Revolutionary Road, a Painfully Intimate Journey

Revolutionary Road, a Painfully Intimate Journey
by David Giarrizzo

Genre: Drama
Running Time: 119 min.
MPAA Rating: R
Director: Sam Mendes
Writer: Justin Haythe, Richard Yates
Cast: Leonardo DiCaprio, Kate Winslet,
Michael Shannon, Kathryn Hahn,
David Harbour, Kathy Bates, Ty Simpkins,
Zoe Kazan, David Harbour, Ryan Simpkins

Mendes triumpant advent to his arduous style in “Revolutionary Road,”is an extraordinary motion picture that assimilates enthralling affective discharge and riveting aversion, using two of the most talented and captivating stars of today to bring to the screen a masterwork of domestic detachment. Directed with illustrious adeptness by Sam Mendes (American Beauty), who lures us into in the daunting Yates-faithful script by Justin Haythe, the film is a painfully intimate journey, but well worth the ticket. Camera genius Roger Deakins lights the "hopeless emptiness" on view with an aberrant allure. Like American Beauty, the grand zoom outs from uncomfortably intimate close-ups, and vice-versa, are a dead givaway. I went into the theater not knowing who the director was. By the time the opning credits rolled, I knew. One of my favorite scenes is shot at Grand Central Station amongst a sea of suits and fedoras, all walking in slow motion with dead facial expressions. It seemed like that scene was an homage to Ron Fricke of Godfrey Reggios' Koyaanisqatsi (1982).

All the actors astonish also. DiCaprio is in his zone, peeling away layers of immersed emotion to a crestfallen man. And the splendiferous Winslet defines what makes a great actress, scintillating commitment to a character and the magnitude to make every nuance felt. Winslet's last scene, as April prepares breakfast for a husband who can't see the torment behind her smile, is emotionally devastating. This movie takes a piece out of you and spits it out. Winslet and Leonardo DiCaprio, as her husband, Frank, could not be better in the roles of young marrieds who (shades of Mad Men) move from Manhattan to the suburbs, promising themselves it's all just temporary. To hear Kate Winslet, as April Wheeler, express her desire "to be wonderful in the world" is to be reminded of how individualism is like living free, at best a concept. She wants so desperately to be special, as if to feel unimportant if established in society. Hand over an award for Michael Shannon as John Givings, the institutionalized son of a gossipy realtor (the awe-inspiring Kathy Bates). Home on a visit, John splits no hairs with the truth " You say existence here is hopelessly pointless. I'm impressed. Most people get the emptiness, but few understand the hopeless part." Playing the role like a heat-seeking missile that targets hypocrisy, the eruptive Shannon blows the roof off the theater. Add two kids, thwarted ambitions, adultery — Frank with a secretary (a vivid Zoe Kazan) and April with a married neighbor (the excellent David Harbour) — plus April's unwanted third pregnancy.

Trying their best to conform to mid-1950’s standards of social grace and marital comfort, Frank and April Wheeler are coming apart at the seams. With years of growing unrest at home sending April into depression and Frank to infidelity, the couple decides to shake up their life by moving to Paris, to start over with renewed vows of devotion. April hatches a very feasible plan in which the couple could be happy once again and quickly Frank jumps on-board. But as is the case with any dream that goes against the grain of what society expects, the longer the couple waits to hatch their plan, the more it falls apart. Think about that great movie or screenplay idea you had and how excited you were by the prospect. Then think about how day by day, hour by hour “real life” or friends calling you crazy got in the way and quashed out your spark. If you know what I’m talking about, you’ll understand all too well what’s happening as the wheels fall of for the aptly named Wheelers. Spreading the news to friends (David Harbour, Kathryn Hahn) and acquaintances (Kathy Bates), the couple perceives the hesitation of congratulations, amplified when Frank receives a promotion at work and April discovers she’s pregnant. With the window of opportunity closing on their European dream, Frank and April turn on each other, powerless to confront and amend their dissatisfaction and fear.


The true test of “Road” is the range of melodrama that exists within. Adapted from the beloved novel by Richard Yates and knowing Mendes’s predilection for polished hysteria, it makes perfect sense for the film to dwell on the bubbling pot of emotive poison spattering Frank and April, with an eye toward grandstanding professions of marital bile. However, “Road” never goes to a shrill place of obviousness, nor doesn’t it attempt to spell out the misery with wild performances and on-the-nose screenwriting. Instead the film is a gorgeously mounted voyage of discomfort, observing the widening dividing line between two people who’ve lost interest in open communication, forced to preserve a decomposing lifestyle and status in the name of matrimony.

