Tuesday, January 20, 2015

Paddington

Dinner and a Movie

From Bears to Benares

By Steve Herte

My 35 years of knowing Helene have made several of her best traits a part of me. She could finish my sentences, interpret my dreams and appreciate the many strange things I like. But the best of her attributes was her ability to proofread almost at a glance. I realize that it was her job to read transcripts from court cases and translate them into readable English that made it so automatic for her. But it was always fun when we both read a menu and would see who could find the most typos – some hilariously funny. I remember one time she just glanced at a menu after a difficult day’s work and she immediately handed to me. “I can’t read this! There are too many errors and I can’t concentrate on ordering food.”

I miss her most of all when I laugh at a “Chocolate Mouse” (instead of Mousse) or a “Cheese Bugger” (believe me, I’ve seen it), or just recently, a “Bread Chicken” (instead of Breaded). Most famously, I was in a restaurant not too long ago on the top floor of a building overlooking the Baltimore Harbor where the word “Chesapeake” was misspelled. All they had to do was look out the window and see the Chesapeake Lightship docked there with bold white lettering on a bright red background.

The Bread Chicken was one of the lighter moments of a very busy week. Between breaking in my new boss and trying to keep ahead of work, I was ready for a special Friday night. This included a movie I did not have to think about, just enjoy, and my favorite all-time cuisine, Indian. Enjoy!

Paddington (StudioCanal, 2014) Director: Paul King. Writers: Paul King (s/p/, story), Hamish McColl (story), & Michael Bond (character “Paddington Bear”). Cast: Tim Downie, Madeleine Worrall, Lottie Steer, Geoffrey Palmer, Theresa Watson, Imelda Staunton, Michael Gambon, Ben Whislaw, Hugh Bonneville, Sally Hawkins, Madeleine Harris, Samuel Joslin, Michael Bond, Matt Lucas, Nicole Kidman, Jim Broadbent, Peter Capaldi, & Julie Walters. Color, 95 minutes.

Cleverly, this film begins with a black and white “newsreel” relating explorer Montgomery Clyde’s (Downie) foray into “Darkest Peru,” where we immediately enter the realm of fantasy. There, he discovers an extremely rare species of bear (suspend your beliefs, mammologists) and aims his gun to collect a specimen. But he’s thwarted in the attempt when the male bear saves him from a scorpion and obviously demonstrates intelligence. Then, when the bears begin to imitate speech, he befriends them and leaves his bright red hat as a gift of friendship. We learn later on that the Head Geographer (Palmer) has ousted him from the Explorers’ Club in London for not bringing back the specimen, and he and his wife Agatha (Worrall) and daughter Millicent are embarrassed and ignored.

In the next scene we see a young bear picking oranges (in Darkest Peru?) and he’s very excited that they’re ripe enough. He runs to tell his Aunt Lucy (Staunton) and Uncle Pastuzo (Gambon) that it’s time to make marmalade. All three have British accents and have learned from the records Montgomery left behind. All three love everything British, hoping to visit London someday. But suddenly, an earthquake occurs and Lucy and the young bear make it to the shelter, but Uncle Pastuzo is not so lucky. Their forest is destroyed and the red hat is passed down to the bear who will come to be known as Paddington (Whishaw).


Lucy decides that it’s time for him to “find a welcome home” in London while she goes to the Home for Elderly Bears. She puts a mail tag around his neck that states “please take care of this bear,” and kisses him goodbye. Paddington stows away in a lifeboat of a freight ship and then in a mail sack and winds up on the platform of Paddington Station, London, where commuters, coming and going, buffet him about, obviously with no time for an orphaned bear. That is until the Brown family happens by.

Henry Brown (Bonneville) is suspicious of all strangers (especially bears) that he encounters on train stations. His wife Mary (Hawkins) is moved to pity for the bear when she sees the tag and convinces her husband to bring him with them to ultimately find him a proper home. Daughter Judy (Harris) is desperately afraid of being embarrassed by her parents, especially in front of her new boyfriend and schoolmates. She already believes her family to be weird but doesn’t want to be seen as such. No bear for her. Son Jonathan (Joslin) wants to be an astronaut and go exploring and trying new (and possibly dangerous) things but his father countermands any of his attempts. He’s all for the bear coming home with them. Upon learning that the bear’s true name is impossible for humans to pronounce, Mary dubs him Paddington after the station where they found him.

At the Brown home, Mrs. Bird (Walters) the housekeeper is the voice of reason, but is rarely acknowledged for her wisdom by Henry. Neighbor, Mr. Curry (Capaldi) is perplexed and a little scared when he sees a bear has moved in with the Browns.

Meanwhile, at the Museum of Natural History, the curator of Taxidermy, Millicent Clyde (Kidman), daughter of the now deceased Montgomery, learns about this unique bear coming to London. She correctly concludes that this was the species her father refused to bring back and thus shamed her family. She begins plotting how she will capture – and stuff – Paddington. She concocts a scheme with Mr. Curry using her feminine wiles to have him call her when the Browns leave Paddington alone and vulnerable.

After flooding the house from the upstairs bathroom and nearly burning it down when left home alone (Millicent actually caused the latter when she attempted a capture and failed), Paddington’s image has not improved in over-protective Henry’s eyes. Mary takes him to Mr. Gruber’s (Broadbent) antiques shop to hopefully determine the source of Paddington’s unique red hat and thus, who bought it. “M. Clyde” is the answer. The telephone books yield a long list of M. Clydes and Mary has everyone ready to search for the real one when the fire breaks out.

Paddington hears Henry’s intense concern about the safety of the family and decides to leave with the list and search on his own. The last one on the list is – you guessed it – Millicent Clyde. Mr. Curry learns that Millicent is only interested in him to get the bear and when he sees her panel-truck door reading “Taxi” close to fully read “Taxidermy” he understands. He makes a hilarious “anonymous” phone call to the Browns alerting them of the bear-knapping of Paddington. And the chase is on.

It’s a delightful tale of an adorable character very much like the movie Stuart Little and it plays similarly to opening one of those giant children’s books you read at bedtime. The animation of Paddington is beautifully done but, like the story, the actors’ performances are not believable. Bring the kids. They’ll love it when Pastuzo puts on the hat and gets a headful of marmalade. Anyone who grew up with the story of Paddington bear will experience fond memories. For those of us who didn’t – like myself – it’s a nice film, full of fluff and minimal substance.

Rating: 3 out of 5 Martini glasses.


Benares Tribeca
45 Murray Street (between Church and Broadway), New York


Having dined at the original Midtown location of Benares and having enjoyed it thoroughly I had big hopes for its sister restaurant in Tribeca. The brightly lit exterior with the name in hot pink neon clued me that photography would not be difficult. Once inside, it was considerably darker but not horrendously so. The blue ceiling with a symbolic meandering “Ganges River” pattern evoked the holy city of Varanasi whose modern name is Benares. Then, one’s eyes travel down the red panels on the walls to the mustard-colored banquettes, the polished bare-topped tables, and equally shiny hardwood floors. The young lady at the Captain’s Station led me to a table near the back at a curving banquette (where I chose to sit). She presented me with the menu and the wine and drinks lists, both in neat leather binders. Another server took my water preference. The noise level from the chatty patrons was high when Dipen, my waiter, arrived to get my cocktail order. I almost had to shout. I had noticed that the second best English gin, Bulldog (the first is Beefeaters, of course) was used in the special cocktails list and I ordered my martini made using it as the main ingredient.

Dipen had trouble hearing me and the bartender soon arrived to confirm my order. It arrived soon after but was puzzlingly watery. It’s not the first time my martini was wrong so I ignored it and set to the task of composing my meal. The imposing size of the dishes on the table next to mine made me cautious. The menu was divided into familiar as well as unfamiliar categories: Appetizers, Vegetarian, Vegan and Tandoor Main Courses, Entrées, Biryanis (rice dishes), Sides, and Desserts.

I learned from their website that the cuisine of Benares emphasizes the Western Indian state of Utter Pradesh, known for vegetarian dishes (there were a good many representations). Chef Peter Beck, who doesn’t sound in any way Indian, is nonetheless famous for the Baluchis and Tamarind restaurants successes. The listed dishes were varied indeed, some from Goa in the south, Kashmir in the North and one from Tibet. By the next time Dipen returned, I had my feast orchestrated.

Even after instructions – which I’m sure he heard – my second martini was exactly the same as the first. Oh well, no time to teach, time to dine. Dipen seemed amazed at the list of dishes I ordered but when I explained that it would be a feast, he smiled brightly. He was about to run off before I ordered the wine, a 2012 Broquel Malbec from Argentina, but I caught him. The wine list gave hints as to what one would experience with each wine and this one proved true, “aromas of black fruit jam and liquor and a touch of smoke, vanilla and chocolate followed by sweet full-bodied tannins with a long and pleasant finish.” A lovely wine.


I tried to find dishes that ran the gamut of meats on the menu. Thus, my appetizer was Machali Ke Gole – three ball-shaped fish croquettes on a bed of garlic, ginger and a lemongrass/tomato sauce. The two girls at the next table were impressed by the presentation. I loved the tender fish in the crispy crust on the rich sauce. No ingredient outdid the others. It was perfect harmony.

My soup (the only Tibetan dish) arrived with the appetizer and I had to make the decision of which would get cold sooner. The Thukpa – a “Spicy” Tibetan noodle soup with cauliflower, French beans, tomato and chili, served with lamb – was not really spicy at all but flavorful. The vegetables were crunchy and the noodles (actually a thin spaghetti) were tasty and slippery, but I managed. It was hot enough that I could finish the croquettes first.


So far I had fish and lamb. The entrée was Punjabi goat curry – a North Indian goat delicacy with onion and tomato gravy – and was served in one of those large oblong dishes I saw previously on the next table. The gravy was a pleasant pumpkin orange and the goat meat tender and almost sweet; again, a non-spicy dish. It came with peas, Pulao rice – Basmati rice cooked perfectly - and the bread I ordered, Chicken Tikka and Cheese Kulcha – a flat bread cooked in a tandoor oven stuffed with both chicken and cheese. Yummy! My feast was amazing and delicious. Anyone who doesn’t like curry would not recognize it in this case. I finished all the meat and the bread and had the remainder of the rice and curry sauce packed up to go. I was ready for a new dessert (rare in Indian restaurants).

The Karonji – fresh coconut, poppy seeds and nuts in a pastry shell with a vanilla/honey sauce – was like a puff pastry turnover with delicate, sweet-flavored interior. I loved it. With a hot cup of Masala chai (spiced tea), my Indian feast was finished and I was delighted. Benares Tribeca had lived up to the standards set by Midtown with the exception of the cocktail. Maybe I’ll make the short jaunt from the office to encourage them to perfect the recipe. Then I can sample some of the many other dishes I’ve not seen on any other Indian menu.

For the Dinner and a Movie archive, click here.

Sunday, January 18, 2015

The 35th Annual Razzie Nominations

And the Loser Is...

The Golden Raspberry Award Foundation released the complete list of nominees for the 2015 awards, which "honor" the worst in film for 2014.

The winners of the 35th Annual Razzies are selected by online votes from the organization’s 757 members across 47 U.S. states and 19 foreign countries. They will be announced at Hollywood’s Montalban Theater on Feb. 21, the night before the 87th annual Academy Awards.

The Razzies, which were launched in 1980 as a spoof of Hollywood’s awards season, highlight the biggest flops of the year in movies and satirize the worst achievements in film.

Although the Razzie Awards boast far less stars than other award shows, past Razzie winners such as Sandra Bullock and Halle Berry have shown up in person to jokingly accept their awards.

