pieces to itself at each destination until it is able to open up, revealing the adorable alien creature inside. It can understand them if they ask simple “yes” or “no” questions. One of the destinations is the house of Emma (Wahlstedt), a girl on whom they all have a crush. When she discovers them in her bedroom, Emma becomes a part of the team.
They learn that not only is there not going to be a freeway built through their neighborhood, but that the U.S. government has shot down Echo’s ship. They are searching for it and its driver to dispose of both.
The kids travel back and forth by bike and other vehicles: dodging, being caught, escaping the authorities, and helping Echo find the necessary parts to resurrect his space ship (which is enormous and buried beneath the housing development).
If it weren’t for the other movies contributing pieces to this, it would be a charming adventure: it’s well written, well acted, and fun for the whole family. The humor is subtle and the special effects are dazzling, sometimes frightening (supported by the musical background) in their suddenness. I had a special sense of identification with the story because, shortly after we moved to where I live now, we learned that the city was planning to extend a highway right through our new house. Thankfully that never came to fruition. My advice for viewers of Earth to Echo is, bring the kids and sit back and enjoy. Go for ice cream afterwards.
Rating: 3½ out of 5 Martini glasses.
94 Chambers Street (Between Church and Broadway), New York
Nobody at my office is going to believe that there is an excellent French restaurant at this location. I didn’t believe it myself. The block of Chambers Street between Church Street and Broadway in downtown Manhattan is littered with “bargain” junk shops, Chinese take-out places and funky bars. Not exactly restaurant row. Being a savvy New Yorker, I know that even numbers on streets are on the south side and I walked from the highest address end of Chambers Street (at the West Side Highway) down to where I hoped to find Racines. I missed it twice before I found it. And no wonder: the number 94 is not visible, but next door, the number 94A announces the Chinese take-out place. The name of the restaurant is nearly invisible on the glass door, which is recessed from the rest of the glass front at the sidewalk and is printed in charcoal gray, two-inch block letters.
Inside I met Gaetano, who seated me and split his time between being my server and being the captain/greeter. I dubbed him the “Greeter-Seater” which he liked. He presented me with the menu and wine list and both a glass of tap water with a bottle to refill it. The décor is simple Bistro – open brick wall on one side, white painted wall on the other, white tin ceiling, and the kitchen and “chef’s table” in the back. Simple bare bulb swags provide the lighting. I chose to sit at a table in the front window (my usual preference, when available).
The menu is a single page featuring five appetizers, four entrées, the cheese plate and three desserts. Each description is minimal and concise (usually an indication that great care is put into the creation of each dish). After a short interrupted discussion with Gaetano (he was still changing hats back and forth) I decided on two appetizers and an entrée. Gaetano enthusiastically approved. Racines’ wine list is most impressive and has an extensive collection of French wines, but when I saw the 2006 Cubillo Crianza, a wonderful varietal of Tempranillo and Garnacha I was sure this was the one. Again, Gaetano approved.
While Gaetano was off putting in my order, another server brought the breadbasket and butter (Fresh, crusty sour-dough bread, yes!) and the Amuse Bouche – a lovely little creation using purple cauliflower in piquant green foam with toasted pine nuts. At this time, the bartender brought my wine, again enthusing over my choice. It had a strong personality in its nose, a beautiful deep red color and tasted bright and fruity at first and then warm and mellow as I swallowed it, perfect!
My first course arrived, the Veal Tartare, mixed with tarragon and pine nuts, under a blanket of warm fresh mayonnaise and crowned with marbled home-made potato chips and water cress. I commented to Gaetano that it was all I could do to not eat all the chips separately. But when combined with the other ingredients it was heavenly.
The second course was (I thought) a bit expensive for an appetizer ($35) but since I had a gift check I splurged. Anyway, Morels are my favorite fungus after truffles and this dish was Foraged Oregon Wild Morels (frankly, I’ve never heard of tame ones) in fresh, homemade Mozzarella from Di Palo’s in Little Italy, and aged balsamic vinaigrette. The earthy tender mushrooms combined with the fresh, only slightly chewy cheese and the vinegar was so sensual I told Gaetano that I didn’t need sex that night. This dish already provided that release. My wonderful Spanish wine kept pace with both dishes admirably so far.