The cruelty which pulls Frank and Alice apart is where “Road” hits the hardest. Playing with steadfast gender roles and suburban complacency, “Road” elects the slow burn route, generously exhibiting the erosion of spirit within the two lead characters. Frank and April were brought together by cocktail-hour flirtation and broken promises and now, left to deal with the mess of life, they’ve declared war, using April’s pregnancy and Frank’s possible new position at a company he loathes as ammo to unleash horrible diatribes against each other. “Road” is teeming with blistering argumentative situations, but Mendes doesn’t allow the unhappiness to blur into white noise. Instead “Road” grips tighter with every row, deepening the characterization as Frank and April confront their boundaries for the first time, coming to the realization that kids, a house in a WASPy neighborhood, and predetermined domestic roles have transformed them into rats trapped inside a cage.

As “Road” tightens with anguish, lies, and acts of emotional revenge, Mendes positions the film beautifully to best consume the painful road ahead for Frank and April. With a cast this tight, production credits that evoke a 50’s mood with both obvious and subtle characteristics (think cigarettes and internalization aplenty with copius martinis), and a directorial job that can manage the displeasure of marital disagreement and loathing without submerging the intended pitch of sorrow, “Revolutionary Road” reaches a summit of dramatic gratification and pure emotional mutilation that’s absolutely riveting.


Watch the trailer: http://www.youtube.com/watch?v=bpra9OEw6nQ

Punks Pack Slims at X show

Christmas in Frisco, the crowds fill the street, the guy on the corner plays a bass and his brother has a three piece trap to keep the beat. Macy's is packed, the sidewalk is cracked, and there is no shortage of places to eat. Ally, Hawkeye and I step out of the Drake and heed the call of the night. "Taxi!"

Opened in 1988 by legendary R&B artist Boz Scaggs, Slim's (http://www.slims-sf.com/) is a live music nightclub with food & drinks, and a variety of American Roots Music--Blues, R&B, Cajun/Zydeco, Jazz, and Alternative. The club is located in the South of Market district of San Francisco, a hub of nightlife in the city. The premises consist mainly of an open floor on a main level. At one end of the floor is a performance stage. At the other end we have a small balcony with table seating for 70. Often packed beyond what I would think is the capacity, there are very few places upstairs to sit, let alone a safe place to stand on the floor below. Besides, you have to buy food or two drink minimum to park it up there. As we entered the quickly filling room, I spied a large sign" No Moshing, No Stage Diving, and No Slam Dancing!" Ha! They'd be lucky to pogo at this gig. We stayed down on the floor.

The opening act was the Twisted Hearts, an edgy Pop band sporting black fedoras and up-beat attitude. Between their sweet Anglophile melodies, they occasionally hawked their CD which sat off to the left of the mountain of X paraphernalia. We enjoyed drifting through the crowd, dancing to the back beat rhythm and rock. There was a brief intermission, so we decided to slip out and sit on a flower box outside the club, lighting up a smoke to enhance the Punk experience. Soon after, the mob filled the club. The only safe place to stand was by the entrance, so we hung back where we could at least see a glimpse of the band. Then, the lights went down and the thunderous beat of D.J. Bonebreaker filled the air. A dim blue spotlight pulls up on the drums as a shadowy figure struts up to downstage right, electricity buzzes through the air. A staccato of twang guitar drives the drums faster as a red spotlight comes up on the striking figure of Billy Zoom. Another shadowy figure runs up to the opposite side of the stage, pow! John Doe is at the mike flailing on his bass. Last but not least, a small figure of a shapely woman skips onto the stage in a flower print dress from an Andrew Wyeth painting, steps up to the center stage. The crowd is jumping up and down, people are spilling drinks over each other to get a better look at Exene . John purrs into the mic, "Sheeee, had to leave.." The crowd sings along with Exene calling back, "Los- an- gell -ees!" You could tell there were hard core fans out there. People in black, people with gray, young punks, old punks, feel alright on a cold San Francisco night.

X was founded by bassist/singer John Doe and guitarist Billy Zoom. Doe brought his poetry-writing girlfriend Exene Cervenka to band practices, and she eventually joined the band as a vocalist. Drummer DJ Bonebrake was the last of the original members to join.

X's first record deal was with independent label Dangerhouse, for which the band produced two singles, "Adult Books" (1978) and "Los Angeles" ("We're Desperate" was the b-side to "Adult Books"). The Dangerhouse session version of "Los Angeles" was also featured in a Dangerhouse compilation in 1979 called "Yes L.A." (a play on the now-famous No Wave compilation No New York), a picture disc that featured other early-punk-era LA bands like the Weirdos and Black Randy. As the band became the flag bearer for the local scene, a larger independent label, Slash Records, signed the band to issue its first LP.
The result was their first LP release, Los Angeles (1980) (produced by The Doors' keyboard player, Ray Manzarek). It was a minor hit and was well received by the underground press and mainstream media]especially the remake of the Doors "Soul Kitchen". Much of X's early material had a rockabilly edge, mainly due to the twang-king Billy Zoom on guitar. Doe and Cervenka co-wrote most of the group's songs, and their slightly off-kilter harmony vocals remain perhaps the group's most distinctive element.

