'Frankenstein' & 'Bride of Frankenstein'

A popular point of discussion nowadays deals with vampires. Considering how amazingly popular they are, especially among females, it always comes back to some headier explanation when you consider the origins and myths behind such characters as Dracula, Frankenstein and a werewolf.

Reading Mary Shelley's "Frankenstein," you realize there's a grander theme that she was trying to get over to her audience about creation, human nature, blind hatred, science and much more. This is no different with the vampire or werewolf myth.

There's a rawness and darkness with all these characters. Mixing their abilities with their weaknesses and failures. How they're part human and part monster or animal. How their notion of right and wrong is skewed by some unstoppable force or affliction.

For the most part, at our worst, there's a little bit of Frankenstein's monster in all of us -- the rage, the confusion, the inability to cope with the humanness of it all.

'She Done Him Wrong'

My first exposure Mae West was during her guest appearance on "Mister Ed."

I assumed she was the end-all, be-all of Hollywood starlets.

Probably 22 years later, I finally get around to watching one of her movies.

One of her 12 movies. Yes, West lived until she was 87 and made 12 total movies, which included a hiatus between 1943 and 1970 and then another stretch through 1978. Eight of those 12 were made within a five-year period between 1932-1937.

I also didn't know that she wrote a lot of her own movies, including "She Done Him Wrong," which launched Cary Grant's career.

She was also 5-1. Which makes her a spinner.

'Hud'

Paul Newman died this year. Newman, it turns out, dealt with a lot of the same problem that Ray Charles did.

You see, when Newman died, everyone came out of the woodworks and started telling me just how great Newman was and how much of a genius actor and cool guy he was.

Mind you, the previous 20-odd years, no one's said a thing about Newman to me otherwise.

Same with Charles. The guy dies and suddenly I'm preached to about how great he was by people that hadn't mentioned him and who I would've guessed didn't give two bits for Newman or Charles.

I am enjoying these neo-westerns like "Giant," "The Last Picture Show," "Badlands" and "Hud." The music is great, the acting superb, loss of innocence. Generally, these films are about death, mostly the demise of the west and a simpler set of standards in terms of living. It's refreshing that this time existed and was so poignant to the point that we had to keep making movies about it.

'Pride and Prejudice'

I've never hidden my disdain for Jane Austen. There's the distinct possibility that my attitude toward the author is based on the fact that she's so regarded by people for the sole reason that she's a woman being successful during a day and age when women were used for baby making and social events.

Although this is true, I think it's more demeaning to rate her based on her ovaries rather than on her writing, which I don't think is all that great and her stories, is stinks of second-rate Shakespeare and romantic-comedy.

The most interesting theme in Austen's works is her treatment of the women in her stories. Most are well-educated and witty, not needing a man to justify their existence and yet they're emotional and wrought with a certain amount of conflict in their hearts as they battle what they feel and the societal constraints placed on them. The women think they're above love, marriage and whatnot, but they're just as much part of the machine as anyone else. Look at Elizabeth spurning the preacher man as if she holds some sway on her decisions and then going cuckoo over Darcy in a matter of days.

As if Austen is saying any inequality and lack of opportunity for women was as much the fault of the woman as it is the man. The woman that finally realizes that men are just penises will break the cycle.

'Modern Times'

Some fun facts:

1. Only three actors/actresses in this film have photos on their IMDB pages. Charles Chaplin, Paulette Goddard and Bobby Barber who played an uncredited worker. Barber has 181 film/TV credits, mostly bit parts. His most extended work came with Abbott and Costello who hired him to basically keep everyone happy, laughing and focused.

2. Chaplin produced, composed the music and co-edited "Modern Times."

3. Goddard is extremely interesting. She started in The Ziegfeld Follies, was a Goldwyn Girl and eventually got involved with Chaplin, who cast her in "Modern Times." The two were married the same year before separating in 1940.

4. Goddard apparently was the leading candidate for Scarlett O'Hara in "Gone with the Wing" but apparently couldn't provide a marriage license to prove her nuptials with Chaplin and then Vivien Leigh showed up and that's all she wrote.

5. Goddard left $20 million to NYU at her death.

6. She was married four times, no kids. One marriage was to Chaplin. Her third was to The Penguin, Burgess Meredith.

'The Bridge On The River Kwai'

My problem with older war movies is how the Allies were depicted compared to the Axis powers.

This is a slippery slope. You borderline compliment or excuse Nazis if you go a certain direction.

The truth is, for a majority of soliders fighting in wars, they're a bunch of kids that can barely shave thrown into trenches, formations and battlefields, scared shitless and having no real clue what they're heading towards. Which is destruction.

There's a gigantic difference between Goebbels and Himmler and the German 18 year olds freezing to death in Leningrad.

"The Bridge On The River Kwai" bothers me because it forces us the idea that the Allies were oh-so noble, good and smarter than their Japanese captors. If you really look at it, the Allies were extremely pretentious for a bunch of guys that were caught and the Japanese seems overly kind and willing to bend rules. I mean, all they wanted a was a stupid bridge.

Then to make the Japanese commander look like a total moron seemed like an unnecessary cheap shot. That guy wanted what every British or American soldier wanted: To just go home.

'Nevermind'

I searched long and hard for this album and I couldn't find it. I believe it was one of many stolen in college. Needless to say, I went right out to my used CD store and bought a copy.

It still holds up. How could I not own a copy of the album that changed a lot of things culturally and musically for my generation? For better or for worse, that stinkin' band and that stinkin' album defined my youth.

Ironically, I enjoy it more 18 years (!!!!) later.

My notes:

1. There's a lot that this album means to people, however, I think we'd be remiss if we didn't mention the musicianship. Dave Grohl was a late-comer, but he put them over the edge. Such a tight and brilliant drummer, much like what Ringo Starr did for the Beatles. We don't hear enough about the tone on Kurt Cobain's guitar. And Kris Novaselic on bass ... listen to his work on "On A Plain" sometime.

2. Cobain flipping off the camera on the linear notes seems so forced and arbitrary. I wonder how he felt about it afterwards.

3. In fact, I wonder how he felt about a lot things. He always seemed so listless. Add in the drugs, depression and everything else and it just amplified this scene. Could you imagine being an engineer in the recording studio going in and asking Cobain to re-do a vocal? It probably took an act of god to get the guy to do anything.

4. These basic responsibilities I think helped ruin Cobain. Add on the fact that millions of teenagers adored a guy that had such poor self-image problems and that he had bigwig music people expecting him to lead some sort of anti-hair metal revolution and it was too much. Brushing his own teeth probably wasn't high on Cobain's to-do list. More or less lead a bunch of bratty surburban kids toward hating their parents and listening to Korn. I might have blown my brains out too.

5. Best songs, in order, when I was 14: "Drain You," "Lithium," "Smells Like Teen Spirit," "Come As You Are," "In Bloom," "Polly," "Lounge Act," "Something in the Way," "Stay Away," "On A Plain," "Breed" and "Territorial Pissings."

6. Best songs, in order, now: "Breed," "On a Plain," "Territorial Pissings," "Drain You," "Polly," "Stay Away," "Lounge Act," "Smells Like Teen Spirit," "In Bloom," "Lithium," "Something in the Way," and "Come As You Are."

7. In all, "Nevermind" was a well-produced punk album.

8. How did Nirvana really change anything culturally. First and foremost I think it helped independent rock music (although I wouldn't categorize them as "indie") somewhere on a broader map. I think it was also responsible for a lot of punk labels and bands to make it on a largers stage, Warped Tour, ska and all that entails. "Nevermind" and Coban were very angry entities. Much more angrier than any Marilyn Manson, Korn or whatever. We think Manson's fucking nuts for some of his stunts ... well, let's see him blow his brains out wearing Converse One Stars.

9. The first time I heard any part of "Nevermind" was in 1992 and my brother-in-law had the album and had me listen to "Polly." Despite owning the coolest album of the past 25 years before 85 percent of everyone else, my brother-in-law has the worst taste in music.