My main course, simply described as lamb with shaved fennel, on a bed of artichoke and black olives and sided with a dollop of salsa verde didn’t come close to the gustatory bliss it provided. I generally do not like the flavor of fennel, which usually is overpowering, but here, combined with the salsa verde and the tender, juicy filet of lamb the net effect was the best Foie Gras! Yes, believe me. There was no goose liver on the plate but the flavor was there. I told Gaetano that if Scooby-Doo and Shaggy had tasted this dish they would give up junk food forever. He was pleased and proudly told me that they get their lamb from Pennsylvania.
Then, with a gleam in his eye Gaetano asked if I wanted dessert. But of course! This decision was not easy as all the desserts interested me. But after due consideration the Pistachio Parfait was my choice. Now you must get the image of a tall dessert glass and a long spoon out of your head because that is not what arrived. The pistachio parfait was served molded (in a cup of some sort) and placed centrally in a bowl and surrounded by fresh raspberries and poached rhubarb. I loved it.
There are only a few meals where coffee does not add to the experience and Gaetano knew it. He presented me with the after-dinner drink list and I chose the Ravignan Bas-Armagnac. In no time, I had a large snifter in my hand and was enjoying the heady aroma and tastes of the best of French distilling.
Will I return to Racines? Sure, why not? With such a small menu, it has to change over time and I can pretty much guarantee that everything on it will be wonderful, especially if Bouillabaisse becomes a feature. I learned from Gaetano that Chef Frederic Duca is from Marseilles (where it was invented).
For the Dinner and a Movie archive, click here.
Posted by Celluloid Club at 12:04 AM
Tuesday, July 15, 2014
A Guide to the Rare and Unusual on TCM
By Ed Garea
By Ed Garea
STAR OF THE MONTH -- MAUREEN O’HARA
July 22: At 8:00 pm, the night begins with The Immortal Sergeant, a rather preposterous film from 20th Century Fox in 1943. Henry Fonda is a timid Canadian corporal serving with the British in Libya. He’s taught courage and leadership by his patrol sergeant, Thomas Mitchell. When Mitchell is killed in battle, Fonda takes over and completes the unit’s mission. O’Hara appears as Fonda’s love in flashbacks. Fonda hated the picture; he had enlisted in the Navy when word got back to Darryl Zanuck, who pulled strings to bring Fonda from boot camp in San Diego to the Fox studios, where this classic was awaiting his presence.
At 9:45 pm, another forgettable film airs: Buffalo Bill, starring Joel McCrea in the title role and O’Hara as his wife. Just as Fonda despised The Immortal Sergeant, O’Hara hated Buffalo Bill. And she wasn’t alone - its director, William Wellman, and writer, Gene Fowler, also hated it with a passion. Fowler believed William Frederick “Buffalo Bill” Cody to be the biggest fraud that ever lived, and he and Wellman set about to write a screenplay that exposed him as a fraud. But one evening, as Wellman recalled, Fowler phoned to tell the director that they can’t simply cut down a man that was a hero to so many children. So, when the fact becomes legend, print the legend, as John Ford would point out years later in The Man Who Shot Liberty Valance. Both Fowler and Wellman held their stomachs in check and completed this laudatory biopic of a man who was certainly one of the biggest legends of the Old West. Wellman had no choice but to make the film; it was part of his deal with Darryl Zanuck. In return for allowing Wellman to make The Ox Bow Incident, a film for which Zanuck had no use, Wellman was to direct Buffalo Bill. Years afterward, Wellman would knock the film to anyone that asked. In the episode of The Men Who Made the Movies devoted to him, Wellman, spoke about how the scene at the end that has a crippled boy stands up and says “God bless you, Buffalo Bill,” had made him want to vomit. He would also mention how the film was a complete waste of one of the most talented casts he ever assembled: McCrea, O’Hara, Thomas Mitchell, and Linda Darnell. Speaking of Darnell, she plays a young Indian woman who teaches in a frontier school. Watch for her lines about racism, pretty bold for the day. The film was a box office bonanza; The Ox Bow Incident, on the other hand, was quietly released and allowed to whither and die. Today, it’s considered a classic while Buffalo Bill is largely forgotten.
The rest of the night presents us with much better fare. At 11:30 pm, it’s O’Hara and John Wayne in the hilarious McLintock! This 1963 comedy is sort of a Western take on Shakespeare’s The Taming of the Shrew with the last scenes lifted from Wayne and O’Hara’s classic, The Quiet Man. It has a good supporting cast in Yvonne De Carlo, son Patrick Wayne, Stefanie Powers, Jack Kruschen, Chill Wills, Jerry Van Dyke, and Edgar Buchanan. Add O’Hara at her feisty best and the Duke playing his best-known character - John Wayne - and it’s a treat for the eyes and ears. Wayne cast De Carlo in a featured role to help her financially, as her stuntman husband Bob Morgan, an old friend of Wayne’s, suffered career-ending injuries while filming How the West Was Won (1962).