Their follow-up effort, 1981's Wild Gift, broadened the band's profile when it was named "Record of the Year" by Rolling Stone, The Los Angeles Times, The New York Times, and the Village Voice. Wild Gift, like their debut album, was released on Slash records, and was similar in musicial style, although Wild Gift featured shorter, faster songs; arguably their most stereotypically punk-sounding record.
X then signed to Elektra in 1982 to release Under the Big Black Sun, which marked a slight departure from their trademark sound. While still fast and loud, the album's country leanings were evolving and its raw punk sound was channeling raw guitar power chords. The album was heavily influenced by the premature death of Exene Cervenka's elder sister Mirielle (Mary) in an automobile accident in 1980 ( while living up here in Humboldt County). Three songs on the album, "Riding With Mary", "Come Back To Me", and the title track all directly relate to the tragedy. A fourth, a high-speed version of Leadbelly's "Dancing With Tears In My Eyes", was indirectly attributed to Exene Cervenka's mournful state of mind years later. The stark black & white cover art and title were also a reflection of the somber mood of the band during this time. Nonetheless, this album remains Exene's favorite X album.

The majority of the Slims show was material off these albums, excluding the jolly versions off Chuck Berry's Run Run Rudolph and the classic Santa Clause is Coming To Town and the Doors Crystal Ship with their own flavor, naturally.

1983 saw the release of the More Fun in the New World album. X slightly redefined their sound with this release, making it somewhat more polished, eclectic and radio-ready than in previous albums. With the sound moving away from punk rock, the band's rockabilly influence became even more noticeable, along with some new elements like funk on the track "True Love pt. II" and Woody Guthrie-influenced folk protest songs like "The New World" and "I Must Not Think Bad Thoughts." The record received critical praise from Rolling Stone and Playboy, who had long been stalwart supporters and fans of X and their sound.

A side project of some of the band members was Poor Little Critter In The Road in 1985, underthe name The Knitters: X minus Zoom, plus Dave Alvin (of The Blasters) on guitar and Johnny Ray Bartel (of The Red Devils) on double bass. The Knitters were devoted to folk and country music; their take of Merle Haggard's "Silver Wings" "may be the definitive version."

Despite the overwhelmingly positive critical reception for their first 4 albums, the band was frustrated by its lack of wider mainstream success. Billy Zoom had also stated that he would leave the band unless its next album was not more successful. The band decided to change producers in search of a more accessible sound. Their 5th record, Ain't Love Grand, was produced by pop-metal producer Michael Wagener. It featured a drastic change in sound, especially in the polished and layered production, while the band's punk roots were little in evidence, replaced by a countrified version of hard rock. The change in production was hoped to bring the band more chart success, but although it got somewhat more mainstream radio play than their earlier releases, it did not represent a commercial breakthrough. Zoom left the group shortly thereafter in 1986, the same year in which the feature-length documentary film, X The Unheard Music was released.


Zoom was initially replaced by Alvin on guitar. The band then added a 5th member, guitarist Tony Gilkyson, formerly of the band Lone Justice. By the time the band released its 6th album, See How We Are, Alvin had already left the band, although he plays on the record along with Gilkyson. Like Ain't Love Grand, the album's sound was fairly far removed from the band's punk origins, yet featured a punchy, energetic, hard-rocking roots rock sound that in many ways represented a more natural progression from their earlier sound than the previous record had. After touring for the album, X released a live record of the tour entitled Live at the Whisky a Go-Go, and then went on an extended hiatus. Much to my delight, Billy returned to the band to play his signature rockabilly leads and occaisionally make robotic facial gestures to the adoring fans.

I was pleased that the original line-up playing with such fervor. You could tell that this was all second nature to them, but they were re-discovering their own material. A stripped down raw sound that moved me to the pit of my stomach, X was back with a vengeance. I remember seeing them in 1982 at a small club called Mojos in Arcata, CA, and they had much of the same energy now as they did then. My friend and guitarist caught John Does pick the first show there. When they returned a year later, Stevo, being the kind guy, returned John his pick and ended up having a smoke with him "Nice guy!" Well, tonight was no exeption to their kindness, and wow, the driving force with zero dead air. These guys are my peers and they still put out the buzz! Exene gave great banter with John and the audience, "Smells like weed out there", big grin. She used her shy charm to sweeten up the flavor and keep the vibes cool. I must admit, for a punk show, the crowd was very well behaved. The worst part of the show was trying to see around unusually tall people. It might be my imagination, but I am certain that the audience members have gotten taller. I saw a guy in there that stood at least 7 feet. "Wow!", I thought to myself, "Wheres my Jumbo-tron? " The people kept coming through the door till the doorway was packed with standing hopefuls. It had been a long time since I have been to a punk show, so I hung in there as long as my legs could stand. There comes a point when you gotta call it a night. The cab ride home was a relief; food, smoke, shower, love, and to all a good night!

