MUSICIAN MOVIE CAMEO MONDAY: David Bowie In YELLOWBEARD

Here I go again with another series, and it’s centered on one of my favorite subjects: movie cameos. The angle here of Musician Movie Cameo Monday (snappy, huh?) is that they obviously showcase famous musicians, who took time off of their meteoric careers to put in a few minutes often because they’re friends with the actors or filmmakers (or both). 

We’ll kick off with one of biggest rock icons to ever sashay in front of a camera: David Bowie. Bowie was in middle of one of his many peaks in 1983, which revolved around the hit singles, “Let’s Dance,” “Modern Dance,” and “China Girl,” when he agreed to appear in a crude pirate comedy entitled YELLOWBEARD – the brainchild of Monty Python’s Graham Chapman. With John Cleese, and Eric Idle, the film features half of Monty Python, and a rich ensemble that even included Cheech & Chong.

Midway through the movie, an uncredited Bowie pops up as a character named Shark, though he’s addressed by Idle as Henson, who is escorting Madeline Kahn through a ship that’s careening through the seas. Bowie’s Henson/Shark, takes Kahn to dining room inhabited by a tired-looking Eric Idle. Kahn says that she seems to remember something about an island,” and that “it must’ve been that shark that jogged my memory.”

With a “well done,” Idle dismisses Bowie, and as he turns to exit we see what the scene was building to – Bowie was wearing a rubber shark fin on his back, meaning that the revered rocker at the height of his pop powers was reduced to a sight gag in a subpar Python knock-off.

YELLOWBEARD was one of the biggest flops to come forward from the well that sprang MONTY PYTHON AND THE HOLY GRAIL, and LIFE OF BRIAN. It’s a painfully unfunny experience that even my 12-year old self couldn’t find much comedy within.

But at the very least, this misguidingly star-studded non comic epic, had something no other ‘80s film could ever dream of having: David Bowie wearing a rubber shark fin in a cameo that only lasts just over 3o seconds.

So check out the glory that is Bowie sharking it up in the largely forgotten (for good reason) Chapman vehicle YELLOWBEARD:

After seeing that understated walk-on, you really don’t need to see anything else from the failed pirate production. At least that’s what I’d recommend, but if you are a glutton for punishment, so then, knock yourself out.

More later...

That Time When My Family Visited A Location For MONTY PYTHON AND THE HOLY GRAIL (Before It Was A Location For Said Film)

In the early ‘70s, my parents, my brother, and I, lived for a year or so in Cambridge, England. During our time there, we visited many landmarks in Britain and Scotland including Doune Castle, a 14th century stronghold that has the distinction of being the principal location in the 1975 comedy classic, MONTY PYTHON AND THE HOLY GRAIL.

The Terry Gillam and Terry Jones-directed movie has long been one of my favorite films, possibly the movie I’ve seen the most throughout my life, but the thing is – when my family dropped by to check the place out, it was a year before the Monty Python group shot their second feature there. Since the film’s release, Doune Castle has been largely rebranded by the hugely successful comedy, with a gift shop full of HOLY GRAIL memorabilia, and for years even hosted an annual Monty Python Day.

So, I’ll share a few pics from when I went to Doune Castle before going to Doune Castle was cool. This is a picture, taken by my father; of my mother, me, and my brother, on the castle’s rampart, roughly where John Cleese’s French Taunter character was situated in one of the movie’s funniest scenes.

I can only assume that this picture of Doune Castle’s courtyard was taken from where we were on the wall.

HOLY GRAIL fans will most likely recognize it as where the Swamp Castle wedding party that turned into a bloodbath took place.

The members of Monty Python were forced to use Doune Castle as the set for more than several different Castles throughout the film because they lost their permission to use a handful of other castles for locations.

Why, you may ask? Because as Co-Director Terry Gilliam told theguardian.com: “immediately before filming started the National Trust cancelled our access to the castles. They said we wouldn’t ‘respect the dignity of the fabric of the buildings.’ These places had dungeons and blood on the walls for God’s sake! They’ve stood for hundreds of years against hordes of invaders, what were we going to do - make people laugh at castles?”

HOLY GRAIL wasn’t the only time that Doune Castle was used as a Medievel location. It first appeared in the 1952 historical epic IVANHOE, and also its 1996 BBC adaptation.

