Musical

FRANK (2014)

December 14, 2020

(hoopla/Kanopy/VOD) A ‘stranger in a strange land’ band story that focuses on the enigma of frontman Frank (Michael Fassbender), who never removes his gigantic, pie-eyed papier-mâché head, and the folks drawn into his orbit including Domhnall Gleeson on keyboard, Maggie Gyllenhaal on theremin, Carla Azar on drums, and Scoot McNairy as the band’s manager/producer. (Really, that’s a tremendous cast.)

While it’s directed by Lenny Abrahamson (ROOM), it’s really the vision of renaissance man Jon Gleeson who, before being the gonzo journalist who wrote THE MEN WHO STARE AT GOATS and making documentaries, he played keyboard in Chris Sievey’s band, known as THE FRANK SIDEBOTTOM BAND.

Chris Sievey was an aspiring singer/songwriter but one day he fashioned himself a gigantic, pie-eyed papier-mâché head and adopted a rather juvenile comedic man-child persona and thus Frank Sidebottom was born. Frank Sidebottom would perform both in his band and as a comedian, ultimately becoming a minor British TV personality. Sadly, the character would ultimately feel like a boondoggle for Chris Sievey’s artistically-minded aspirations, and Sievey had a hard time coping with Frank’s limitations. (You can learn more about Chris Sievey and Frank through the documentary BEING FRANK: THE CHRIS SIEVEY STORY (2019, Prime/Rental).) Allegedly, Gleeson asked for — and received — Cievey’s blessing for the film before he died, but who knows what Gleeson actually pitched to Sievey.

The Frank portrayed in FRANK is a cracked take on Sievey’s Frank: Gleeson’s Frank is the frontman of a band, and he’s child-like, and a few other similarities, but his Frank is also quieter and more thoughtful — perhaps what Gleeson suspected Sievey wanted to be in the first place. The end result is a a film that meanders some times while wearing its heart on its sleeve, while occasionally pulling the rug out from under the audience. It helps that the film ends on an emotional high note. (I rewatch the closing scene on a monthly basis.)

It’s worth noting that all of the songs were performed by the actors — no miming here — and by Gleeson’s admission it worked out because of Carla Azar (who you may know as the drummer for Autolux, and is now Jack Black’s drummer) was a firm backbone for every scene, and while watching, you can see her intensity and professionalism bleed through.

Secure the Galactic Perimeter:

Final scene (obviously, spoilers):

Trailer:

SNUFF BOX (2007)

November 9, 2020

(hoopla/VOD) If you’re reading this, you’re probably familiar with Matt Berry and his vocal and musical talents, either via FX’s WHAT WE DO IN THE SHADOWS, THE IT CROWD, or THE MIGHTY BOOSH, but SNUFF BOX is still my favorite work of his. (Also, shout-out to Rich Fulcher, who keeps popping up in the oddest places, including Oscar-winning MARRIAGE STORY (2019).)

SNUFF BOX is a severely dark British sketch comedy show that lasted for only six episodes, but it is endlessly re-watchable. It’s centered around two loathsome hangmen, their puerile antics, their ability to break into song, and that’s all you need to know.

Please note: the Rude Song below is very rude and NSFW.

WHIIIISKEYYY!!

BUNHEADS (2012-2013)

November 6, 2020

(fubo/Hulu/tubi/VOD) Yes, everyone’s celebrating Amy Sherman-Palladino and THE MARVELOUS MRS MAISEL now, but everyone outside of my wife and maybe a few friends, had largely forgotten her once GILMORE GIRLS went off the air in 2006.

Enter 2012: I vividly remember walking with some folks through a mall to catch a Bollywood film in the Chicago suburbs, and there was a BUNHEADS poster front-and-center between us and the theater, and one dude I was attending the screening with lambasted the poster; ridiculed it. I was a coward, half-heartedly chuckling at his jokes, but inwardly very angry.

It hadn’t aired yet and yes, GILMORE GIRLS has -a lot- of issues, I won’t deny that (especially the Netflix mini — yikes) but Amy Sherman-Palladino has done far more good than harm. And this dude was mocking a poster because it dared to promote a TV show about girls & dance, -while- we were heading to see a frickin’ Bollywood film.

Setting that aside: BUNHEADS is the story of failed ballerina/current Vegas showgirl Michelle Simms (Broadway star Sutton Foster who you may know her better as the lead in YOUNGER, and I really had hoped I’d be watching her on-stage with Hugh Jackman in THE MUSIC MAN right now, but so it goes) who drunkenly latches onto Alan Ruck one night, marries him, moves to a sleepy California town, and then Ruck dies. Simms then falls into teaching at Ruck’s mother-in-law’s (played by GILMORE GIRLS’ Kelly Bishop) dance studio.

While Michelle has a fair amount of drama, the show is far more concerned with the stakes regarding the girls she’s mentoring, and really, it’s about their stories and experiences, and how Michelle helps to guide them through life, despite being a bit of a fuck-up.

It’s quintessential Sherman-Palladino work: sweet, smart, overly verbose, and extremely well-produced (albeit, yes, extremely white). The following numbers below should sell you on the show alone. Why yes, I’ll take a musical dance number inspired by Tom Waits’ Mule Variations!