Guitar Thieves Smash Local Musicians Car Window!

See photos of Franko's
missing guitars!

Tuesday morning, January 13 sometime between 2AM and 9AM after playing the open mic at the Boiler room, some body smashed out the back car door window on Frank Mancinelli's hatchback in front of his home on Harris Street in Eureka, CA. Obviously the perpetrator was on foot because they made off with two guitars, a brown sunburst Silvertone with vinyl siding,
the other a Fender silver metal flaked Squire Jazzmaster with a red devil girl decal and left his amplifiers.

Any information leading to the retrieval of these items will be rewarded.
Contact Frank at 707 498-4082 or
Dave at 707476-0369

Television, the new Big Screen

Man has sought entertainment through spectator events: still seeking outside stimulus to forget the drudgeries of life. Entertainment has a very interesting evolution ;indigenous dances , bloody fights in coliseums, or elaborate "Morality Plays". Live theater seems to always flourish, despite all the options of more contemporary electronic media. However, movie cinemas haveDating back as far as history can recall, man has sought out new forms of experienced a big drop in attendance mainly due to the attention television has diverted, thus, fragmenting the entire industry. Action films and gratuitous teen films seem to have dominated the box offices in the past, but that trend is changing. Because of the explosion of internet media, the Information Generation is becoming a little more discerning in how they spend their time and money on entertainment. With inventions such as satellite networks, online streaming, and Tivo, one can view whatever whenever.

With the creation of online interfacing, many people can preview clips of films and reviews more readily, thus enabling the potential viewer to make personal and educated decisions. Fantasy has become less of an attraction and reality has stepped out into the limelight. This can be a good thing as more documentary styled movies have come about, not to mention mini-series on PBS. Unfortunately, the television executives have done a knee jerk reaction to the "reality craze", creating one crappy reality series after another. It all stated with "Cops", a Rupert Murdock abomination that depicts the public as shirtless, spouse abusing, drug induced degenerates. We all know the plot and the boys in blue are never the bad guys. (Talk about an oxy-moron!) I think we can move past this one.
You'll see the truer nature of police if you watch "Reno 911" (ironically enough, another program that now airs on Fox.)
With all the bad press about lawyers and cops , we had to create a legacy of television called "Law and Order" It wasn't enough to have cool dramas like Hill Street Blues, they had to put more reality in and less humor. Based on actual crime cases, they glamorize crimes and the people who solve them. If there is any humor, it is usually a snipe on a crime scene from some unlikely hero such as Ice Tea. Then the forensic craze took over, and slowly, but surely, the CSI series cloning began. (CSI Miami, New York, etc..) Our military has lost numerous points in the popularity polls with all this mucky muck in the Middle East, so what do the P.R. guys do? They create a hybrid of CSI and Law and Order, thus birthing NCIS. Sucking us in with the boyish charm of Marc Harmon and a collection of misfits, they are the new "cool" military. Hmmm.

But, there is light at the end of the tunnel. Fortunately, there are a few shows that have risen above the hard boiled reality craze. Animated comedies and situation comedies have taken a few twists in the wind , yet, a select group have stood apart from the flock. Even so. many still prefer to spend their time blogging, or chatting online. But, I digress.

Butthead was sophomoric, but a little more edgy. Another one that lays in the "Where are they Now" category is "Ren and Stimpy". Once again, sophomoric humor, but just gross and weird enough to entice my adult brain.” Family Guy" takes paying homage and collegiate humor to a new level. Nothing is sacred with such things as gay baby, a talking dog, a pedophile, a slutty stoner mom, angry handicapped cop, a black guy with a speech impediment, and more. Being as it shows on primetime, this makes even more dubious intent onOne of my favorites remains "The Simpsons", still poking fun at their own network and the rest of us as well. Matt Groening created another show "Futurama" which was short lived, unfortunately. The problem was he was competing with his other creation, "The Simpsons!" "King of the Hill" has it's moments, but is really just a watered down Mike Judge. Beavis and the part of it's creator Seth Mc Farland. It seems to me that a little show that’s been running on Comedy Central for the last decade had gone that route already. Yes, I am talking about "South Park", the epitome of bad jokes and even worse animation. Creators Trey Parker and Matt Stone were the pioneers in pushing the envelope for what is appropriate and fair game. A good example was the whole Tom Cruise/Isaac Hayes incident where the sarcasm offended one of the talent to the point of resignation. Hayes played Chef, a lovable school cook that was a bit of a self proclaimed Romeo. When Tom cruise and his Scientology babble was parodied more than once, Hayes quit and said "Making fun of religion was wrong." The reaction to this was a farewell to Chef episode filled with out of context clips and sound bytes of Hayes’s character making embarrassing comments. This show was no more offensive than the multiple reruns of Family Guy we are given on other stations, some not even on cable. Why we don't see shows like South Park, Aqua Teen Hunger Force, Home Movies, or even Ren and Stimpy (which, ironically started on Nickleodeon, a TBS affiliate) on in rerun syndication, I still don't understand.