Below is the complete list of nominees for the 2015 Golden Raspberry Awards. For those who would like to take part in the voting, go to www.razzie.com

WORST PICTURE


• Kirk Cameron's Saving Christmas
• Left Behind
• The Legend of Hercules
• Teenage Mutant Ninja Turtles
• Transformers: Age of Extinction

WORST ACTOR
• Kirk Cameron, Kirk Cameron's Saving Christmas
• Nicholas Cage, Left Behind
• Kellan Lutz, The Legend of Hercules
Seth MacFarlane, A Million Ways to Die in the West 
• Adam Sandler, Blended

WORST SUPPORTING ACTOR
• Mel Gibson, Expendables 3
• Kelsey Grammer, Expendables 3Legends of OzThink Like a Man TooTransformers: Age of Extinction
• Shaquille O'Neal, Blended
• Arnold Schwarzenegger, Expendables 3
• Kiefer Sutherland, Pompeii 

WORST ACTRESS


• Drew Barrymore, Blended
• Cameron Diaz, The Other Woman and Sex Tape
• Melissa McCarthy, Tammy
• Charlize Theron, A Million Ways to Die in the West
• Gaia Weiss, The Legend of Hercules 

WORST SUPPORTING ACTRESS
• Cameron Diaz, Annie
• Megan Fox, Teenage Mutant Ninja Turtles
• Nicola Peltz, Transformers: Age of Extinction
• Susan Sarandon, Tammy
• Brigitte Ridenour (née Cameron), Kirk Cameron's Saving Christmas 

WORST DIRECTOR
• Michael Bay, Transformers: Age of Extinction
• Darren Doane, Kirk Cameron's Saving Christmas
• Renny Harlin, The Legend of Hercules
• Jonathan Liebesman, Teenage Mutant Ninja Turtles
• Seth MacFarlane, A Million Ways to Die in the West 

WORST REMAKE, RIP-OFF OR SEQUEL


• Annie
• Atlas Shrugged: Who Is John Galt?
• The Legend of Hercules
• Teenage Mutant Ninja Turtles
• Transformers: Age of Extinction 

WORST SCREEN COMBO
• Any Two Robots, Actors (Robotic Actors), Transformers: Age of Extinction
• Kirk Cameron & His Ego, Kirk Cameron's Saving Christmas
• Cameron Diaz & Jason Segel, Sex Tape
• Kellan Lutz & Either His Abs, His Pecs or His Glutes
• Seth MacFarlane & Charlize Theron, A Million Ways to Die in the West 

WORST SCREENPLAY
• Kirk Cameron's Saving Christmas
• Left Behind
• Sex Tape
• Teenage Mutant Ninja Turtles
• Transformers: Age of Extinction

REDEEMER AWARD

The Redeemer Award is new for 2015 and honors past Razzie winners who have upped their game and achieved success. The prize is determined by public vote on movie review website Rotten Tomatoes.

• Ben Affleck, from Gigli to Argo and Gone Girl
• Jennifer Aniston, from four-time Razzie nominee to Cake
• Mike Myers, from The Love Guru to directing Supermensch
• Keanu Reeves, from six-time Razzie nominee to John Wick
• Kristen Stewart, from six-time Razzie winner for Twilight to Camp X-Ray

Friday, January 16, 2015

Into the Woods

Dinner and a Movie

There are Vines in the Woods

By Steve Herte

There’s always a little sadness when it’s time to take down the Christmas decorations, because, being my favorite holiday, I DECORATE! It took all day Saturday to do it and pack everything away and, Sunday morning I found one last ornament. Isn’t that the way? Good thing last Friday was wonderful. The movie was the major competition for Best Musical Adaptation and the restaurant was a revival of a former lovely dining space. Enjoy!

Into The Woods (2014) - Director: Rob Marshall. Writers: James Lapine (s/p, musical) Steven Sondheim (musical). Cast: Meryl Streep, Johnny Depp, Lilla Crawford, James Corden, Emily Blunt, Daniel Huttlestone, Tracey Ullman, Anna Kendrick, Christine Baranski, Tammy Blanchard, Lucy Punch, Annette Crosby, Chris Pine, Joanna Riding, Billy Magnussen, Mackenzie Mauzy, & Frances de la Tour. Color, 125 minutes.

Having seen Into the Woods on Broadway with Bernadette Peters playing the Witch and once again in a local production featuring two of my nieces, and having viewed the trailers several times I was still stunned by this movie. With James Lapine’s screenplay and Rob Marshall’s direction it takes the five fairy tale allegorical mash-up and faithfully recounts on an epic scale. Interweaving CinderellaThe Baker and his Wife, Jack and the Beanstalk, Little Red Riding Hood, and Rapunzel, the resulting story is about wishing for more and entering “The Woods” (i.e. finding one’s path in the world) to get it.

Little Red Riding Hood (Crawford) is a penniless “very hungry little girl” who mooches bread, cakes and cookies from the Baker and his wife to “take to her Granny.” She even gets a basket to carry her booty from the generous wife (over-generous, to the Baker). She enters the woods having been warned by her mother never to stray from the path, and thinking she’ll be back before dark.


The Baker (Corden) and his wife (Blunt) are childless because of a curse placed upon them by the Witch (Streep) as a result of the Baker’s father’s transgressions against her (He raided her garden and stole her magic beans). To remove this curse the couple has three midnights to procure a cow as white as milk, a cape as red as blood, some hair as yellow as corn, and a shoe as precious as gold. They enter the woods.

Jack (Huttlestone) and his mother (Ullman) are starving in their ramshackle house and their cow, “Milky White,” has ceased to give milk. Jack is ordered to take the cow – whom he loves as a friend – and sell it at the market to get money to buy food. Jack and the cow enter the woods.

Meanwhile, at her deceased father’s house, Cinderella (Kendrick) is the servant and housekeeper for her stepmother (Baranski) and her two daughters Florinda (Blanchard) and Lucinda (Punch). All they talk about is the Prince’s (three-night) Festival and Cinderella really wishes she could go. She sneaks out the back way and enters the woods.

The Baker and his wife meet Jack and the cow first and convince him that the magic beans are worth a pound apiece and buy the cow from him, promising that he could buy it back once he gets the money. Jack brings home the beans. His mother swats him up the side of his head and tosses the beans into the front yard of their house, where they promptly take root and become a giant beanstalk. The Baker sends his wife home with the cow and meets Little Red Riding Hood and, after a lengthy scream from the child, decides he cannot take the red cape from her by force. He lets her go.