'Are You Experienced'

Interestingly, Hendrix and Co. decided against the question mark.

I've never been a big Hendrix guy despite being a faithful reader of "Guitar World" and "Guitar" for about a 10-year period starting in the early 1990s. Every other teenager of my ilk loved Hendrix and for good reason.

I just don't feel his songs were very good. The writing was so-so to straight-up bleh and the musicianship wasn't tight enough for me.

Hendrix gets a ton of props for his guitar playing, but Hendrix -- at least on record -- didn't bust out face-melting solos or anything. Hendrix was best at his rhythym playing. It's probably the most understated facet of his writing as it's understated for 99 percent of every guitar player. Hendrix' chord progressions are amazing and completely unique.

For the record, my favorite Hendrix was the blues compilation released about a decade ago and the "Band of Gypsies" album.

'Tess of the d'Ubervilles'

In my senior level fiction writing class, my professor preached to us over and over about finding our own voice.

It's easy to say, but near impossible to actually define. Do you know when you've found your voice or does someone else tell you?

Thomas Hardy's formal education ended at age 16 due to his socio-economic standing. So he didn't have the opportunity to have a sandal-wearing college professor to tell him to find his own voice in his writing. He just wrote. Hardy probably never even thought about "voice" or "theme" but no writer of the last 200 years had such a singular and signature voice than Hardy.

If you read 10 books without knowing the author and three were Hardy, you could pick out the Hardy books easily.

It is interesting that Hardy lived until he was 87 and didn't write another novel for the final 25+ years of his life. It's also interesting that he died in 1928. His presence in this world isn't that far detached.

'My Man Godfrey'

Did you know that "My Man Godfrey" was the only film to get Academy Award nominations for best screenplay, best director, best actor, best supporting actor, best actress and best supporting actress, and not receive a nomination for best picture?

Also, it was the only film to get all of those nominations and lose them all.

It also featured the great William Powell and the gorgeous Carole Lombard, who were by the time of this film, divorced.

That had to be hard unless divorces were different back then. To be two beautiful people who had once loved each other to star in a film together would be tough.

'Honky Tonk Heroes'

In the film "High Fidelity," there is a scene were Rob Gordon's ex-girlfriend comes to his apartment and finds his list of his top five dream jobs.

Some are musicians. Other choices are producers and artist.

What we really want in a good job isn't necessarily a bunch of free records, money or power, but to be a part of something. A movement even.

Look at all the people that we look up to and they generally belong to some kind of movement, artistically, politically or whatever.

The outlaw country thing didn't last too long and their impact is marginal when it comes right down to it. Nonetheless, it was incredibly cool and something I definitely would've wanted to be a part of. Visiting to Austin or listening to "Honky Tonk Heroes" (or any album of that era and sub-genre) lets you catch a glimpse of that and it makes it even more appealing. It was a bunch of guys that kinda liked each other, writing songs, drinking, smoking hash, chasing women, playing guitar.

What's not to like?

'Tusk'

Fleetwood Mac is one of those bands that I would've (and did) absolutely hated as a 15-year-old music fan, who thought he knew everything.

They're also one of those bands that makes a 29-year-old music fan (shit, I'm old) realize that he or she wasted 14 years pinning some label or idea on a band or artist based on mere bullshit.

Better late than never, I guess.

Mac's a great band and Lindsey Buckingham is one of the best rock singers in history with that ever-potent voice. Then Stevie Nicks. They're a band that had depth and value and there's so much out there nowadays that ignoring a band like Mac is a giant mistake.

'Guys and Dolls'

Does anyone else find it interesting that they could make a romantic comedy two-and-a-half hours based on a musical and it can make millions at the box office and still be critically acclaimed starring one of America's most beloved crooners (Frank Sinatra), Hollywood hunks (Marlon Brando) and top 25 beauties (Jean Simmons ... no, not that Gene Simmons)?

There is no way in hell this could happen. Why?

Because 90 percent of today's actors aren't talented enough to pull off this movie, audiences can't handle musicals and sitting through three hours of Benjamin Button was bad enough.