Following at 1:45 am is another solid, albeit flawed, Western, The Deadly Companions. Directed by Sam Peckinpah in 1961 (his first Western feature film), it was produced by Charles B. FitzSimons as a vehicle for his sister O’Hara. FitzSimons resisted all attempts by Peckinpah to turn it into more than the producer wanted, even to the point of taking the final cut away from Peckinpah. Still, it’s an interesting film, with Brian Keith as a Civil War veteran (Union) who accompanies dance hall hostess O’Hara as she travels through hostile territory to bury her young son, accidentally slain by Keith, next to her late husband.
At 3:30 am, it’s John Wayne and O’Hara in John Ford’s The Wings of Eagles, a 1957 biopic of Frank “Spig” Wead, a pioneer aviator who turned to screenwriting after an accident grounded him permanently. Wayne and O’Hara are excellent, but the one to watch in the film is Ward Bond as film director John Dodge. Bond models his performance directly after Ford and it’s funny to watch.
Finally, at 5:30 am, O’Hara Shines as the wife of Tyrone Power in The Long Gray Line (1955). Power is Martin Maher, an Irish immigrant from Tipperary who came to the Point as a waiter, enlisted, instructed cadets in boxing, swimming and tradition, becoming one of the most beloved officers at the Academy. Directed by John Ford and based on Maher’s memoirs, the real star of the film is O’Hara as the Irish lass who wins Maher’s heart and becomes his wife. Ford originally wanted Wayne for the role of Maher, but Wayne was off on location with another film and recommended his neighbor, Power, to star in his place. Power holds his own, no mean feat when working with Ford. It’s a rarely shown film and one of Ford’s forgotten gems. As such it’s definitely worth recording.
July 29: Tonight the best comes first. At 8:00 pm is John Ford’s classic Rio Grande (1950). The last of Ford’s “Calvary Trilogy” (Fort Apache, She Wore a Yellow Ribbon), it’s an engaging look at the spirit of the Calvary during the post-Civil War days. It’s also a good drama about the estrangement between commander Wayne and his son, new recruit Claude Jarman. O’Hara is Wayne’s wife and has to walk the thin line separating father and son. It was the first of five films where Wayne co-starred with O’Hara, and for trivia fans, the film contains nine songs, most of which are performed by the Sons of the Pioneers (including Ken Curtis, later famous as “Festus” on Gunsmoke).
Following at 10:00 pm is the 1963 drama Spencer’s Mountain, O’Hara and Fonda are a married couple with nine children. Fonda’s dream is to build a home for his family. James MacArthur plays the oldest child, Clayboy, who would like to go to college, even though the family’s finances are lacking. The film is based on Earl Hamner Jr.’s autobiographical novel, so if any of this seems familiar, consider that Hamner later recycled the material into the television series The Waltons.
Two more rather unremarkable movies follow: The Battle Of The Villa Florita (1965) at 12:15 am, and Fire Over Africa (1954) at 2:15 am. In the latter O’Hara is a law-enforcement agent who infiltrates a ring of dope smugglers in Tangier.
FRIDAY NIGHT SPOTLIGHT
The Friday Night Spotlight, devoted to the 100th anniversary of the beginning of World War I, continues as TCM airs some films that were played often in the last months, and some not at all.
July 18: The evening begins with the oft-shown Lawrence of Arabia (1962) at 8:00, followed by Gallipoli (1981), another oft-seen film, at 12:00 am. Then at 2:00 am is Jean Renoir’s classic, Grand Illusion. Finally, at 4:00 am it’s Joseph Losey’s interesting and seldom seen King and Country (1964).
However, the real gold mine for the cinephile can be found during the morning and afternoon as TCM airs some of the “lesser” films about World War I. Of those being shown, I recommend J’Accuse, Abel Gance’s marvelous silent from 1919; Stamboul Quest (1934) with a great racy performance from Myrna Loy; Ever in My Heart (1933) with Barbara Stanwyck and Otto Kruger as her German-American husband; British Intelligence (1940) with Boris Karloff and Margaret Lindsay (see below); Dark Journey (1937) with Conrad Veidt and Vivien Leigh as competing spies, and finally, Rendezvous (1935) with William Powell as a cryptologist and Rosalind Russell as the annoying woman out to win his heart.
