Chuck Todd interviews me about alternate histories
Showing posts with label Tom Waits. Show all posts
Showing posts with label Tom Waits. Show all posts

Sunday, June 23, 2019

The Old Man and the Gun: Don't Retire



So, right in the middle of a fabulous little squall on Cape Cod last night, which knocked over chairs and an umbrella stand on our deck, my wife and I watched The Old Man and the Gun on HBO.  The squall was more exciting, but The Old Man starring Robert Redford had it beat hands down in sheer charm and style, and was much more enjoyable in its understated beauty.

The signature of Forrest Tucker, the real life bank robber and escape artist portrayed in this movie, was his smile -- at least in this movie.  And who else on this planet to better play a charming, smiling bank robber than Redford?  He announced after completion of the movie in August of last year that he was retiring from acting.  Here's a strong hope that he shouldn't.

Sissy Spacek, who isn't retiring, was a great recipient of Tucker/Redford's charm.   In fact, the two make one of the best couples I've seen in a while in a movie.  And, refreshingly, she's not like Bonnie with Clyde.  Instead, she provides a sensible, caring restraint on Tucker, who, however, can't resist his larcenous influences for too long.

Good supporting acting from Casey Affleck, Danny Glover, and Tom Waits, along with a comfortable early 1980s ambience, make all of this a pleasure to see.   Tucker wasn't quite Robin Hood - he generally kept his ill-gotten gains to himself - but I've always had a soft spot for a thief with a heart, and Redford with his winning smile brings him home to us just perfectly.

 

Friday, November 7, 2008

Life on Mars #5 Meets the Wire in New York

"When you walk through the garden, you better watch your back ..." Hey, they could almost have played that superb Tom Waits "Way Down in the Hole" theme song from The Wire in last night's episode #5 of Life on Mars, which had two* Wire veterans on hand, Clarke Peters (Lt. Freamon on The Wire) and Chad Coleman ("Cutty" on The Wire). Even Whoopee Goldberg had a cameo. *(And an anonymous commentator just mentioned that Chris Bauer, Frank Sobotka from The Wire, played the priest in this episode of Life on Mars - so that makes three Wire people.)

Freamon and Cutty were among the best characters on The Wire. Both were customarily excellent in Life on Mars - in a show that couldn't have been aired at a better time, about the evolution of race relations in America - but Peters' character Bellow had by far the more significant role.

Bellows is Sam's mentor in 2008. Sam works with Bellows as a much younger detective in 1973. This is a great time-travel set up, with possibilities of seeing how Sam's relationship with the young Bellows shaped and/or changed their relationship in the future - classic time travel. But the ending - which I don't want to give away - never explored this.

There was a nice piece of surprise business with Lt. Hunt in 1973, who is turning out to be a pretty appealing character, after all. He increasingly is pulling back from the edge of being a psycho, out-of-control, violent cop - to reveal a human being with a reliable sense of right and wrong.

And what has been revealed about Sam? He's still firmly in a coma as far as I can see - and yet, and yet, the story is also playing with something more. Or, put otherwise, if Sam is just in a coma in 2008, it's a complex coma indeed.

See also Life on Mars Debuts in America ... Life on Mars 2nd Episode in America: Coma, Time Travel, Mars Rover ... Life on Mars Goes On in America: What Happens When a Time Traveler Runs Into His Earlier Self? ... Life on Mars #4: All in the Family ... Life on Mars #6 Meets Itself on Television ... Life on Mars #7: Is Annie Real, Or, Is Life on Mars a False Memory






The Plot to Save Socrates


"challenging fun" - Entertainment Weekly

"a Da Vinci-esque thriller" - New York Daily News

"Sierra Waters is sexy as hell" - curled up with a good book


more about The Plot to Save Socrates...

Get your own at Profile Pitstop.com



Read the first chapter of The Plot to Save Socrates
.... FREE!

Sunday, March 9, 2008

The Wire Bows Out Gracefully; Kudos to Cast and David Simon, the Charles Dickens of Television

I sometimes, often, in fact, think The Wire is the best show ever to have been on television. It's hard to compare to The Sopranos, which was just about one person, really, Tony. The Wire was an ensemble show par excellence, with at least 15 to 20 centrally important players over the past five seasons. You can't compare it at all to Lost, which is in another - fantastic - universe, entirely.

The Wire is certainly the best cop show, ever. My previously favorite was Homicide: Life on the Street. David Simon was the brains behind that Baltimore masterpiece, too. And there were lots of other connections - including Clark Johnson, Meldrick in Homicide, Gus in this last season of The Wire.

But The Wire was much more than a cop show - in fact, the cops were less than half the story. There was the dock, in Season 2; politics in Season 3 and after; the school in Season 4; and the paper, the media, in this final Season 5. All of these were done superbly - though perhaps the cynical ending to the paper story this season, with fraud rewarded with the highest honor, was a little too much, though I suppose not unrealistic.