It has also been featured in episodes of the TV series Outlander, and in the mega popular HBO series Game of Thrones, where it served as Winterfell (it was briefly renamed that in honor of the series’ final season).

But for me, Doune Castle will always be known as Camelot, Swamp Castle, Castle Anthrax, and where the Trojan Rabbit met its fate in HOLY GRAIL.

Maybe I’ll find my way back there some day.

More later...

That Time A Beatle Had A Cameo In A Monty Python Film That He Financed

Every now and then, someone posts on Facebook, Twitter, or some social media network that they just noticed that Beatle superstar George Harrison appears briefly in the 1979 comedy classic MONTY PYTHON’S LIFE OF BRIAN. They usually note that they have seen the film many times, but only now did they see Harrison’s cameo.

This is because he is easy to miss in a crowded set that does little to single out the legendary musician, despite that John Cleese’s character introduces him to Graham Chapman’s Brian as “the gentleman who's lending us the mount on Sunday.” Watch the 10-second scene:

Harrison only had one line – one word actually (“Hullo!”), but since it was noisy and he was barely audible, it was later dubbed by Michael Palin, doing his best Liverpudlian impression. The bit part was uncredited, but the former Beatle was given a priceless moniker: Mr. Papapadopoulos.

The cameo came about because Harrison was one of the movie’s Executive Producers, and that came about because he largely financed the hilarious biblical satire. According to Eric Idle, a good friend of Harrison’s since they met in Los Angeles in 1975 at a screening of MONTY PYTHON AND THE HOLY GRAIL, Harrison “pawned his house and arranged a loan of $5m. When he was asked why, he just said: 'Because I want to see it'. Not many people pay $5m for an admission ticket.”

It wasn’t Harrison’s first foray in a Python-related project as the year before BRIAN, he played a television journalist, credited as “The Interviewer,” in Idle’s TV movie parody of the Beatles, The Rutles: All You Need Is Cash. The almost unrecognizable Harrison appears in two scenes in the mockumentary, both set outside the headquarters of Rutle Corps. Watch one of the scenes, featuring Palin’s spoof of Beatles press officer Derek Taylor:

Several years before that, Harrison put in a performance of “Pirate Song” which begins as “My Sweet Lord” then becomes a rowdy sea shanty on Idle’s BBC2 comedy program, Rutland Weekend Television:

Idle directed videos (then called promotional films) for two songs from Harrison’s 1976 album, Thirty Three & 1/3: “Crackerbox Palace” and “True Love.” Both are highly amusing Pythonesque (of course) films - click on their titles to watch them. 

After BRIAN, Harrison and his manager Denis O’Brien worked on over two dozen films for the studio they founded, Handmade Films, including such classics as WITHNAIL & I, and such flops as SHANGHAI SURPRISE (1986), in which he put in a cameo as a Night Club Singer (that’s how he’s credited).

Anyone who would read such a post as this would no doubt be aware that yesterday was the sad anniversary of Harrison’s death at the all too young age of 58. Luckily he left behind a wealth of timeless work, so much so that it’s easy to forget he’s gone.

The fact that people are still finding and being delighted by a blink and miss it moment in one of the most re-watchable comedies of all time is a testament to his massive legend. To respectfully contradict his good friend, Idle, it’s a legend that will last many lunchtimes.

More later...

Donald Trump And The Holy Grail

On the latest episode of the HBO show, Real Time with Bill Maher, after the host’s heated argument with Trump Legal Advisor Jenna Ellis about whether there was fraud in the presidential election, Maher joined his panel to be greeted by author Max Brooks (son of Mel) who said, “What a lovely interview with the black knight from Monty Python’s THE HOLY GRAIL.” 

Following a short burst of laughter from the audience, Brooks continued, “I mean that literally was that scene - ‘Your arm’s off!’ ‘No, it isn’t!’” 

This was a funny, and fitting analogy, but it’s far from original.

For those who haven’t seen MONTY PYTHON AND THE HOLY GRAIL, the scene Brooks is referring to involves King Arthur (Graham Chapman) being challenged to a duel by the Black Knight (John Cleese). One by one, the King slices off all of his adversary’s limbs, but the Black Knight hilariously still doesn’t surrender.