July 25: Again, another day and night full of movies. Begin at 7:30 am with the intense Heroes for Sale (1933) from William Wellman, a film that truly takes no prisoners. They Gave Him a Gun (1937) with Spencer Tracy and Franchot Tone at 8:45 am is worth the time, as is The Shopworn Angel (1938) at 12:30 pm. Jimmy Stewart and Margaret Sullavan always make for an interesting movie. Shoulder Arms (1918) at 3:45 pm gives Charlie Chaplin a chance to lampoon the various absurdities of Army life. Any comedy of military life had to walk a very thin line between hilarity and bad taste. That Chaplin is able to pull it off magnificently is a testament to his talent and his finger on the pulse of the public, as the film was a huge hit. At 8:00 pm, it’s the romantic tearjerker Random Harvest, with Ronald Colman and Greer Garson, followed by Robert Taylor and Vivien Leigh in MGM’s 1940 remake of Waterloo Bridge. At 12:15 am, it’s Richard Attenborough’s satire Oh! What a Lovely War (1969), based on the stage hit of the same name. Then, at 2:45 am, it’s a Garbo tour de force in Mata Hari (1931). Watch for Garbo’s exotic dance sequence as well as Karen Morely’s performance, which almost steals the film. Again, the film is seldom shown, so it’s definitely worth a peek, especially if one has never seen it before.
Boris Karloff tends to be remembered by causal movie fans as Frankenstein’s Monster and an actor who could only play in horror films. But in actuality he was an actor with many subtle facets, capable of a bevy of assorted roles. Even in a programmer such as British Intelligence (WB, 1940), which airs July 18 at 3:45 pm, he gives a memorable performance. He plays Valdar, a scar-faced butler who works for a British cabinet minister during World War I and who may or may not be a spy. He gets to tangle with the alluring Margaret Lindsay, who may or may not be a double agent. Just go along - it’s a fun ride. Director Terry Morse keeps things going at a fast pace. Also watch for Boris in Karl Freund’s 1932 classic chiller, The Mummy (12:45 am).
July 17 marks the 115th anniversary of James Cagney’s birth, and TCM marks the occasion with a marathon of his Pre-code films from 6:00 am to 7:30 pm. Beginning at 6 am, it’s Taxi (1932), followed in order by Winner Take All (1932), Footlight Parade (1933), Hard to Handle (1933), Lady Killer (1933), The Mayor of Hell (1933), Picture Snatcher (1933), Here Comes the Navy (1934), and finally, Jimmy the Gent (1934).
NIGHT OF THE SILENT COMICS
Here’s one for the books. On July 20, TCM is showing a night of classic silent comedies from the likes of Charlie Chaplin, Harold Lloyd, Fatty Arbuckle, Buster Keaton, and Laurel and Hardy. So what’s unusual about that? TCM often does the same exact thing on selected nights during the year. Well, here’s the kicker, this time it’s part of their Essentials, Jr. film series. Hosted by Bill Hader, it seeks to introduce young children to film classics. While I think it’s a fine and noble effort to introduce children to the magic of classic film, parents know that it’s hard enough to get a kid to sit down and watch a film in black and white, much less a silent film in black and white. I wish them all the luck in the world: it is indeed a noble effort, and even if only one child is influenced, that’s one more than when the series began.
INGMAR BERGMAN NIGHT
The evening of July 28 is being devoted to a marathon of Ingmar Bergman films. (Even though he was born on a July 14th and died on a July 30th.) Beginning at 8:00 pm and continuing in order, the films are as follows: Smiles of a Summer Night (1955), Wild Strawberries (1957), The Seventh Seal (1957), Through a Glass Darkly (1961), Winter Light (1962), and The Silence (1964). Bergman has a reputation with many casual movie fans of a director of extremely slow-moving and incomprehensible movies due to all the parodies that have come down over the years. But as one who had to fight that mindset myself in my adolescent years, I can truthfully state that once I actually got down to simply enjoying the films for what they were and not what I was led to believe, they didn’t seem so formidable. I never took the time to see one until I was in college and a double bill of Wild Strawberries and The Seventh Seal was showing at a revival house in a nearby town. So to those who may not have seen a Bergman film, I would tell him or her to just relax and record one or two to watch at one’s leisure. You’ll find it quite a rewarding experience. Through a Glass Darkly, Winter Light and The Silence make up Bergman's Trilogy of Faith. (You can read about the trilogy here.) And if you’re looking for a recommendation as to where to begin, start with Smiles of a Summer Night.