As far as situation comedies go, you get more bang for your bucks with Big Bang Theory. With a theme song by Barenaked Ladies” ,The History of Everything", you just can't go wrong. The premise is simply a group of nerdy high tech reseach workers who share a flat across from a normal intelligence blond waitress. Their worlds intertwine, like aliens and cowboys. The show distinguishes itself by being unafraid to toss scientific references and techno babble into an otherwise standard sitcom, even employing a physicist to keep things accurate. Created by writer/producers Chuck Lorre (of Two And A Half Men) and Bill Prady (of Gilmore Girls) roommates/physicists Sheldon (Johnny Galecki of "Rosanne") and Leonard (Jim Parsons of "Ed") meet Penny (Kaley Cuoco of "Charmed"), a beautiful woman moving in next door--and realize they know next to nothing about life outside of the lab. Rounding out the crew are the self-proclaimed womanizer Wolowitz (Simon Helburg), and Koothrappali (Kunal Nayyar), an East Indian who suffers from an inability to speak in the presence of a woman. Because the writing is quick and filled with Sci-Fi pop references, and the players work so well of each other, I have to tip my hat to this as being the most superior comedy on primetime. Most other situation comedies, I have to shut down my critic inside, and play dumb like the rest of American viewers.

Following Big Bang Theory on the same network is How I Met Your Mother, a comedy about Ted (Josh Radnor) and how he fell in love How I Met Your Mother is a comedy narrated through flashbacks from the future about Ted (Josh Radnor) and how he fell in love. Ted's best friend, Marshall (Jason Segel), drops the bombshell that he's going to propose to his long-time girlfriend, Lily (Alyson Hannigan), a kindergarten teacher. Ted realizes that he had better move quick if he wants to find that special one. Helping him in his quest is Barney (Neil Patrick Harris), a sideman who has a love for suits and knows all the lines to pick up women. When Ted meets Robin (Cobie Smulders), he's sure it's love at first sight, but destiny may have something else in store. At first I really liked this show, mostly because I like seeing goody goody Doogie Houser misbehaving in adulthood. The ironic part is Harris is gay in real life. But, I digress. The plots remind me of a combination of Seinfeld and Friends, but the characters are likable enough. A bit anticlimactic, however, especially after watching the brilliance of Big Bang.

Scrubs, a half-hour comedy, is filmed in the North Hollywood Medical Center, which has gone under severe reconstruction to fit all the equipment and represent Sacred Heart Hospital. This show, (also narrated) focuses on the bizarre experiences of fresh-faced medical intern John "J.D." Dorian (Zach Braff) as he plods along on his career in a overworked and wacky hospital crammed full of unpredictable staffers and patients.

Joining the rumpled J.D. in his own private Idaho are his college buddy, Chris Turk (Donald Faison, "Clueless"), an intern with a more elite surgical group, and J.D.'s fellow medical intern, the beautiful and driven Elliot Reid (Sarah Chalke, "Roseanne"). Keeping the new interns on their toes are: The fatherly chief of medicine, Dr. Bob Kelso (Ken Jenkins); the sarcastic, yet, paternal Dr. Perry Cox (John McGinley), and the caring but slightly jaded nurse Carla Espinosa (Judy Reyes). The hospital janitor (Neil Flynn) also never seems to miss an opportunity to harass his target. The use of music with the "lesson" in each episode is done nicely, often tying together the subplots at the end. .

A more recent addition is one you can only view on The CW, "Reaper". The series is produced by ABC Television Studio in association with The Mark Gordon Company. It has been given a 13 episode (coincidence?) initial order by The CW. Throughout Sam's life, he always wondered why his mom and dad were so lenient. Whether it was sports, school, career choices, or picking on his little brother Kyle, Sam always got away with everything. Because of it, he decided to drop out of college and take a dead beat job, wasting most of his time playing video games and wishing he could ask his co-worker Andi out. However, everything changes in Sam's life once he turns 21 and finds out the reason his parents let him get over was because they sold his soul to the devil before he was born.