In a cartoon in the New Yorker just days before Election Day in 2016, Bernard Schwartz was among the first to make the analogy with Trump: 

Sadly though, while the gag was dead on, Trump went on to win so somehow the Black Knight actually was triumphant.

Maybe this more recent cartoon by Tom Chitty in the Weekly Humorist is more apt:

Then there’s this one by Jessica Conley from something called the Scot Scoop from early in the pandemic that reverses the roles: 

There are also numerous memes like this one: 

Another reversal of the premise is featured in this YouTube video that puts Trump in the King Arthur Role and posits CNN as the Black Knight. The video’s description is the funniest thing about it: “Donald Trump POTUS fighting the corrupt fake news doxing media CNN! TRump dismembers CNN in this epic battel of fun.” (I’m not fixing their typos) 

Yeah, that was great. Take that CNN. Sigh. 

These jokes, or variation on one joke, work largely because Trump is much like a Monty Python character. He’s outrageously larger than life like Terry Jones’ disgusting diner Mr. Creosote in THE MEANING OF LIFE, he’s an arrogant vulgarian like Cleese’s French Taunter in HOLY GRAIL, and he would surely win the Upper Class Twit of the Year competition from the Flying Circus series.

Much like the Black Knight, Trump is right now still trying to win despite the odds being overwhelmingly against him. It would be so nice if he would man-up and concede the Presidency to the rightful winner, Joe Biden, but that may never happen.

Trump may even be more of a cartoon than the Black Knight, because at least that character offered as close to a concession as he could when he said, “All right, we’ll call it a draw.”

More later...

Film Babble Blog's Top 10 Favorite Cinematic Sight Gags

Back in the day, I used to post listicles (before they were called listicles) of movie tropes that I would attempt to amusingly connect to break up the flow of review after review. So with the upcoming glut of year-end releases plus the stress of the holiday season coming (not to mention the craziness of the post election season we're going through) I thought I’d rekindle that idea and do something silly – list my top 10 favorite movie sight gags.

The following are what I consider meme-worthy screen shots from the obvious suspects: Monty Python, Zucker brothers, Mel Brooks, super hero movies, etc, They’re the engrained images, mostly from my childhood, that always make me laugh when I think of them. So here goes:

1. The shit hits the fan in AIRPLANE!

(Dirs. David & Jerry Zucker, Jim Abrahams, 1980)

Almost every other shot in the line of movie spoofs made by the Zucker brothers (David & Jerry) and Jim Abrahams is a sight gag – some brilliant; some idiotic. The one that most appeals to me is an absurdly literal visual joke from their classic disaster film satire AIRPLANE! that involves Ted Striker (Robert Hays), who’s been called in to land Boeing 707 (Trans American Flight 209) after the pilots have been taken ill. Striker: “The oil pressure, I forgot to check the oil pressure. When Kramer hears about this, the shit's gonna hit the fan.” The film then cuts to a shot of actual shit hitting a fan in the airport control room. Hey, I warned you above that there would be stupidity.

2. Clark Kent can't find an old school phone booth in SUPERMAN: THE MOVIE (Dir. Richard Donner, 1978)

As an eight-year old kid, I remember the laughter from the audience being really big when Clark Kent (Christopher Reeve) was first called into action in the first big screen Superman movie and found that the walk-in phone booths of the past, that he regularly used to change into his suit in the comics, were largely non-existent. Reeves’ expression at this realization of modern times is priceless.

3. The town sign for Plotpointburg in MUPPETS MOST WANTED (Dir. James Bobin, 2014)

Sure, MUPPETS MOST WANTED isn’t the best of Muppets movies, but it’s far from the worst, and this meta gag about how their European-set adventure, the latest in the cinematic series that was rebooted by Bobbins and Jason Segel in 2011, was adhering to a tried and true formula, got the biggest laugh of any of the jokes in their 2014 follow-up.

4. Sherrif Justice's restroom faux pas in SMOKEY & THE BANDIT (Dir. Hal Needham, 1977) 

The second biggest grossing movie of 1977 (STAR WARS was the biggest – duh!) had its share of dumb visual jokes, but this one which had Sherrif Buford T. Justice (Jackie Gleason) leaving the men’s room at a truckstop with a line of toilet-paper following him out the door really made me giggle as a kid. According to Wikipedia, Burt Reynolds said that it was Gleason’s “idea to have the toilet paper coming out of his pantleg” in the scene. I may just have to agree with writer Tyler Coates, who said in his Decider post about seeing the film for the first time, that the shot may be “the greatest toilet-paper sight gag in the history of motion pictures.”