No sooner does she escape the Baker than she meets the Wolf (Depp) who hungers after her. But upon learning that she’s heading for Granny’s and he could have a two-course meal he diverts Red from the path by convincing her she should pick a bouquet of flowers for Granny. This gives him time to get there first. Granny (Crosby) gets gobbled up first and after one “what big ears you have,” Red goes down the hatch as well.

Riding through the woods, Cinderella happens upon Prince Charming (Pine), who is immediately infatuated with her. They part hoping they will meet again. As evening falls Cinderella is at her mother’s gravesite where a huge tree has grown and her Fairy Godmother (Riding) appears and grants her wish to attend the evening’s ball. But at the stroke of midnight, she runs from the glittering hall, leaving a perplexed prince.

The Witch is next seen visiting a lonely tower where she calls to Rapunzel (whom we learn is the Baker’s sister, snatched from his father as recompense for the beans). A second Prince (Magnussen) witnesses this, and he falls in love with the girl with hair as yellow as corn, the beautiful Rapunzel (Mauzy), visiting her several times.

In Cinderella’s flight from the palace, she passes the Baker’s wife, who notices the “shoe as precious as gold” and after a struggle, she’s unsuccessful at attaining it. In the struggle, the cow wanders off. The Baker rejoins her and the Witch appears to remind them that the first midnight is past. (Two to go before the deadline) The Baker now has the cape as red as blood because he happened upon Granny’s tree and heard the two voices in the sleeping wolf’s stomach. He frees them with a knife – thus killing the Wolf – and Red gave it to him in gratitude.

Did I mention this movie is two hours and five minutes long?

The Baker and his wife relocate the cow when he accidentally sits on it and shortly thereafter Jack appears with five gold pieces the size of dinner plates to buy Milky White back, but they talk him out of that.

When Cinderella hastily leaves the castle on the second night the prince goes seeking her and encounters Rapunzel’s prince. They sing a song about the “Agony” of loving a girl who is out of reach and are overheard by the Baker’s wife. She finds the tower, tricks Rapunzel into lowering her hair and rips a long piece off on a sharp fence post. Only one more item to get, and the Witch reminds them of the second midnight’s passing.

Jack returns from his second climbing of the beanstalk with a giant golden egg, which he show to Red, who doesn’t believe his story. He tells her about the Magic Harp, she dares him to get it and he’s off. Unfortunately, when he successfully steals the harp, the Giant is in hot pursuit. He chops down the beanstalk and kills the Giant.

Once again, Cinderella flees the palace but gets stuck in the pitch the prince had spread on the stairs. She leaves one shoe as a test and runs off into the woods, where, once again she meets the Baker’s wife. The wife tries to buy the shoe with the last magic bean (which gets tossed over Cinderella’s shoulder and takes root in the forest behind her), but wins the shoe by offering her own shoes for it (to help her run away).

Complex enough? One has to see this story for oneself. Remember, it’s all about wishing and having to be careful what you wish for. Everyone gets his or her wishes. The Baker and his wife have a child, Cinderella and her prince are married, Red Riding Hood has a brand new wolfskin cape and has learned to not stray, Jack and his mother are no longer poor and starving, and Rapunzel has left the Witch to be with her prince. But…the Giant has a wife (de la Tour) who descends the second beanstalk looking for revenge and causes so much destruction the entire cast is lost in the now unfamiliar woods and blaming each other for their problems.

It’s a wonderful tale with excellent special effects and great, award-worthy performances. I was amazed at the singing, particularly Meryl Streep’s “Last Midnight” – the most difficult song in an extremely difficult musical. Stephen Sondheim, depending on how you view him, is either a genius or a looney. His melodies (if you can call them that) are so convoluted as to be unmemorable (unless you practice them for a long time – and then, who would you sing them to?) and the lyrics are fabulous, but they’re sung so quickly the audience could not possibly catch all the clever innuendoes they contain. It took my full concentration and this was my third time around. I loved the movie despite the annoying music and recommend that parents leave the toddlers home again. There’s plenty of visual wonder about the film, but they will still get bored. You’ll like it. And if you’re a fan of tongue twisters, try learning the title song.

Rating: 4 out of 5 Martini glasses.


Madison and Vine
299 Madison Avenue (at 41st Street)New York
www.hospitalityholdings.com (click on Madison and Vine)


When I first visited the website, the photo showed the kind of restaurant I would normally avoid – one completely open to the street. But, this is winter and the location made it perfect for an evening’s dinner. 299 Madison also sounded familiar and, when I arrived I knew I had dined there before. Although, then it was called “Branzini,” and Helene and I would have dinner there rather than the ho-hum food down the avenue at J.T.’s American-Italian Grill, (now “Pera,” a fine Mediterranean restaurant) where we would go for karaoke. The cherry-wood framed window on Madison and the sliding doors on 41st Street all looked pretty dark inside, but I boldly entered the “airlock” which billowed the velvet curtain and announced myself.

The young blonde in the skin-tight sparkling leotards and three-inch Lucite-heeled shoes led me to a table far enough away from the entrance to not feel the cold when other diners arrived. She presented me with the menu and wine list. Soon after, a striking slim redhead with even redder lipstick arrived to hear my water selection. Micaela would be my server that night. When she asked if I wanted a cocktail (their selection appeared way too silly) I asked if they had Beefeater gin. They did, and I ordered my favorite martini, which, surprisingly, was done swiftly and correctly.

The dinner menu had the usual classifications but was amazingly lacking in soups. I decided to ask about the Caesar salad. “Is it garlicky?” “No.” “Can it be made to be garlicky?” “I’ll ask.” By the time Micaela returned, I had a three-course meal planned. The wine list was a two-sided card with whites on one side and reds on the other and several with decent prices. Judging by my dinner choices, I selected a 2012 Sauvignon-Blanc from the Loire Valley (Domaine Alain Cailbourdin) whose crisp dry tones would highlight each course.

The Caesar salad started the meal and was appealing both to the eye and the palate. The crisp, fresh greens redolent of the extra chopped garlic added for my tastes were snowed under by freshly grated cheese, and two toasted slices of baguette stood guard on either side acting as croutons. There was not a hairy fish in sight and I loved it.