If you’re a sound nerd, I love how they mic the floors (see Dance Routines Part 2, ~1:30), so you hear every landing, every hit, every slap. I’m hard-pressed to think of a show that was as aurally tactile as this.

If you’re a cinematography nerd, goddamn, the cheats they employed to ensure that the mirrors were always seen, but never the cameras? Blows my mind. And the China Balls!

BUNHEADS had a little something for everyone, and it’s a crime how ABC Family buried it. I’m hoping Amy Sherman-Palladino will revisit it in the future although, granted they did film a farewell dance as a way to give closure, I’d still love to see a reunion special.

PENNIES FROM HEAVEN (1978)

November 5, 2020

(DVD/YOD) You may be familiar with the Hollywood film PENNIES FROM HEAVEN (1981), starring and ushered into existence by Steve Martin, but it’s based on a six-ep British series penned by Dennis Potter. To be fair to Martin, the film sticks very closely to the original series, but the Hollywood gloss gets in the way, to the point where the film can’t see the premise for the trees. For example:

Potter’s ‘Yes, Yes’:

Martin’s ‘Yes, Yes’:

But I’m getting ahead of myself. PENNIES FROM HEAVEN is an incredibly unsavory lip-synced jukebox musical that takes place in the 1930s about a man’s midlife crisis — Bob Hoskins as Arthur Parker, portrayed Willy Loman style — and the women he leaves in his wake. On paper, it’s not terribly appealing, partially because Potter frames Arther as a noir hero, eschewed by his wife (and therefore, society) because of his sex drive (https://www.youtube.com/watch?v=duIlaVlLwX4&list=PL10169BEFFBF3C1B6&index=14 ). However, Potter’s women are far more fascinating than Arthur, and the musical numbers still resonate, well over 40 years later. Take for example, Arthur’s paramour, teacher Eileen:

Potter’s ‘Love is Good for Anything that Ails You’:

Martin’s ‘Love is Good for Anything that Ails You’:

What’s dictated via Hollywood’s PENNIES FROM HEAVEN — no offense to Bernadette Peters’ performance — is the longing, the frustration, the thrill in letting loose. It’s all spelled-out. Contrast it with Potter’s number, where it’s all simply acted out through Cheryl Campbell’s amazing performance.

And here’s a number featuring Arthur’s long-suffering wife. (The number doesn’t appear in Martin’s film.)

Potter’s ‘You Rascal, You’:

If you aren’t into 20s/30s era American Jazz or post WWI British miserabilia, this probably isn’t a series for you, but if you’re into either one, hunt down a copy.

INSIDE DAISY CLOVER (1965)

September 21, 2020

(VOD) A meta ‘Hollywood will tear you apart’ tale featuring Natalie Wood in yet another role where she doesn’t get to use her own voice. It’s so meta that there’s an explicit musical number named YOU’RE GONNA HEAR FROM ME and, while it’s occasionally her own voice, it’s mostly Jackie/Robin Ward.

They really put a pin in it with Daisy’s breakdown scene which, yes it’s overly dramatic, bordering on camp, but I found it stunning, and loved the silencing.

Probably nobody’s favorite film — it’s too ramshackle and self-indulgent, and the end leans too much on being ‘hysterical’ (again, I can’t argue against camp claims) — but it’s worth watching, especially for the numbers.

JOSIE AND THE PUSSYCATS (2001)

September 10, 2020

(STARZ/VOD) If you know me, you know I’ve been a booster for JOSIE AND THE PUSSYCATS practically since it was released. My wife has even walked into my office and exclaimed: ‘You’re watching JOSIE AND THE PUSSYCATS again?!’

It’s a cutting satire of late ‘90s/early naughts consumer culture, perfectly cast, with candy-coated visuals and a soundtrack to die for. Even if it didn’t have goddamn amazing songs fron Adam Schlesinger (R.I.P., also responsible for many great songs from CRAZY EX-GIRLFRIEND. Also, Fountains of Wayne) and Kay Hanley (Letters to Cleo), it’d still be amazing. It’s far smarter than it looks.

Also, it’s the only film to have prominently featured SEGA’s SPACE CHANNEL 5, an under-appreciated videogame classic.

LADIES AND GENTLEMEN, THE FABULOUS STAINS (1982)

September 9, 2020

(kanopy/VOD) A very quotable look at a young female punk rock group, starring Diane Lane as Corinne ‘Third Degree’ Burns, and penned by Nancy Dowd (SLAP SHOT) who ultimately changed her credited name to ‘Rob Morton’ because she was dissatisfied with the music video ending. (I can’t imagine the film without that music video.)

As you’d expect, it has a fantastic soundtrack and features a number of punk cameos. It’s also the reason why Laura Dern sued her family for legal emancipation, as her mother wouldn’t let her work on the film.

ALL THAT JAZZ (1979)

September 8, 2020

(DVD/BR) While I appreciate Bob Fosse as a talented choreographer and director, I don’t think much of the man himself, which is what conflicts me about this self-indulgent paean from himself, about himself, to himself. On one hand, the self-glorification of his caddish behavior — even if he hangs a lampshade on it — is pretty despicable and, even more criminal, it’s often dull. On the other hand, the closing scene is a goddamn stunner, and may make the film worth your moral price of admission.

Closing scene (NSFW):

Trailer: