Teresa’s been watching Simon Reeves in South America.
Salar de Uyuni (Bolivian salt flats).
I fell in love with both these stunning salt flats, the Salar de Uyuni, and Simon’s fabulous green shirt.
Simon meets Chola Boca.
Simon meets some great and inspiring people on his travels. I tried to find the names of the two folk pictured with him, above and below, but was unable to do so.
In Brazi, with (?).Very nice!
Alas, nice things, such as this shirt, often turn out to be rather expensive. This turns out to be the case in this instance.
Oh dear!
What a bummer! I really cannae afford such expenditure. I guess I need to rethink my economic position…
More wonderful moody musical grooviness, extracted from one of my favourite TV shows. And more fascinating info on the man who composed it, can be found in this excellent Jazz Times article.
What a great fun movie! A fabulous Lalo Schifrin score. Charles Bronson, being Charles Bronson. Jacqueline Bisset being sexy, alluring and evil. A great cast. Great settings.
From the wah-wah guitar and flute, to Chuck’s fab suit (dig those lapels!), the gritty urban settings, juxtaposed with the luxury of dirty money, and the complex McGuffin of a plot, this film really delivers.
This is a very weird photo!*
There’s layer upon layer of intrigue in the story, which works well to drive what is otherwise essentially a genre/mood piece. I don’t know if this was true at the time, but in retrospect, this film partakes of a zeitgeist I’m particularly fond of. At least in celluloid form.
Jacqueline Bisset, as Janet Whistler.
Bronson lives in relative luxury, retired from being a crime journalist, and trying to write a novel. He lives in the interesting Lido Hotel, a place that’s slightly sleazy, but also rather grand. Impeccably dishevelled, perhaps, like Bronson himself?
There are a lot of good actors here, even in the lesser parts (Burr deBenning**, as the unfortunate beat cop, for example; a very young Jeff Goldblum, as a hoodlum***). And the stars all deliver. John Houseman, as Procane (whose ledgers, the confessional journals of a master criminal, it transpires, are the McGuffin), reminds me a bit of Ray Milland.
Max Schell, as Doc’ Constable.
Maximilian Schell – dig the whiskers! – is great fun, as Procane’s private doc/shrink, who eventually turns on his super-rich possibly hypochondriac employer.
I’m having a bit of a Bronson-fest at the moment. And I have yet to be disappointed. It turns out I’m not in bad company, in my admiration for this unusual actor’s complex and slightly baffling charm:
Pity! That’d’ve been an amazing combo’.
Like lots of films of this type, about sleazy crime and vast sums of filthy lucre, etc, it prob won’t stand up to much scrutiny. But that’s hardly the point. It’s entertainment. And damned good entertainment at that.
This particular film seems to me unusually rich, in ideas, settings, scenarios, and suchlike. Which make it that bit more fun than some films that might ostensibly be deemed similar.
There are lots of interesting little nuggets in this movie. Why, for example, are Procane’s cronies named after famous modern painters; Whistler and Constable? Surely that’s not accidental? Not that it necessarily signifies anything…
*Look carefully, and you’ll see this is clearly a doctored photo. It illustrates a great little incidental scene – and this film is enriched by many such baubles – in a rather unusual specialist car body shop.
**I recognised DeBenning from the Columbo episode By Dawn’s Early Light. I added DeBenning to the Wikipedia page (see above screenshot) on the film, as he wasn’t credited!
***Goldblum has, of course, an even more prominent hoodlum role in Deathwish.
I can’t recall exactly what prompted me to suddenly want to listen to some Huey Lewis & The News. But I’m glad the urge came upon me.
The best songs on this album – Hip To Be Square and The Power Of Love – are six star affairs. All time classics, of the Pop variety.
The album isn’t uniformly brilliant. And there are things about the production – the drum sound (and as a drummer, that really matters to me!) – that date it. Some of the keyboard sounds, likewise.
Huey mentions his version (and the songwriter’s original) of ‘Doin’ The Best For My Baby’, on his What’s In My Bag Amoeba Records video… This, and numbers like Happy To Be Stuck With You, are real feel good heart warmers. Not classics, perhaps? But solid, and yet also cosy!
There are, however, a few ‘album tracks’ here that I’ve grown to really love. The acapella ‘Naturally’ is really wonderful. ‘Forest For The Trees’ speaks to me, as a person who’s battled depression (thanks, Huey & co!).
And the final track, ‘It’s As Simple As That’, really speaks to me. With its themes of money struggles, ageing, married life, and so on. This last is written by Tower of Power dudes, Kupca and Castillo…
FOOTNOTE
This is very interesting, and worth reading. In the linked piece Huey talks about his recent hearing loss, and such ideas as gratitude. He’s a terrific person.
I have to admit, I love this film. Yes, it’s a twisted cinematic love letter to crime and guns. But it’s so very well shot (boom-boom!), well acted, and well directed. And I just really enjoyed watching it.
A real showbiz gangster.
There’s an amazing scene where Dillinger goes on a family/home visit. To see his parents/siblings. Can this be real? In the movie he does this right after a taunting telephone call to (?), the G-Man hunting him. Surely the cops’d be watching all his family/connections?
Whatever the truth, it makes for a terrific scene. ‘Welcome home, son.’
Set in the Depression era, 1933, which it also beautifully depicts/evokes…
John Milius, left, inspiration for Walter (right).Milius and Oates.
Whilst trying to find online versions of several movies – The Stone Killer, Truck Turner – I stumbled upon an iconic scene from Superfly, featuring Priest (Ron O’Neal) and Eddie (Carl Lee).
Looking into Carl Lee’s life (and death; drug-related, alas), lead to his father ‘Canada’ Lee, pictured above. And that in turn lead to Orson Welles…
Orson Welles.
The above portrait is just, er, well… Awesome! It kind of puts me in mind of this early Picasso self-portrait:
Picasso, Self-Portait, 1901.
I wonder if Welles’ photographer knew of and was referencing the Picasso painting? The photo is actually the better or more dramatically framed composition.