5. A 23rd century McDonald's in SLEEPER (Dir. Woody Allen, 1973)

Many of Woody Allen’s movies have sight gags, especially his “early funny ones,” but this particular one has stayed with me as it’s a really outdated, but still funny joke. In the film, which concerns Allen’s Miles Monroe, a nebbish NY neorotic (duh!) waking up 200 years in the future, our protagonist walks by a 23rd Century McDonald’s that has a sign boasting “Over 795,000,000,000,000,000,000,000,000,000,000,000,000,000,000,000,000,000" Served.”

In the IMDb trivia section for SLEEPER, it is noted that “if translated into American numeration this value would be Seven Hundred, Ninety-five sexdecillion," a value with 51 zeroes. By comparison, Avogadro's Number, 6023E23 (or 6.023^23), or "mole," is a value normally used to count atoms or molecules, and, incidentally, thought to be about the number of grains of sand on all the beaches on earth, give or take a couple orders of magnitude. The value of 795 sexdecillion is very nearly a mole of moles.”

As McDonald’s was a somewhat seemingly new fad of a fast food chain in the early ‘70s, you can see why Allen made this joke. Though these days, it seems like a hell of an under-estimate.

6. Combing the desert in SPACEBALLS (Dir. Mel Brooks, 1987)

Another Jewish comedian turned ‘70s comedy star, Mel Brooks, also had many sight gags in his films. In the late ‘80s, Brooks’ schtick was pretty played out, but that didn’t stop him from making a spoof of the STAR WARS films and modern movie sci-fi in general called SPACEBALLS. One of its most memorable involved Rick Moranis’ Darth Vader spoof Dark Helmet ordering his troops to “comb the desert” for the missing Princess Vespa, and, of course, they do just that.

Maybe a funnier sight gag in SPACEBALLS was in the film’s few minutes, in which there was a parody of the opening of the original STAR WARS’ long, continous shot of a ginormous starship. That one, isn’t as well captured in a gif though.

7. The Black Knight's limb loss in MONTY PYTHON AND THE HOLY GRAIL (Dirs. Terry Gilliam & Terry Jones, 1975)

More ‘70s sight gag funniness comes from the iconic British comedy group Monty Python, whose films are full of them. I’ll go with this one from their 1975 classic MONTY PYTHON AND THE HOLY GRAIL, in which a black knight gets both his arms chopped off yet afterwards still continues fighting. The blood gushing was a new thing for a comedy film in that era (Dan Aykroyd's Julia Childs SNL bit around that same time  hit the same vein - sorry), so this was as groundbreaking as it was hilarious.

As a runner-up, I’ll go with this shot from MONTY PYTHON’S LIFE OF BRIAN which happens after Brian (Graham Chapman) has been up all night following a strict Roman Centurion’s (John Cleese) orders (again with the literal following of orders) to paint “Romani ite domum,” which means “Romans go home,” a hundred times all over the Roman Palace’s walls:

8. Steve Martin cleans his gun in DEAD MEN DON’T WEAR PLAID
(Dir. Carl Reiner, 1981)

Okay, so either the ‘70s-‘80s is the glorious age of cinematic sight gags or I’m just old and that’s the era that I most identify with, but I have to go with either this Steve Martin should be comedy classic’s shot of Martin’s detective character Rigby Reardon cleaning his handgun in a sink with a bottle brush, or the tie shot that has him shaving his tongue. How either of these really satire the world of Humphrey Bogart-era gumshoe film noir is debatable, but I still find both damn funny.

9. TIE: THE SIMPSONS MOVIE (Dir. David Silverman, 2007) & AUSTIN POWERS: INTERNATIONAL MAN OF MYSTERY (Dir. Jay Roach, 1997)





Both of these films feature sight gags involving the obscuring of the male member. I don’t feel I need to explain any more than that.