OUT OF THE ORDINARY:
July 23: Catherine Deneuve fans will be glad to hear that Belle de Jour, her 1967 classic, will be playing at 12:30 am. Deneuve is spellbinding as the frigid young housewife who alleviates her boredom by spending her midweek afternoons as a prostitute, where she freely explores her masochistic fantasies of being dominated. When one client takes things too far, events take a tragic turn.
Following is a double bill of Michangelo Antonioni. First up at 2:15 am is his overrated “Swinging ‘60s” thriller, Blow-Up, starring David Hemmings as a photographer who may have accidentally snapped pictures of a murder, and Vanessa Redgrave, who wants the film, piquing his curiosity even more. It’s followed at 4:15 by his 1961 tale of alienation, La Notte, with Marcello Mastroianni as a successful novelist who, along with wife Jeanne Moreau, faces the emptiness of their lives one night at a party.
July 27: A unique tripleheader begins at 12:15 am with G.W. Pabst’s classic silent film, Pandora’s Box (1928). It stars Louise Brooks as the ultimate femme fatale, destroying every man who comes near her. The film made Brooks into an international star. Women flocked to the hairdresser to imitate her black lacquered Page Boy hairstyle. But Brooks ultimately became a victim of her own success and was to all intents and purposes finished as a star by 1931. She never did take well to Hollywood, at one point turning down a role opposite Jimmy Cagney in The Public Enemy (1931). Her role eventually went to Jean Harlow. By 1938, she had “retired” for lack of film work and faded into obscurity until her films were re-discovered in the ‘50s.
At 2:45 am comes a 1995 film from French writer-director Mathieu Kassovitz that creates quite a stir in France when released, La Haine. It’s a vivid and gritty portrait of life in the “banlieue,” the suburban Paris housing projects that are home to low-income immigrants. Three young men, of Jewish, Arab and African descent are angered after a confrontation with the police that left one of their companions in a coma. When they find a gun lost in the riot, they swear revenge by looking to kill a policeman should their friend die. It’s a fast movie film shot in stark black and white, with documentary-style camerawork added to give it a feel of authenticity. The film premiered at the 1995 Cannes Film Festival, winning Kassovitz the Best Director award.
Finally, Saturday Night and Sunday Morning (1961), closes out the evening at 4:30 am. One of the first and best of Britain’s “Angry Young Man” films, it stars Albert Finney as a factory worker who lives for the weekends and who looks upon his co-workers acceptance of their lives with distaste. What keeps this from merely being another “Rebel Without A Clue” films is the performance of Finney. As good as he is though, he’s matched scene for scene by Rachel Roberts, who plays the wife of Finney’s best friend, and with whom he has an affair that results in her pregnancy.
PSYCHOTRONICA AND THE B HIVE
As always, there’s a good selection in both the psychotronic and the B-category.
July 17: The lure of the night is two classic crime films from Howard Hawks immediately followed by their remakes. Thus, at 8:00 we have The Criminal Code from 1931 followed at 10:00 by Convicted, from 1950. The real fun, though, begins at midnight, as Hawk’s classic Scarface is followed by Brian DePalma’s 1983 remake. My advice? Stick with the originals, although DePalma’s Scarface is hilarious, with Al Pacino giving one of the great completely over-the-top performances. But the Hawks original has better supporting characters in Ann Dvorak and George Raft. One idea that’s been suggested is to watch both back-to-back and see which leading man chews the most scenery, Paul Muni or Pacino? If you’re on a kosher diet, though, approach both with caution due to the amount of ham contained therein.
July 19: At noon, it’s Roger Corman’s anti-classic, The Wasp Woman (1959), starring Susan Cabot as a vain cosmetics executive who hires a mad scientist who comes up with an anti-aging formula made from wasp enzymes. Susan can’t wait to try it on herself, and when the small does she is given fail to achieve the desired results quickly enough, she takes it upon herself to up the dosage dramatically. The result is a much more youthful and gorgeous cosmetics executive. But on the minus side of the ledger, the side effect of the enzymes is to turn her into a murderous wasp herself. It’s typical Corman nonsense, and more to the point, it’s great nonsense. Listening to Corman on interviews today, we’re somehow led to believe that he conceived the film as a satire of the beauty cult that has dominated America. Isn’t hindsight great? I’m sure he had that very idea when he began filming. And pigs can fly. Other brain-addled movie critics see the film as a strong feminist statement. I see it as a low-budget psychotronic sci-fi flick that’s a lot of fun to watch.