Satan (Ray Wise of Twin Peaks) explains to Sam that he must serve as his bounty hunter, tracking down souls that have escaped from Hell. Initially, Sam refuses to accept his fate but he realizes the results of breaking a deal with the devil. He is armed with various vessels to collect the escapees. Sam finds that the work is dangerous and frightening even with the slapstick help of his friends Sock and Ben, and Sock's former girlfriend, Josie. As weird as it seems, Sam feels somewhat positive about his newfound "jobs", removing errant souls from our world and sending them back to the smelly special effects ridden hell. Along with his misfit friends and his vessel of the week, Sam goes working for the hoofed one as the "reaper". Its a funny show that I wish was on another network without so many commercials between scenes. That’s the rub. To do a really good production, one needs backers. To get backers you either have a rich benefactor or sell a lot of advertising. And what’s up with the volume levels of the promotional limbo we call commercial breaks? That’s when VCRs and TIVO come into play. If you record the show, you can bypass the obnoxious barrage of ads.

Another recent addition is “Fear Itself”, a one hour weekly series Produced by Andrew Deane and Adam Goldworm (Masters of Science Fiction/Horror) which features short films of suspense by different directors for each episode. The first suspense (as opposed to typical horror) episode of Fear Itself proves to be a disappointment, and I suspect most of the blame this time lies with the direction, rather than with the script. Not that the very guessable "twisted" ending writer Victor Salva (Jeepers Creepers) offers helps matters, but the uneven tone, utter lack of subtlety, and clumsy pacing of the episode, directed by John Landis, killed it more efficiently than any insidious serial killer could do to a real victim. It reminded me more of a Lifetime cable made-for-TV movie...and, except for the weak twist ending, it did resemble far too many of the video Romance Novels that station runs more than any successful thriller. Even with a few nicely-composed shots; the series continues to be admirably well-produced on what's surely a modest to medium budget.

There are many other choices to peruse, these are just a few of which I have observed. Television is rarely criticized with any accuracy and perspective, so, I hope I have made a small dent in the fabric of this mind boggling enigma. It is so easy to ”just give in” and watch whatever is in front of your face. It’s the easy way out, but, not always the most beneficial approach. I really have tried to sit still while some of these inane shows continue to insult my intelligence and integrity , while the rest of society bleats on about television personalities I care little for. Too bad Johnny Rotten isn’t on the air any more. I’m sure he’d have a thing or two to say.

"Young at Heart " a Cool World to Visit

The Rolling Stones, as it turns out, are not the only senior citizens singing rock 'n' roll. Another, rather unexpected group is singing lyrics that are more cutting edge and performing on-screen antics that are considerably more amusing. You won't believe the world of "Young@Heart," but you'll have a hard time resisting it.Not unlike our own "Raging Grannies" they take new songs and put their own spin on them.

Since its beginnings as a collective arts project in 1982 at a center for the elderly in Northampton, Mass., The Young@Heart Chorus, a 24-member singing group who have developed into a popular local ensemble with an international reputation. It has made 12 tours of Australia, Europe and Canada and serenaded Norwegian royalty. We get an intimate sideline view of the mechanics and comradeship involved with such performance groups.

Accompanying the singers is a solid core of professional rock musicians who help ground their sometimes wavering voices. But, under the firm-but-fair direction of Bob Cilman, who's led the group for 25 years, these troupers slowly but surely rise to the occasion, delighted to have a purpose in life and as willing to have fun in the process as people one-quarter their age. Guided by the chorus’s demanding longtime director, Bob Cilman, the members are learning new material, including “Yes We Can Can,” the Allen Toussaint hit for the Pointer Sisters, whose lyrics repeat “can” 71 times in intricate, staccato patterns;enigmatic, equally demanding “Schizophrenia”; and the Coldplay ballad “Fix You. Of course, when you're of a certain age, learning rock lyrics is not always easy, and we look on as the group members scrutinize words with huge magnifying glasses and hold their ears as they listen to the loud originals.

Directed by Stephen Walker, a British TV documentary maker, narrates the film himself, and his overly chipper voice-over initially borders on being intrusive. But when the chorus starts to sing, when, for instance, animated 92-year-old former war bride Eileen Hall rips into the Clash's "Should I Stay or Should I Go," none of that matters. Just as eye-popping are the videos (ala Vintage MTV style) for songs like David Bowie's "Golden Years" and the Bee Gees' "Stayin' Alive", “I Wanna Be Sedated ”by the Ramones and "Road to Nowhere" by Talking Heads that veteran independent cinematographer Eddie Marritz shoots with a gleeful energy. The movie concentrates on the rigorous two-month preparations for a 2006 concert at the Academy Theater in Northampton.