10. Brick Tamland's reaction to his dismembered TV image in ANCHORMAN: THE LEGEND OF RON BURGANDY (Dir. Adam McKay, 2004)

Although Will Ferrell's big deal newscaster Ron Burgandy could be seen as a walking sight gag (as could just about every character he's ever played), it’s Steve Carrell’s character in the 2004 '70s news spoof, Brick Tamland, freaking out because his green pants made his legs disappear on a weather green screen that makes the cut here.

Okay! So what are your favorite sight gags? Let me, and other readers, know in the comments below.

More later...

BOYHOOD, Linklater, & Monty Python Discussed On The New Postmodcast

On the newest episode of postmodcast, a podcast that I am now co-hosting with Kevin Brewer (Twitter handle: @RealKevinBrewer) I talk about the new movie BOYHOOD, touch on the career of its director Richard Linklater, and discuss Kevin's experience seeing MONTY PYTHON AND THE HOLY GRAIL for the first time (I've seen it so many times that I think its the #1 movie I've seen the most). That's Kevin and I pictured above at a Halloween party at my house few years ago (I'm in the Devo garb).

These are a few subjects near and dear to my heart as BOYHOOD is my favorite film of the year so far, I'm a big fan of Linklater, and HOLY GRAIL is my all time favorite comedy. 

There was a great moment in the last episode of Judd Apatow's one season cult classic TV series Freaks and Geeks when a teacher (played by Steve Higgins, later Jimmy Fallon's announcer on Late Night/The Tonight Show) consoled the lead geek characters, who were so tired of getting bullied, with a “it all gets better” speech. Higgins then offers up an 18 mm print of HOLY GRAIL (pictured above) that he just scored, saying for now that they should “enjoy the simple pleasures in life.”

On this episode of postmodcast I find out that one person's idea of the simple pleasures may be as foreign as can be to another. It was a lesson I had to learn.

If you didn't catch the links above, click here to listen.

More later...

Monty Python: Older, Fatter, But Still Funny As F***

Last weekend, on Sunday, July 20th, my wife and I attended and laughed a lot at a live broadcast of “Monty Python Live (Mostly),” featuring the legendary British comedy group’s final performance ever (or so they claim) before a sold-out audience of 15,000 at The O₂ Arena in London, England.

The event, the last of a 10 show run, also sold-out at our venue, North Hills 14 in Raleigh, N.C., and from what I hear, at many of the 2,000 theaters around the globe that carried the broadcast, indeed proof that Python still has powerful pull even at this late date.

Despite some annoying sound glitches at the beginning, it was a hilarious delight seeing the surviving members - John Cleese, Eric Idle, Terry Gilliam, Terry Jones and Michael Palin – on stage together for the first time since their Hollywood Bowl concerts in 1980, energetically perform a revue of such classics as “Nudge, Nudge,” “Spam,” “Argument Clinic,” “Parrot Sketch,” “The Lumberjack Song,” and, of course, “Always Look on the Bright Side of Life” on a massive set with an orchestra (conducted by longtime Python collaborator John Du Prez) a couple dozen dancers, giant video screens, and, at one point, during the “Every Sperm is Sacred” number, candy-striped penis-shaped cannons that spewed confetti all over the audience.

The show’s tagline “One Down, Five to Go,” refers to the sad fact that sixth member Graham Chapman died in 1989, but Chapman’s presence was felt throughout the three hour program in the form of footage mostly from their classic BBC program Monty Python’s Flying Circus used to link the live segments and songs, and in lines like “He’s gone to join Dr. Chapman” added to “Parrot Sketch” with the audience’s roaring approval.

Much of the material presented was similar to that immortalized in the 1982 concert film MONTY PYTHON LIVE AT THE HOLLYWOOD BOWL – including the use of the filmed “Silly Olympics” and “The Philosophers’ Football Match” bits from the rare German episodes of Flying Circus – but there were several routines from their last motion picture, MONTY PYTHON’S THE MEANING OF LIFE, that had never been publicly performed before.

Those included an expanded version of “The Penis Song” sung by a cheeky as can be Idle, the aforementioned “Every Sperm is Sacred,” “Galaxy Song,” which is capped off by filmed cameos by physicists Brian Cox and Stephen Hawking (an audience shot afterwards showed Hawking in attendance), and “Christmas in Heaven,” which begins with an excerpt of Chapman singing from the original film.