But the real star of The Wire, season after season, in addition to cops, was the street. I can't recall ever getting such a clear picture of life in the street - or, the corner, real and metaphoric, on which drugs are sold and life is lived - as we got, season after season, in The Wire. Not in any movie, or book. First the Barksdale crew, then Marlo's, were as vivid a tableau of intelligent, brutal, sensitive, savvy, focused characters as ever presented. One of the shows this season was called "The Dickensian Aspect" - and, the truth is, that could easily apply to the whole series. David Simon, just by virtue of The Wire, could be called the Charles Dickens of television.

If you'd like a look at the characters and cast of The Wire in all five seasons, HBO has put up a fine page of photos. My favorite is still the extraordinary Stringer Bell, second-in-command in the Barksdale crew, The Wealth of Nations on his bookshelf, played to perfection by Idris Elba, but that takes nothing away from the dozens of other razor-sharp performances in The Wire.

And how did it all end?

The Wire
did something exceptional and original here, too. Totally unlike the brilliantly ambiguous ending of The Sopranos, the ending of The Wire had complete closure, and was brilliant, too. And against all expectations, it was happy. McNulty is stretched out on a table for his wake - but it's only a mock wake - he's leaving the police, not life at all. Carcetti is elected governor; Rawls gets an appointment as a high state cop; Daniels looks happy as a lawyer; Rhonda Pearlman is a judge ... well, you get the picture.

The street does as well as can be expected, too. Marlo's free, rich, and likely out of the game (though you never know). Bubbles is eating upstairs with his sister. Michael may be a stick-up man, not good, but maybe he's just doing this once. Dukie is, sadly, in the worst shape ... going doing the road to addiction that Bubbles just left.

My guess is we won't see a series like this again for a very long time. Even the music was perfect, from the different versions of Tom Waits' "Way Down in the Hole" that opened shows for each of the five seasons (Steve Earle did the honors for Season 5, as well a good performance as Bubbles' sponsor at Narcotics Anonymous), to the great music that ended every episode, to the special version of "Way Down in the Hole" that accompanied the montage near the end of tonight show.

~When you walk through the garden ...~

That's a walk I bet viewers will relish for decades to come.

See also The Wire's Back! Review of Season 5 Episode 1 and Episode 2: The Great, Dangling Conversation ... 3. McNulty and Marlo ... 4. One Down ... 5. Media Chasing Their Own Tales and Tails ... 6. Superman Omar and Tall Stories ... 7. King of Diamonds ... 8. Two Down ... 9. Cold, Killer Sweetheart






The Plot to Save Socrates


"challenging fun" - Entertainment Weekly

"a Da Vinci-esque thriller" - New York Daily News

"Sierra Waters is sexy as hell" - curled up with a good book


more about The Plot to Save Socrates...

Get your own at Profile Pitstop.com



Read the first chapter of The Plot to Save Socrates
.... FREE!







Wednesday, March 21, 2007

The Wire's "Way Down in the Hole" - Enjoying the Disappointment

I was thinking about HBO's The Wire, how much I love its theme song - Tom Waits' "Way Down in the Hole". It's probably my favorite tv song of all time.

Not just because you can't compare it to catchy light-weights like the Friends' theme song, or the many fine instrumentals like Lalo Schifrin's music for Mission: Impossible.

"Way Down in the Hole" is even better than The Sopranos's "Woke Up this Morning" (by A3)...

It's had an amazing life on the show.

Sung by four different artists, in four different ways, in each of The Wire's four seasons.

I loved the first rendition, by the Blind Boys of Alabama. Slow, soulful, melodic and harmonic. I couldn't believe how good it was.

And I couldn't believe it when they replaced it in Season 2 with Tom Waits' own version. I mean, ok, he wrote it, sure, and I like his voice ... but I really missed the Blind Boys' singing ... for maybe about three episodes, and then I was lovin' Waits' performance.

So, you can imagine how unhappy I was with the Neville Bros' version instead of Waits' (which by this time had become the standard for me) at the start of Season 3. The Nevilles - what I can say? I've been crazy about their singing since I first heard "Tell It Like It Is" in the 1960s. And I'll just throw in that Aaron Neville's voice can make a skyscraper sway, though I don't think he was singing on the Neville's version of "Hole".

Which I quickly came to think was my favorite of all the recordings, too.

Which is why I was so upset to hear DoMaJe singing the song in Season 4 - you'd think I would've learned by now - but, no, I was almost as irritated by DoMaJe's choppy version as I was that Idris Elba's Stringer Bell was no longer on the show (and I was plenty unpleased about that)...

But I came to be crazy about DoMaJe, too (and yeah, I thought Season 4 was outstanding - even though I still miss Stringer). And after the season was over, I listened to all four versions, and thought maybe I liked DoMaJe's the best...

But no, not really, I love them all ... each of them ... the hallmark of a brilliant song, brilliantly performed...

And I'm really looking forward to being really disappointed, yet again, when I hear what they've got going on "Way Down in the Hole" for Season 5...

See also Looking Back At The Wire






The Plot to Save Socrates


"challenging fun" - Entertainment Weekly

"a Da Vinci-esque thriller" - New York Daily News

"Sierra Waters is sexy as hell" - curled up with a good book


more about The Plot to Save Socrates...

Get your own at Profile Pitstop.com



Read the first chapter of The Plot to Save Socrates
.... FREE!
InfiniteRegress.tv