Next on the bill were the Maine Peektoe crab cakes with both a double roasted pepper topping and a creamy yoghurt sauce. The garnish of micro greens added color to the dish. Are Peekytoe crabs different? I would say yes, they’re a lighter flavored and not as dense crabmeat as others. The yoghurt proved much better than a mayonnaise, which would have buried their flavor. I chose this dish because I saw the portion of the crispy Rhode Island calamari at the next table. Though they smelled heavenly, it was too much. This dish was just right.


The baked wild trout, dusted with cornmeal and served over “seasonal” vegetables (in this case, baby asparagus, carrots, winter squash and string beans), was totally boneless and easy to cut with a fork. The lemon-herb butter sauce was divine, giving the fish a citrus-y tang, as well as a sweet accent. The vegetables were crunchy and not over-cooked. The portion was ample but not too big for me to order a side of the truffled French fries. They were served in a paper cone supported by a wire frame, which also held a ramekin of homemade catsup for dipping. I had to concentrate so as not to eat all the fries first and forget the wine and fish or vice-versa. All was wonderful. Micaela said the trout was her favorite.

Are you ready for dessert?” said Micaela, sweetly smiling. “Absolutely!” The coconut panna cotta was so irresistible it was gone before I thought of photographing it (I love to take pictures of my meals). There was nothing left to do but relax with a double espresso and an icy glass of Nonino grappa.

When I told them about the previous incarnation both girls asked what it was like. I told them that the cuisine was basically Italian and seafood, but that they made a killer cavatelli that I loved. “Maybe next time,” they suggested. Maybe indeed, but in winter.

For the Dinner and a Movie archive, click here.

Wednesday, January 14, 2015

Cinéma Inhabituel for January 16-31

A Guide to the Rare and Unusual on TCM

By Ed Garea

WHAT’S NEWS

As many doubtless know by now, Dish Network and TCM have buried the hatchet - at least for now.

STAR OF THE MONTH

As the clock winds down on TCM’s Star of the Month, Robert Redford, we have one complaint. We would have liked to see some of his directorial efforts, such as his debut, Ordinary People (1980), and the superb Quiz Show (1994). Redford was a multi-faceted talent and his directorial efforts should have been featured as well. It’s something TCM should consider in the future for stars that have made the jump to the director’s chair.

January 20: A triple-header beginning at 8:00 pm with the lifeless Out of Africa (1985). With two pros such as Redford and Meryl Streep, and the works of Isak Dinesen as a canvas, this should be a slam-dunk. Instead it’s a dreary, overlong picture postcard that has about as much depth as a landscape from Sears and Roebuck. Redford gives one of his patented smug, distant performances, and try as she might, Streep cannot breathe life into this stillborn loser.

At 11:00 is the Redford-Barbra Streisand glossy, but shallow, nostalgia piece, The Way We Were (1973), followed at 1:15 am by the 1974 misfire, The Great Gatsby. For some reason, there has never been a successful adaptation of F. Scott Fitzgerald’s novel, but this is probably the best of a bad bunch.

January 27: We close out the month for Redford with four movies. Beginning at 8:00 pm, it’s the fatuous The Candidate (1972), followed at 10:00 pm by the superb All the President’s Men (1976). At 12:30 am, it’s the interesting espionage thriller Three Days of the Condor from 1975. Think about the plot too long, and the movie falls apart. But for all the nonsense, it’s quite entertaining. 


Finally, at 2:45 am, it’s the unjustly overlooked actioner, Downhill Racer (1969), with Redford as a world-class Olympic skier whose desire for fame and victory hurts everyone around him. Director Michael Ritchie, here in his movie debut, does the smart thing by avoiding any hint of sentimentality or romanticizing its egotistical hero in his quest for everlasting Olympic fame. Even those who don’t care for skiing will be captured by both the look and the pace of this film.

FRIDAY NIGHT SPOTLIGHT

TCM continues with its tribute to films written by Neil Simon.

January 16: The only decent film airing tonight is at 8:00 pm - 1977’s The Goodbye Girl. The usual warm and hilarious mix Simon gives us in films such as these is bolstered by two strong performances from leads Marsha Mason and Richard Dreyfuss. Chapter Two (1977) at 10:00 pm, and Only When I Laugh (1981) at 12:15 am are more maudlin than funny. Joan Hackett is the best thing about the latter.

January 23: This night is marked with three good films. First up at 8:00 pm is Lost In Yonkers, from 1993. It’s a decent adaptation of his 1993 Pulitzer Prize-winning play, and the direction from Martha Coolidge almost makes us forget we are watching a filmed play. Watch it, though, for the great performances from Mercedes Ruehl and Irene Worth, who reprise their Broadway roles.

At 10:00 pm, it’s Biloxi Blues (1988), based on Simon’s wartime experiences; during which he never left Mississippi before the war ended. Matthew Broderick is solid as Simon’s alter ego, Eugene Jerome, but it’s Christopher Walken, as Sergeant Toomey, and Corey Parker, as Arnold B. Epstein, who walk away with film.

Seems Like Old Times (1980) at midnight is better suited as a made-for-television movie. Chevy Chase and Goldie Hawn try to recapture the chemistry of their 1978 film, Foul Play, but they come up a cropper, as does the film. Ah, but the night’s not done for yet. Following at 2:00 is a comedy classic, The Sunshine Boys (1975). Based on the real life vaudeville legends Smith and Dale, George Burns and Walter Matthau are retired comics Al Lewis (Burns) and Willy Clark (Matthau) who are reunited by Willy’s nephew Ben (Richard Benjamin) for a TV special. The only glitch is that Al and Willy can’t stand to be in the same room together. It makes for a funny premise and an even funnier movie. Jack Benny was originally cast as Lewis, but when he fell ill to the pancreatic cancer that would take his life, Burns stepped and did a fabulous job.