Having trouble sleeping? Well, I have a sure cure: a double feature of The Visitor (1979) at 2:00 am, followed by Tentacles (1977) at 3:45 am. The first is about a young girl with telekinetic powers whose soul is being fought over by God and the Devil. An Italian production, it is every bit as good as it sounds. Starring Henry Fonda, Claude Akins, John Huston and Shelley Winters as four actors in quest of a paycheck. The former film is a truly wretched exercise in filmmaking. I don’t mind a film being bad, but it should never be boring. It’s Jaws with an octopus instead of a shark.
July 21: The evening is devoted to films based on the writings of Agatha Christie, and there are some pretty good ones to choose from. However, the first up at 8:00 pm is the one you shouldn’t miss: And Then There Were None (20th Century Fox, 1945). Not only is it the best adaptation of a Christie work, but it’s also one of the best mystery films ever made. Written by Dudley Nichols and directed by Rene Clair, it takes Christie’s ingenious plot and builds on it with deft camerawork and intelligent scripting. At its heart, it’s a simple story: 10 guests are invited to a lonely island off the English coast; eight all know each other, and the other two are a married butler and maid. Their host is nowhere to be found, instead leaving a phonographic record keyed to a song based on the nursery rhyme, “Ten Little Indians.” (The book was originally published under the even more political incorrect title of Ten Little Niggers. When it was released in America, the title was changed to Ten Little Indians.) On the centerpiece are 10 little ceramic Indians. Hardly has the first victim sipped his cocktail and played a verse and chorus of the rhyme than he keels over dead as a doornail and a ceramic Indian falls and is shattered. Who done it? I won’t tell. Watch and enjoy.
July 26: Valley of the Dragons, a rarely seen 1961 opus from the team of Al Zimbalist and Edward Bernds is showing at noon. It’s a real cheapie, using leftover jungle sets from Edward Dmytryk’s The Devil at 4 O’Clock and footage from 1940’s One Million Years, B.C. and even the 1957 Japanese monster extravaganza, Rodan. The plot, such as it is, concerns a Frenchman (Cesare Danova) and an American (Sean McClory) who are whisked off the Sahara around 1880 by a comet and dumped in a strange world with dinosaurs running amok. Yeah, it’s aimed at the kids.
At 8:00 pm, it’s a tribute to famed cinematographer Karl Freund with a screening of three of his films, Fritz Lang’s Metropolis (1927), the Spencer Tracy escape-from-a-concentration-camp saga, The Seventh Cross (1944), and the 1932 horror classic, The Mummy, which Freund directed, and which stars Boris Karloff, billed as “Karloff the Uncanny.”
July 27: The Essentials, Jr. gives us a double feature of two of producer Val Lewton’s best horror films, The Cat People (1942), and Curse of the Cat People (1944). Given practically a zero budget and a title, Lewton had to create a film from scratch. As he took pride in what he did, the first thing Lewton did was to throw out the cat costumes the studio gave him (this is beautifully shown in a scene from MGM’s The Bad and the Beautiful). The film, about a woman named Irena (Simone Simon) with a supernatural connection to cats, shows its monster only in silhouette. The Curse of the Cat People has no monsters at all. Instead, this is a beautifully written and directed film about a lonely little girl who conjures up a vision of her late mother Irena, the cat woman from the first film, who was her father’s first wife.
I WAS A TEENAGE DETECTIVE: I mentioned in the last installment that TCM was screening all four of Bonita Granville’s Nancy Drew films. On July 19 at 10:45 am we get Nancy Drew . . . Trouble Shooter (1939). Nancy tries to clear one of her attorney father’s friends of a murder charge. And on July 26, also at 10:45 am, it’s the last in the series, Nancy Drew and the Hidden Staircase (1939). Nancy comes to the aid of two elderly sisters plagued by mysterious happenings in her mansion. It’s the only film of the series actually based on one of author Carolyn Keene’s novels, The Hidden Staircase. I often wonder why TCM’s The Essentials, Jr. doesn’t show these movies on its schedule, for these interesting little Bs are the movies that get kids hooked. Also, how about some John Wayne or George O’Brien Westerns from the ‘30s? Just wondering . . .
Posted by Celluloid Club at 12:18 AM