Sketches that I was pleasantly surprised to see: “Vocational Guidance Counselor,” “Anne Elk's Theory on Brontosauruses,” and “Protestants Can Use Condoms” (also from THE MEANING OF LIFE).

I was also elated that actress Carol Cleveland, who’s been there since the beginning appearing on Flying Circus as well as all of the Python’s movies and stage shows, was there to reprise her pivotal parts. Guest appearances by Eddie Izzard, Mike Myers, and Warwick Davis helped liven things up as well.

Since I, and most watching, knew every line, it was funniest when the Pythons went off book. While quips about Palin’s “boring” travel shows, and Cleese’s multiple marriages were scripted, Cleese’s asides about bad reviews in the Daily Mail in the midst of the “Parrot Sketch”/ “Cheese Shop” mash-up apparently weren’t planned as they amusingly sidetracked, yet still didn’t sabotage Palin’s quick on his feet performance.

Having disliked many previous repackagings of Python, such as Idles’s musicals “Spamalot,” and “He’s Not the Messiah (He’s a Very Naughty Boy),” and the animated biodoc of Chapman: A LIAR’S AUTOBIOGRAPHY, I was so happy that “Monty Python Live (Mostly)” was a cringe free 45th anniversary celebration as well as a fitting send-off to the greatest, most influential comedy group of all time.

Older, fatter, but still funny as fuck, the Pythons put on a Hell of a last performance that I’ll definitely purchase when it inevitably gets a Blu ray/DVD release, with hope later in the year.

For those who can’t wait, however, “Monty Python Live (Mostly)” will be re-broadcast at many theaters on Wednesday, July 23rd and Thursday, July 24th. Click here for more info.

More later...

New Releases On Blu Ray & DVD 2/12/13

The triumphant return to form for 007 that was Sam Mende’s SKYFALL comes out today on Blu ray and DVD. The film, the 23rd in the James Bond series and the 3rd to star Daniel Craig, is available in a deluxe edition (including a DVD and a digital copy) on Blu ray, and a stand alone DVD version. Read my review from its original theatrical release here.

Special features include a couple of commentaries – one with Mendes, the other with producers Barbara Broccoli and Michael G. Wilson and Production Designer Dennis Gassner, a bunch of ‘making of’ featurettes, a segment on the Royal World Premeire of the film at the Royal Albert Hall (you know, with the Queen!), and a promo for the soundtrack.

Stephen Chbosky’s PERKS OF BEING A WALLFLOWER also drops today on Blu ray and DVD. It’s a movie I enjoyed (read my review), but not as much as my wife who adored it, saying that it captured her teenaged high school years beautifully. Both the Blu ray and DVD contain deleted scenes, a few featurettes, and a commentary with Chbosky, who adapted the film from his own young adult novel, and members of the cast including Logan Lerman, Emma Watson, and Ezra Miller. That sounds like a commentary I might want to check out.

Despite the work of a solid cast headed by John Hawkes, who talks in a nasal voice that often sounds like Norm McDonald, I was not a fan of Ben Lewins’ THE SESSIONS, which is now available on Blu ray and DVD. The film, about poet Mark O’Brien who was paralyzed from the neck down, was a hit with audiences, and the Academy as it garnered a Best Supporting Actress nomination for Helen Hunt, but I found it to be too cutesy, especially for its subject matter, and felt that all it had to say was ‘paraplegics need to have sex too.’ Both Blu ray and DVD versions contain deleted scenes and several featurettes.

Jake Schreier’s ROBOT & FRANK, also out today but only on DVD, is a movie that I liked a lot better. It’s a silly story, about an aging jewel thief who takes on a helper robot as a partner in crime, but Frank Langella gives it a pleasing gravitas. As I wrote in my review last September, “the charming camaraderie between Frank and his robot (voiced by Peter Sarsgaard) make this a breezily enjoyable 89 minutes.” The only special feature is a commentary with Jake Schreier and Writer Christopher D. Ford.

An acclaimed film that I’m ashamed I haven’t seen yet gets the Criterion Collection treatment today: Jean-Pierre Dardenne and Luc Dardenne’s 2011 drama THE KID WITH A BIKE. The set boasts a new digital transfer supervised by director of photography Alain Marcoen, featurettes including a conversation between film critic Kent Jones and directors Jean-Pierre and Luc Dardenne, interviews with actors Cécile de France and Thomas Doret, a half-hour documentary, “Return to Seraing,” and a booklet featuring an essay by critic Geoff Andrew, but who am I kidding? I’ll be watching it on Netflix Instant where it’ll be available until December 2015 (according to instantwatcher.com). Maybe I’ll like it so much that I’ll want to see the bonus stuff one day. Nice to know the Criterion Collection one is out there in any case.