January 30: The spotlight on Neil Simon ends tonight on a high note. At 8:00 pm, it’s The Heartbreak Kid from 1972, starring Charles Grodin, Cybill Shepherd and Jeanne Berlin. Grodin is Lenny, a man who just married Lila (Berlin) and is already regretting it on their drive down to Miami Beach for their honeymoon. She smears egg salad all over her face while eating a sandwich in the car. She sings the same annoying songs over and over. And perhaps worst of all, she has saved herself for the wedding night. Once in Miami Beach, Lila is badly sunburned and is confined to their hotel room. On the beach alone, Lenny meets a blond Nordic goddess from Minnesota named Kelly. Lenny flops head over heels in love, resolving that he must divorce Lila, and travel to Minnesota to marry this divine creature. Elaine May does a terrific job of directing, moving away from Simon’s script at times to add touches of her own. The leads do a wonderful job, especially Berlin, who happens to be May’s daughter.

Following at 10:00 pm is The Prisoner of Second Avenue (1974), starring Jack Lemmon as a suddenly unemployed executive who has a nervous breakdown, and Anne Bancroft as his understanding wife. Getting laughs out of a situation such as this is hard slogging, but Simon, to his credit, manages to pull it off. Lemmon and Bancroft have great chemistry together and make the situation totally believable. Look for the young Sylvester Stallone as a mugger Lemmon encounters in the park. It’s the film’s funniest moment.

OUT OF THE ORDINARY


January 18: A good double-header of Japanese director Koreyoshi Kurahara begins at 2:15 am with The Warped Ones (Kyonetsu no kisetsu, 1960). 

Compared by critics to the Nicholas Ray’s JD classic Rebel Without a Cause and Godard’s New Wave classic Breathless, Kurahara’s film is much more nihilistic in outlook and execution. Akira (Tamio Kawachi) and his prostitute girlfriend Fumiko  (Noriko Matsumoto) are arrested and sent to jail after being fingered by a reporter for fleecing tourists. Upon his release, Akira reconnects with Fumiko. They spot the reporter with his artist fiancée, run over the reporter with a stolen sports car and abduct the fiancée to a remote beach where Akira rapes her. Things will become much more complicated after this, and to go on will not only give away the plot, but take up another three pages. It is a stark, shocking movie, with the youths moving violently and speaking in grunts, screams, whistles and sound effects. Akira’s opening line to women is usually “Wanna get laid?” The film marked the new directions Japan’s filmmakers were exploring and stands as a seminal film in Japan’s New Wave.

Following at 4:00 is Kurahara’s 1957 effort, I Am Waiting (Ore Wa Matteru Ze). This is as different from The Warped Ones as night from day. It’s a crime drama about two lost souls. Joji (Yujiro Ishihara) is a retired boxer. Saeko (Mie Kitahara) is a cabaret singer who has lost her voice and is running away from her gangster employer. They meet one night by the waterfront, where she may have been thinking of suicide. What the viewer thinks may be a romance turns instead into a noir with Joji looking for his brother, who was on his way to Brazil to buy a farm, but has not been heard from since. It’s a well-written, finely directed effort from Nikkatsu whose crime dramas in the late ‘50s came to be known as “Nikkatsu Noir.” It takes a few minutes to get going, but once it does, the viewer will be hooked.


January 20: At 3:00 pm one of the seminal films from the ‘50s airs: Elia Kazan’s A Face in the Crowd. For those who somehow haven't viewed this one, this is a good chance to see what you’ve been missing. This 1957 production did middling box office when released, and until TCM dug it up in the last three years or so, was rarely, if ever, shown on television. I remember seeing it for the first time back around 1962 or 63. Once a month, Channel 2’s The Late Show in New York City would be pre-empted for what was called The Schaefer Award Theatre, which showed critically-acclaimed films with limited commercial interruption. For a 10-year old who only watched horror films, the Three Stooges, Abbott and Costello, and the antics of the Bowery Boys, this was amazing, to say the least. First off, it starred Andy Griffith as a bad guy. Sheriff Taylor! Will Stockdale! Not only was he a heel, but also a totally despicable heel at that, one that totally fooled the public until Patricia Neal pulled the plug on him. It disappeared from sight sometime in the mid-60s, I believe, and I didn’t see it again until Channel 9 aired it in 1980. By this time I was married and told my wife we have to watch this together. Her reaction was the same as mine back in 1963. She wondered where this film had been all that time, as did I. Given its plot about a down and out hobo who rises to become America’s unofficial “down home country” philosopher while enjoying a career carefully crafted by Madison Avenue, it was ahead of its time concerning the power of television to manipulate under the guise of entertainment. It was Griffith’s film debut and his performance was good enough to merit a Best Actor Award, yet he wasn’t even nominated, partly because the film died at the box office and partly because of Elia Kazan’s unwarranted reputation among Hollywood’s elite. It’s one of the films I would show to a film class and one everyone should not only see, but heed as well.

January 25: Speaking of seminal films, at the wee hour of 3:00 am airs one of the greatest films ever made, in my opinion: Yasujiro Ozu’s Tokyo Story (1953). As with other Ozu masterpieces, the film is built around a simple premise: the visit of an elderly couple to their children in Tokyo. But behind the premise is a poignant critique of the diminishing role of the elderly in Japanese society and how the postwar industrialization helped make it possible in a society that always held the highest respect for its elders. Ozu was no fan of the Western culture imposed upon Japan by America after World War II, and there are several scenes that show how this influence is changing Japanese society, and not for the better. For those who have not yet seen it, it’s a must, to say the least.

January 26: It’s a rare treat for the cinephile as the evening is being given over to the films of director Luis Bunuel. Bunuel was a master of the sardonic, his films noted for their questioning of society and its present values, which makes him a director to watch. Begin at 8:00 pm with Belle de Jour (1968). At 10:00 pm, it’s The Discreet Charm of the Bourgeoisie (1972), followed at midnight by my favorite, Diary of a Chambermaid (1964), a satire of fascism, Bunuel Style, with the always sexy Jeanne Moreau. Rounding out the evening are Viridiana (1961), his critique of religious charity taken to extremes, which was banned in Spain and Italy, and The Exterminating Angel (1962), an exercise in surrealism where the guests at a posh dinner party find themselves unable to leave the drawing room after the meal.