The serious moments are equally balanced with comical levity like the wry flirtations of Eileen Hall with the British Film Crew. With an organization whose members are this old, the question of mortality is bound to come up, and that turns out to be one of the shocks as well as one of the graces of "Young@- Heart." Late during the making of “Young@Heart” two members of the chorus, Bob Salvini and Joe Benoit, died within a week. Although neither death was a complete surprise, occurring so close together, they come as shock to a group dedicated to living in the present as fully and exuberantly as possible. When the chorus sings Bob Dylan's "Forever Young" to an audience at Hampshire Jail at a particularly emotional moment, many of the inmates are literally moved to tears. (I know I was!)

One of the choir's most touching personalities is Fred Knittle, a big man with a deep, Johnny Cash-type voice. He had retired from the chorus and returns to visit his comrades, now with an oxygen tank after suffering congestive heart failure. Knittle speaks eloquently about the travails of old age, and his rendition of Coldplay's "Fix You" near the end of the film is a moment you won't forget.

What we learn is that the age of these singers is not some glib contrivance but the heart of the matter. In a culture that venerates youth and considers aging the worst of all fates, to see these men and women having the time of their lives near the end of their lives couldn't be more refreshing. We want these wonderfully alive people to go on singing forever, most of all, perhaps, because we know there's no way they can.

Personally, being employed by Humboldt Senior Resource Center, I have direct contact with the lives of many productive Senior Citizens, some of whom have formed singing groups. I can hear them practicing down in the recreation room which is next door to the kitchen where I work. I applaud them every chance I can. Occasionally, at HSRC, we lose one of our older friends, and their absence is truly felt. We rarely get to really know people while busy taking care of tasks, consequently, never fully appreciating their achievements and personalities. I am happy to say that this film gave a greater appreciation of our elders and the noble work activity directors do to keep such beautiful humans on this planet. We walk through this world and all we can see is that life is a song we sing all day long.

Breaking Routine, Late Night Excursions at the Boiler Room

I work as a cook for a non-profit that requires me at work, ready to rock at 6:00 AM, so needless to say, I rarely get to attend weekday opportunity's Sunday, after an abundant Memorial Weekend barbecue , Franko and I showed up at the infamous Boiler Room, a small bar on the busy side of Broadway, Eureka. (You can't miss it, the only building that looks like a 57 Chevy painted with side flames) As I made my way past the neon signs, bar perchers and pool tables, I could see my old pal Lester belting out his own style of outlaw rock. Next to him strumming away, is the host Kingbee, with JP on Bass, Dave on drums, Rockin Rick on Harmonicas and Joe on keyboards. I wanted to get a feel for what kind of crowd was there, so I hung back in the shadows for a spell. Being a regular there, Franko makes himself at home. He walks in, sets up his amp, tunes his guitar and joins in with the boys. Its just that friendly! Really! Now, that doesn't mean any anyone can walk up and start jamming; there is a certain code of honor when attending these Open Mikes. Generally, one either asks to join in or waits to be invited. Kingbee is very good about giving stage time to others, yet, not afraid to give gentle reminders to any over-enthusiastic players. ( I believe the term is Ball Hogs)

Everyone that wants to play, gets to play. After some liquid courage a smoke, I strolled in and set my bass up in the corner. When the time was right, Kingbee approached me and gave me an idea where I stood in the lineup of players. Frank and I started out with a little number byParliment "I Just Want to Tell You", then we went through some rock standards and I even got a chance to premier my own composition, "Endless Maze". The boys joined us on stage while we rocked to some Rolling Stones, Violent Femmes, Ted Nugent and even Iggy Pop! Of course, one of the other players heckled us when we took too long to start, muttering "Blah, Blah, Blah" as he passed by the stage. I quickly shot out,"Heres a song I wrote , and I'd like to dedicate it to that guy. It's called Blah, Blah, Blah!" Turns out he was one of the two guys playing Metal Instrumental with only guitar and drums, with a surprising full sound. It wasn't too bad, but the ego of the guitarist was almost as big as his hair, while making what must have been intended as sexy moves. (I thought his guitar strap was bunching up on him, but, I could be wrong. ) He was pretty entertaining for mindless virtuosity. I think he was trying real hard to impress these two young ladies enjoying cocktails at a table up front, one of which got up and played a few numbers on the drums. She was pretty decent for such a waif, and you got to give her credit for stepping up to the stage with all that testosterone amidst.