Finally, a movie I was profoundly disappointed by gets a Blu ray and DVD release: Bill Jones and Jeff Simpson's A LIAR’S AUTOBIOGRAPHY: THE UNTRUE STORY OF MONTY PYTHON’S GRAHAM CHAPMAN. Chapman’s life and comedic legacy aren’t done justice by this misguided adaptation of his autobiography, which he recorded a sort of “book on tape” version of shortly before his death in 1989.

In the faux documentary, those recordings are illustrated by a range of different animation styles, very few of which are appealing, with guest voices by ex-Monty Python members John Cleese, Michael Palin, Terry Gilliam, and Terry Jones, along with Cameron Diaz as Sigmund Freud. Yep. Except for the few instances of actual footage that pops up (“The Spanish Inquisition” sketch, Cleese’s overplayed yet still hilarious eulogy at Chapman’s funeral) it all falls flat. But if you’re a hardcore Python fan that has to see everything, take note: this is also available on Netflix Instant (until Oct. 2017!).

More later...

Blu Ray/DVD Reviews: We Can Be Heroes & Angry Boys

Up until very recently I had not been familiar with the comedy stylings of Australian comedian Chris Lilley. 

Lilley is very popular in his home country with a few TV shows, which are now out new to DVD and Blu ray (Lilley's second program Summer Heights High was released on DVD in 2009) all of which utilize the mockumentary approach much like the various versions of The Office, Modern Family, et al, and feature Lilley playing all the main characters, despite gender or race.

While Lilley is certainly talented, with a good grasp on accents, personality tics, and timing, he comes off more as an Australian Jamie Kennedy, than a one-man Monty Python. Speaking of Monty Python, I was reminded of a BBC executive that John Cleese once played on the classic Flying Circus series that said of the program: “Frankly I don't fully understand it myself, the kids seem to like it.”

That was definitely the case with Lilley’s 2005 series We Can Be Heroes: Finding The Australian Of The Year, out now in the U.S. on DVD. The show follows five minor celebrities, who have been nominated by friends and family for the Australian of the Year award. Lilley portrays all five of the characters - six actually as the cast includes a pair of identical twins.

The candidates include former policeman Phil Olivetti (semi-famous for saving nine children from a bouncy castle tragedy), Chinese physics student and aspiring actor Ricky Wong, suburban housewife turned odd athlete Pat Mullins, popular private school-girl Ja'mie, and Daniel Sims, who was nominated for donating one of his eardrums to his near-deaf brother, Nathan.

Over the course of six half hour episodes director Matt Saville cuts back and forth between this loony lot as they prepare for the state finals. A fitting example of the level of humor is when the scrappy teenage Daniel Sims shows us scores of photographs with his brother Nathan giving the camera the finger in each one. If that sounds like hilarious material then this may be the show for you.

But apart from the occasional amusing line, and some likable comic energy present, there wasn’t a lot of solid comedy to chew on. Lilley is a likable chap, and there’s plenty of palpable comic energy present, but many of the situations (including housewife Pat’s sport of rolling to get from place to place) are really forced with none of the organic-feeling funniness of the best of Christopher Guest’s ensemble work – to name a master mockumentarian.

Fans of Lilley will be happy with this set though, as it contains over two hours of deleted scenes, and outtakes, a behind-the-scenes documentary, extended episodes, and Ricky Wong’s (the wrongest character here by far) performance of “Indigeroo” at the The Logies (whatever the Hell that is).

Lilley reprises the Sims’ indentical twins in his globe-trotting 2011 series Angry Boys, which unlike We Can Be Heroes is now available on Blu ray as well as DVD. It’s another mockumentary series, this time exploring the lives of a batch of troubled boys (of course all played by Lilley), so, yep, it’s more of the same.

But hold on, this has Lilley in blackface! That’s right as African-American rapper S. Mouse, Lilley colors his skin to play yet another hip hop artist who didn’t actually come from a life on the streets; he had a fluent rich family including a father who didn’t do drugs and abuse him.