January 31: A night of John Barrymore begins at 8:00 pm with Howard Hawks’ screwball comedy, Twentieth Century (1934). Barrymore is brilliant as a theatrical director who tries to win back the star (Carole Lombard) he created and then drove away. At 9:45, it’s Counsellor-at-Law (1933), with Barrymore as a successful lawyer who must come to terms with his wife’s infidelity and his own dark past. At 11:15 pm, it’s one of Barrymore’s best, Topaze (1933). He’s an honest, yet naive French science teacher who loses his job because he won’t pass the lazy son of an influential industrialist. After inventing a dubious “health” drink called “Sparkling Topaze,” he risks his integrity by marketing the product with a crooked businessman. But with the help of the man’s mistress (Myrna Loy), who falls for him, Barrymore has the last laugh. At 12:45 am, it’s the rarely seen Svengali (1931). Barrymore is a hypnotist whose spell makes his young charge, Trilby (Marian Marsh), into a renowned singer. Both the popularity of the George du Maurier novel on which it was based and the film itself, helped popularize the word “Svengali,” defined as a person with selfish or evil intentions who attempts to dominate another.

PSYCHOTRONICA AND THE B-HIVE

January 16: Three suitably psychotronic films are on tap today, beginning with the 1957 Columbia production, Hellcats of the Navy, the only film co-starring Ronald Reagan and wife Nancy Davis. Ronnie is a submarine commander who inadvertently causes the death of a romantic rival under his command. The object of his affection, naturally, is Davis, the future First Lady. But don’t go looking for any hot loves scenes because there aren’t any. No, all Ronnie and Nancy do is talk about why they can’t have love scenes. Seems they broke their engagement when he went to war. She thought he stopped caring while he wanted to be noble and spare her the pain of receiving a telegram if he was killed in battle. It’s as screwy as it sounds. As critic Michael Weldon notes: “The awkward love scenes between Ron and Nancy are chilling.” For us it means only one thing: entertainment!

Ron and Nancy are followed at 3:15 pm by the celebrated antics of Allison Hayes in Attack of the 50-Foot Woman (1958), and at 6:30 by the Ray Harryhausen f/x flick, 20 Million Miles to Earth (1957). All three films are directed by Nathan Juran. In fact, Juran directed all of the movies shown in the morning and afternoon.

January 17: It’s more of the Carry On gang at 10:30 am in 1962’s Carry On Cruising, where five incompetents replace the departed crew of an ocean liner.


January 21: We go from the sublime to the utterly ridiculous today. At 6:00 am, it’s John Barrymore and Marian Marsh in The Mad Genius, another take on the Svengali/Trilby formula from 1931 with Barrymore as a club-footed puppeteer who makes protégé Donald Woods the greatest dancer in the world, only to lose him to fellow dancer Marsh. And then ... at 12:45 pm it the train wreck classic Playmates (1941), starring Barrymore as down-on-his-luck actor who is enlisted by bandleader Kay Kyser to teach him the intricacies of Shakespeare. Read our article in this amazing film here.

January 23:  A day of Western begins with the classic stinker, The Oklahoma Kid (1939), with James Cagney and Humphrey Bogart doing rotten imitations of cowboys in the Old West. We can tell Bogie’s the bad guy, as he’s all decked out in black, but the funniest thing about the picture is Cagney’s hat: it looks as if it’s wearing him and makes him into some sort of giant mushroom.

January 24: A night highlighted by the airing of the classic Blaxploitation flick, Superfly (1972), with Ron O’Neal as a cocaine dealer looking to pull off one more big score so he can retire from crime. Recommended.

January 28: A few oldies but goodies are on tap today, with three Lugosi classics to begin the day. At 6:00 am, it’s Bowery at Midnight (1942), followed at 7:15 am by The Corpse Vanishes, and at 8:30 am by Val Lewton’s classic The Body Snatchers from 1945 co-starring Boris Karloff. Then, at 10:00 am, it’s another Lewton classic, The Ghost Ship (1943), followed at 11:15 am by Maurice Tournier’s 1943 take of “The Monkey’s Paw,” Carnival of Sinners, and the 1945 Ealing anthology, Dead of Night.

January 29: As part of a memorial tribute to the late Rod Taylor, TCM is screening two of his psychotronic classics, The Time Machine (1960) at 8:00 pm, andThe Birds (1962) at 10:00 pm.


January 31: At the wee hour of 3:45 am, it’s the favorite children’s nightmare written by Dr. Suess, The 5,000 Fingers of Dr. T, from 1953, with Tommy Rettig as a young boy trying to escape the clutches of his piano teacher (Hans Conreid) whose sinister plan is to enslave 500 boys to play in unison on a giant piano.

Monday, January 12, 2015

TCM TiVo Alert for January 15-22

TCM TiVo ALERT
For
January 15–January 22

DAVID’S BEST BETS:

THE GOODBYE GIRL (January 16, 8:00 pm): Before Richard Dreyfuss thought he was God's gift to acting, he was an excellent actor. This 1977 film, in which he won an Oscar for Best Actor (becoming, at the time, the youngest to win the award), is a perfect example of that. The screenplay, written by Neil Simon, is good, but the acting and interaction between Dreyfuss, Marsha Mason and Quinn Cummings (the latter two were nominated for Best Actress and Best Supporting Actress, respectively) are outstanding. Cummings, who was 10 when the film was released (and flaming out as an actress a couple of years later), is marvelous as Mason's precocious daughter. It's a very charming and entertaining romantic comedy.

EDGE OF THE CITY (January 19, 4:15 am): An impressive film starring John Cassavetes as a drifter, later revealed to be an Army deserter, who befriends Sidney Poitier when he gets a job as a longshoreman. The interaction between the two is excellent, but Jack Warden as Malik, a vicious racist who hates blacks and is blackmailing Cassavetes, is the best part of this 1957 film. The two fight scenes he has, first with Poitier and then with Cassavetes are powerful. The racial themes of the film, including having Cassavetes' character having a relationship with a black woman, were groundbreaking for its time.