The stage is small , but accommodating, the drinks okay, audience so-so. However, on the positive, Kingbee provides a mike and PA , Bass Amp, and usually a decent drummer or two in the house. The show starts at 9:00 PM, but get there earlier and sign up if you want to be in the early line up.

As we left the party, Kingbee was whisked away by a group of young ladies who had just missed the last song. I could see that this upset them, so Kingbee quickly apologized and became absorbed in conversation with these lovelies. I'm sure that at 1:30 AM, he will be the only band available for after hours fun. Keep on Rocking Kingbee!

Not Your Average Dreary Documentary

SHINE A LIGHT provides a welcome glimpse into the Stones' world at this advanced stage in their career, and continues Scorsese's obsession (see also: NO DIRECTION HOME and THE LAST WALTZ) with documenting some of the most influential characters in rock & roll.

The music of the Rolling Stones has lit up the soundtrack to so many Martin Scorsese films ("Gimme Shelter" has appeared in no less than three of his features--GOODFELLAS, CASINO, and THE DEPARTED) that it's little surprise to find the director teaming up with the legendary rockers for this concert recording.

SHINE A LIGHT begins with a few glimpses of the preparation that went into the recording of the show, which was staged over two nights in 2006 at New York's Beacon Theater Broadway ( opened in 1928) Scorsese makes the ritualized concert play like an opera, beginning with 10 minutes of behind-the-scenes madness preparatory to filming the concert that works as a comic introduction of the characters (including Scorsese, doing his best Woody Allen). Guitarist Keith Richards is like the character actor who slowly, inevitably takes over the movie from the supposed star without ever leaving the sidelines. In fact, there is a point where he simply crouches down at the front of the stage like a gargoyle and the camera lingers as if to say, “You okay, mate?”

Scorsese opens the movie by suggesting the tensions that can flare up when great minds -- his and Jagger's, that is -- collide. We hear Jagger, a disembodied voice on the phone, expressing his concerns about the problems of filming a live performance, as Scorsese, either vaguely annoyed or feigning annoyance for the camera, responds by raising his caterpillar eyebrows. Scorsese wants lots of cameras and needs lots of lights; Jagger doesn't want anything to detract from the performance. Scorsese also has a discussion with his lighting director about the amount of heat from the halogen studio lights towering behind the audience in the balcony and roof. “I don’t want these lights burning Mick Jagger!” he screams at the poor shmuck. Of course, later, in the middle of the show, Jagger turns his back to the lights and shields his eyes as he orates his displeasure to the nearest camera in his face . " Scorsese doesn't budge. In fact, eighteen cameras — manned by the Oscar-winning likes of Robert Richardson, John Toll and Robert Elswit — seemingly gliding effortlessly about the stage like birds in flight.

Scorsese is anxious to see the set list so he can plan ahead; Jagger assures him it will be ready -- an hour or so before the band goes onstage. Will they be able to pull their "Hey, kids, let's put on a show!" act together in time? A benefit for the Clinton Foundation, Bill and Hillary Clinton were in attendance, along with Hillary's mom, and before the show the band comes out for a meet-and-greet. It's a kissy-face moment, except for the way Wood greets Hillary's mother. He’s just a nice guy, you can tell.

Almost voyeuristic, the cameras capture the most intimate spaces, like Jagger going into heat with a backup singer in "She Was Hot," Keith Richards crying out in his husky pirate voice "You Got the Silver," Ron Wood mastering the guitar like a wizard and cool Charlie Watts bringing the audience to their knees with his still steady beat. With each zoom, the player in focus’s instrument, be it guitar, drums or vocals, comes to life with the clever sound engineering. If it wasn’t so clean, I would think it was taken directly off the camera microphones, and not off a mixing board. The close-ups were so extreme, I think I saw the map to Greenwich Village on Mick’s face. And Keith, well, I stopped counting his crows feet ten years ago. Do you think Anne Rice is a big Stones fan?



Jagger, in performance here, is pretty wooden: His rendering of "As Tears Go By" is clipped, exact, cautious, the words turned into a Hooked on Phonics session.
Jack White looked like a kid at the Wonka Factory singing along side with Mick on "Loving Cup," and Christina Aguilera once again goes over the top, out vamping even King Mick on "Live With Me." The best part is blues legend Buddy Guy on "Champagne & Reefer - who was in the recording studio when the Stones visited Chicago's Chess Records during their first U.S. tour in 1964 - fits a little better with the music and holds down one of the longest shots in the film by simply staring into the camera.

Short pieces of vintage interview clips are salted in throughout - young Mick Jagger saying he thought the band might be able to last at least another year , yet, without batting an eyelash, assures the interviewer that he‘ll be doing this well into his Sixties- little comic interludes that lend some context to the performance, brief asides between songs that never threaten to turn the proceedings into some dreary rockumentary.