It’s really not that it’s so offensive that a white Australian man is playing a black character, it’s more that it’s disappointing that it’s such a dated comic stereotype that’s been done to death.

Lilley also portrays Jen Okazaki, a manipulative Japanese mother of a skateboard champion son who is being marketed as being gay when he’s not – this is one of the funnier storylines, but that’s not saying a lot.

The remaining characters are a champion surfer Blake Oakfield, and Ruth “Gran” Sims (Daniel and Nathan's 65 year-old grandmother), a guard at a juvenile detention facility with questionable methods of dealing with the inmates.

Lilley, who co-directed along with Stuart McDonald, and Jeffrey Walker, keeps the show rolling watchably along, but the plot-lines don’t go anywhere interesting. The conflicts the characters face can be seen coming, as well as the jokes, way before they arrive, and the nature of each scenario being about taking these people down a few notches from their perceived stations in life reeks of overdone obviousness.

It also doesn’t help that the humor gets much cruder in Angry Boys, and even pretty disgusting (Blake loses his testicles in a gang fight which results in a close-up I wish they’d cut). This would have been fine, if, you know, laughs accompanied this attempt to be edgier.

There’s an un-ambitious nature to the writing, a laziness to the set-ups that results more in eye-rolls than laughs. At least there’s a higher number of gag attempts which is good because at 12 episodes it’s twice as long as Lilley’s previous series. The set consists of 3 discs with the run of episodes contained on the first 2, with the third disc being six hours (!) of deleted scenes, bloopers, and music videos satires. So again, the kids who seem to like this stuff will be well served.

More later...

Countdown to SKYFALL #1: Down The Gun Barrel On Bond

   
Since the 23rd James Bond movie, Sam Mendes’ SKYFALL, releases in 4 days, and also because it's the 50th anniversary of the series, I thought it would be cool to have some 007-centric posts leading up to my review of the highly anticipated film.

   

First, I thought I'd babble about one of my favorite parts of every Bond movie - the gun barrel opening, created by Maurice Binder. It's a piece of pure '60s pop art that I always love seeing. Check out this cut all of the previous 22 gun barrel sequences together in chronological order into this 9:09 clip from YouTube:

    

    

It's fun to see them back to back, because you get a mini-history of the actors who played Bond and see that Sean Connery and one-timer George Lazenby wore hats, Roger Moore mostly wore a tux (they use the same footage of Moore 5 times), and Pierce Brosnan also wore a tux but struck less of a pose than his predecessors.

Incidentally the first 3 gun barrels aren't Connery, they're stuntman Bob Simmons. For THUNDERBALL, they shot one of Connery that was first shown in color, then in reused in black and white in his next 2 Bonds for reasons unknown.

They re-use the same footage of Brosnan throughout his run too, but they add the bullet coming right at you in DIE ANOTHER DAY. Daniel Craig's first film as 007, 2006's CASINO ROYALE, doesn't open it with the gun barrel bit; it comes at the end of the cold opening leading into the theme song. 

In 2008's QUANTUM OF SOLACE, it appears at the end of the movie before the credits roll. Will it be back to the beginning of SKYFALL to pay homage to the tradition? We shall soon see.

I also love how the above montage of gun barrels works as a mini-history of how Monty Norman's (or John Barry's, uh, it's complicated) “James Bond Theme” changed to suit the times over the years. Listen how it starts out orchestral, then gets vamped up with surf-guitar, becomes slightly funk-ified in the '70s, and all techno-ized in the '90s.

The gun barrel sequence has been parodied many times, too many to list (though I'm sure a site somewhere does), but here's my top 5:

The Simpsons: “And Maggie Makes Three” (Aired: Jan. 22, 1995)

Monty Python's Flying Circus: “The Pantomime Horse Is A Secret Agent” Film from episode 30: “Blood, Devastation, Death, War and Horror” (Aired: Nov. 9, 1972)

Robot Chicken: “Dear Customer” (Aired: Dec. 6, 2009)

Saturday Night Live: Steve Martin as James Bond in “Bullets Aren't Cheap” (Broadcast: Oct. 17th, 1987)

Lego James Bond Gun Barrel Sequence (source unknown)

More later...