I don't even know how you cast it. Justin Timberlake seems the most natural choice for Sinatra's character: A skinny low-life with spunk and personality.

Brando's character needs looks, talent, charisma and acting chops. Who in modern Hollywood pulls that off? Johnny Depp comes to mind, but his performances are too uneven. Too light-hearted for Daniel Day-Lewis (despite him actually being in a musical in an upcoming film).

Denzel Washington? Too desperate.

What's most disheartening is that there's no truly personable, really good looking leading ladies. Angelina Jolie's not that good and is too brooding. Scarlett Johansen doesn't have the spunk. Maybe Kate Winslet.

This film is great because it could never, ever be duplicated. That's somewhat comforting.

'Adam's Rib'

I wish a scientist would research human chemistry. Not genes, blood, smells and whatnot. But the innate ability of certain human beings to connect.

I think it certainly goes beyond liking the same music or being the same age. It's not always what you have in common.

Why, for example, can Katharine Hepburn (so hot) and Spencer Tracy be in a movie together and genuinely act like they're really married.

Now, I realize that they're actors and they're acting like they're married, but it takes more than that to capture the tenacity and sincere adoration those two had for each other in this movie.

It wasn't just acting. They were more in love and more married than Tom Cruise and Katie Holmes are actually in love and married today.

Why is this? Why are there people in this world that could walk into a room of strangers and walk out with a roomful of new friends? What are they given that the rest of us lack?

'Honky Tonk Masquerade'

I purchased this record about three months ago and listened to it and was underwhelmed.

About three weeks ago, I watched the Townes Van Zandt documentary "Be Here To Love Me," which featured one short interview clip from Joe Ely.

So I gave the album another listen.

It's good. I don't know if it's really good. Some say it's one of the best country-rock records ever. Some say it's one of the best 1970s rock records. According to Wikipedia, some dude from New Zealand noted it as a top 10 record of the rock era.

Seriously? It has a handful of really good songs. A couple of OK songs and some boring tunes. And I really love country music. I was born to love this album, but I really can't.

I might buy it for my brother for Christmas, though. See what he thinks.

'Duck Soup'

The Marx Brothers are the biggest beating in entertainment history.

A question first: Are they real brothers?

Answer: Yes.

In fact, there was another brother, Gummo, but apparently he wasn't all that funny.

Another cool fact is that Harpo's real name is Adolph, but in 1911 he changed it to Arthur. This is significant because it was a good 20 years before the name "Adolph" would prove infamous, but the fact is that Harpo probably changed it because it looked dumb for an entertainer.

The reason I hate the Marx Brothers is because they're entire goal is to perpetually have some zinger or bit to play on the straight man/woman -- who is everyone else. No one is funnier than the Marx Brothers when on screen. It's obnoxious. I can't handle it. It goes too fast and never can you just rest your head and roll with the film. It's joke after joke. Like riding a roller coaster for an hour and a half.

'Aguirre, Wrath of God'

A very interesting film. It seems that the actual making of the film is far more interesting than the movie itself.

Klaus Kinski and Werner Herzog threatning each other. A crew member almost being killed by Kinski. There were only eight crew members. There was no storyboarding.

I found that it was a really cool film. If by some chance you could sneak a camera 300 years into the South American jungle, I felt that's the way it would've been. And I don't necessarily mean the story, language, acting or obvious fake blood. But there's a amateurish and raw nature to the film that makes it violent and real.

I totally understand why it's a "cult" classic.

'Seven Chances'

Love me some Buster Keaton.

But I wonder what he'd think about Chris freakin' O'Donnell basically making a really bad re-make of "Seven Chances."

I think it's funny (or tragic) that somehow Keaton and Co. -- 74 years prior -- made a far superior film than O'Donnell and Co. could in 1999.

Plus, how could filmmakers in 1925 could find a handful of women who were 100 percent more attractive than Renee Zellweger? It's amazing.

I do, also, enjoy subtle racism. Goooooooooooooooo racism!