ED’S BEST BETS:

SAHARA (January 17, 2:15 pm): In 1943, Humphrey Bogart was loaned out to Columbia to star in this war picture about a British-American tank crew stranded in North Africa just ahead of a horde of German soldiers. Bogart is accompanied by his surviving crewmen (Bruce Bennett and Dan Duryea), a Sudanese soldier (Rex Ingram), his Italian prisoner (J. Carroll Naish), and a downed German pilot (Kurt Krueger) as they search for water in the desert. This little multi-cultural cast makes for some fine drama as they must find and defend their source of water before the Germans arrive. Based on a Soviet film Trinadtstat (1937), the screenplay was penned by Communist Party stalwart John Howard Lawson, along with the director, Zoltan Korda. Thanks to Korda, much of the propaganda was toned down in favor of the grim tension that makes this film one worth catching. It was shot in Brawley, California, in the Borego Desert just north of Mexico. There’s little actual fighting in the film. Bogart and wife Mayo Methot provided most of the fighting during the off-hours in the aptly named Brawley. The battling couple went at it almost every night after getting liquored up. This s a film that will please both fans of war films and fans of Bogart alike.

A FACE IN THE CROWD (January 20, 3:00 pm): Budd Schulberg wrote and Elia Kazan directed this prescient look at celebrity and media-made pundits in the story of Larry “Lonesome” Rhodes (Andy Griffith), a drifter discovered in jail by the hostess (Patricia Neal) of a morning radio show in Pickett, Arkansas, and who, through the sheer force of his “down home” personality eventually makes his way to New York, where he becomes not only an entertainment superstar, but a respected wielder of opinion; powerful enough to make a nondescript senator into a formidable presidential candidate. Rhodes, however, is rotten to the core, and as his fame and power increase, the monster within him begins to break out. It’s up to Neal, as a latter-day Frankenstein, to destroy the monster she created before he destroys us, and she does it in a quite unique way. Neal, of course, is her usual superb, and Griffith gave the best performance of his career, playing against type and should have gotten the Oscar. But he wasn’t even nominated, in due to the less than stellar box office of the movie and the Liberal backlash against director Kazan for supposedly “naming names” before Congress. (In reality, he didn’t name anyone that wasn’t already named again and again.) What eventually brought critics around to giving this film another look was Francois Truffaut, who championed the film as a modern-day classic and a warning.

WE DISAGREE ON . . . LOGAN'S RUN (January 17, 4:00 am)

ED: C. As with most movies set in the future, Logan’s Run is a child of its times. Made in 1976, we see that the year 2274 pretty much resembles 1976, except everyone lives in a shopping mall and dresses as if going to the disco. Survivors of some sort of holocaust live in a domed city. To control the population the computers that run the city have mandated that anyone over 30 is to be liquidated. The policy is enforced by policemen called “Sandmen.” Of course, Michael York, one of the “Sandmen,” begins to question the policy and becomes a rebel himself. Please, this is a hackneyed plot to begin with, and the “special affects” do nothing to enhance the goings-on. For one, the domed city looks as if it were made for a bad Japanese monster movie - note the miniatures. On the other hand, the cheesy fire-guns used by the sandmen look like something out of a bad Italian sci-fi movie. Speaking of, the special effects in this film are, to put it mildly, atrocious. You can see the strings, for God’s sake. And check out Box the robot. Does it get any worse - or sillier? Truly cringe inducing. As for the acting, Michael York, normally a good actor, is difficult to differentiate from the tress he walks among. Jenny Agutter looks great in those short-short negligees, but she seems to be reading her lines from cue cards. Peter Ustinov has nothing better to do than ham it up and mumble his way through. And Farrah Fawcett-Majors? Well, the less said the better. The duel to the death between York and fellow Sandman Richard Jordan only serves to remind Darth and Obi-Wan that they had nothing to worry about as per competition. And speaking of, can you believe that Star Wars was only a year away? It seems as if it were light years away. I think that in giving this mess a “C” I was being far too generous.

DAVID: B+. After reading Ed's review of Logan's Run, I was stunned by how much he dislikes it. Did we watch the same movie? I'm a huge fan of early and mid-1970s futuristic dystopian films such as this, Soylent GreenOmega Man and Rollerball. As an aside, the three films I named were subjects of previous We Disagrees with me liking them and Ed not being much of a fan of any. In Logan's Run, it's the year 2274 and some sort of apocalypse has occurred leaving people to live in a domed society with everything they do handled by a super-computer. That leaves them a lot of time for wine, women (or men, though futuristic sex is a little strange) and song. Most everyone is very happy leading a hedonistic life. Among those not thrilled are people approaching and then reaching the age of 30. That's because there's one catch to this society: once you get to be 30, you go through a ritualistic death in a place called "Carousel." It is there where the birthday boys and girls are incinerated and supposedly renewed elsewhere while spectators cheer with each death. Logan 5 (Michael York) is a "Sandman," a cop who hunts down "Runners," those who want to live past 30 and attempt to run for their lives. After killing a Runner, Logan discovers a curious-looking pendant worn by him. Logan takes it to society's computer, which tells him what it is and that he must find a supposed "Sanctuary," where the successful Runners are and destroy it. To make sure Logan does what he's told, the computer adds four years to his life, thus making him 30 and someone with a vested interest in keeping society in order because he's now a Runner. Unlike Ed, I find the plot compelling, and while some of the special effects look straight out of 1976, they were good enough to receive a "Special Achievement" Academy Award for visual effects. It was also nominated for two Oscars – Best Cinematography and Best Art Direction-Set Decoration, and six Saturn Awards (given by the Academy of Science Fiction, Fantasy and Horror films – you know, people who love sci-fi), including one for Best Science Fiction Film. The prior winner was Rollerball and the year after Logan's RunStar Wars received that honor. Gravity won last year. The acting is fine though far from great. However, Peter Ustinov is exceptional as an old man living outside the dome. He is the first person anyone from inside the dome sees who is old. The scene in which the dome is destroyed by the computer, after it essentially self-destructs, and those who escape that society see, touch and marvel at Ustinov's character as he is old with wrinkles has a beauty to it. There's a morality tale in this film, but I'm not going to argue it's a classic or even a highly-sophisticated film. What is it? It's an enjoyable and fun science-fiction film with a lot of action and women in very mini miniskirts. 

For the complete list of films on the TCM TiVo Alert, click here.