Okay, I suck at social media. But I’m working on it. Thanks to Mystery Writers of America for posting this to Instagram.
R.I.P. Val Kilmer
Once again, it has taken me far too long to write a short tribute to a fine person who has passed away—Val Kilmer, who died of pneumonia on April 1. This time, it was more than just my workload that explains the delay. I had a bit of trouble discovering what I wanted to say about Kilmer, who was a great actor but also a bit of a cipher. A few years ago, I read his memoir, I’m Your Huckleberry, and I enjoyed it. I was struck, however, by how little Valmer says about his filmmaking experiences. For instance, he barely mentions the production of Tombstone, the film in which Kilmer had his most celebrated film performance—playing the famous gunfighter Doc Holliday—and from which the book’s title is taken. He says even less about the making of Michael Mann’s Heat, in which Kilmer portrays a talented but slightly crazy master-burglar with pitch-perfect ferocity.
This lack of detail was especially disappointing, to me, in part because Heat has my favorite action-sequence of all time—the shoot-out in Century City. More than any other actor in the scene, it’s Kilmer who makes it work, with his fluid transition from cool and controlled bank-robber to machine-gun wielding warrior. I read an autobiography written by a Navy Seal who wrote that he and his comrades once watched Heat together and were impressed by Kilmer’s magazine-changing speed in the film. High praise, indeed.
This reticence on Kilmer’s part to discuss his film-making career—the very aspect of his life that made him famous across the world—suggests to me that Kilmer was deeply ambivalent about being a movie star. I suspect that, like the great Welsh actor Richard Burton, Kilmer was simply too intelligent to think that movie-making was a worthy and serious endeavor. I also suspect that, like Burton, Kilmer was much happier as a stage actor. (His one-man show of Mark Twain was universally praised.)
Unfortunately, his ambivalence somehow bled into his performances whenever he played a leading man, as he did in several major films, none of which was terribly successful. He never seemed to really have his heart in it. But that self-doubt evaporated when he played supporting roles, and these are what he will be remembered for: Iceman in the Top Gun films; Doc Holliday in Tombstone; Chris in Heat. In each of the movies, Kilmer seemed to bring his entire soul to the performance, and he was every inch the movie star.
Godspeed, Mr. Kilmer…
Friday Night Rock-Out: “Oscar Wilde”
Indie rock is famously difficult to define but I know it when I hear it. It’s got something to do with the DIY quality of the music, and the pared down nature of the arrangements.
My favorite Indie band of the last twenty years is Company of Thieves. I first heard them on Daryl Hall’s wonderful YouTube show Live from Daryl’s House, and I was struck by the power and passion of Genevieve Schatz’s singing, as well as Marc Walloch’s impressive guitar chops. They reminded me a bit of The Pixies and some other great bands that I used to listen to in college.
Rock on…
BONUS: Here is Company of Thieves’ cover of The Zombies’ Time of the Season on Live from Daryl’s House…
Classic Sci-Fi Book Cover: “The War Against the Rull”
This entry in my on-going Classic Sci-Fi Book Covers series is both old and new. That is, it’s a modern touch-up of the cover from the October 1949 edition of Astounding Science Fiction painted by Hubert Rogers. That issue included a work by A.E. van Vogt, but not the one we are interested in here. This modern version is from a 1999 edition of van Vogt’s classic sci-fi novel, The War Against the Rull, which I distinctly remember devouring in two days when I was in eighth-grade.
I like this cover a lot. It’s not just a classic. It’s an archetype. Specifically, the archetype of the heroic (America) scientist, a buff intellectual and polymath whose ilk could be found in countless works of Isaac Asimov, Robert Heinlein, Roger Zelazny, and on an on. In The War Against the Rull, the man is Dr. Trevor Jamieson, a brilliant scientist who is also a fierce warrior and survival-expert. He’s stranded on an alien planet with a huge, six-legged, intelligent creature called an ezwal who wants to kill him. But when both Jamieson and the ezwal encounter a mutual enemy—a race of aggressive, centipede-like aliens called the Rull—they decide to work together to survive.
It’s a great story, like so many from the sci-fi’s Golden Age. I’ve written before about why sci-fi novels from that era are so much more enjoyable (to me, at least) than most of those written in the last ten years or so. I think it has to do with the gritty humanity of such stories. Yeah, Jamieson is essentially a comic-book character (think Doctor Quest and Race Bannon rolled into one), but van Vogt does a great job of making you believe he’s in real trouble. The ezwal, too—he’s a compelling character in his own right. You get involved in the desperate nature of their situation, and you keep reading to see how they will get out of it.
Anyway, check it out if you can…
What I’m Reading: “Dancing with Myself”
In any given decade, one or two musicians discovers exactly the right sound, look, and vibe to capture the spirit of the times. Such “triple-threat” artists are rare. Elvis Presley was one. David Bowie was another.
For many in my generation of kids growing up in the early 1980s, there were two such figures. One was Madonna. The other was Billy Idol. Unless you were a teenager in that dark, troubled time, you can’t imagine what a huge impact Idol had on youth culture. Let’s start with his look, an ingenious mix of pre-Goth romanticism (complete with black leather and rosary beads) and science-fiction cyberpunk (he had the same peroxide blond hair and chiseled features as Rutger Hauer’s Nazi replicant in Blade Runner).
Idol looked like…well…an idol. A pop idol, that is. But it was his sound that really mattered. Just as Elvis took the energy and soul of R&B and turned into something that middle-class, white American kids could enjoy, Idol took the punk sound of 1970s London and turned it into kick-ass American hard rock. His early hits like “White Wedding” and “Mony, Mony” stuck out a mile on FM radio (not to mention MTV, where they stuck out two miles). Not only were his songs vicious and fast, they had an actual beat; you could dance to them. And we did.
In short, Idol did what the Sex Pistols never could: he brought punk to mainstream America.
Continue reading “What I’m Reading: “Dancing with Myself””Perfect Films: “Us”
** SPOILERS BELOW **
The better part of a decade has passed since Jordan Peele’s landmark horror film Get Out was released, marking Peele’s transformation from famed comedy writer and sketch artist to one of the most important filmmakers of our time. Peele has since added two more films to his horror oeuvre—2019’s Us and 2022’s Nope.
All three are great, but my favorite is Us. For me, it hits on the deepest and most disturbing level, and it has the richest palette in terms of effects. It’s also the hardest to figure out in terms of plot. With Nope and Get Out, the viewer has a vague sense of what’s going on, even early in the film (although the details turn out to be more shocking and terrifying than anyone suspected). But while watching Us, I was totally mystified. I knew it had something to do with evil twins—true doppelgängers in both the literal and the psychological sense—but I had no real idea of what the actual plot would turn out to reveal. And what a reveal it is!
But I’m getting ahead of myself. Part of Us’s appeal lies in its slow-burn first act. (This is true of Get Out and Nope, too, but Us takes it to the next level.) The movie starts with a flashback to 1986, when a little girl, Adelaide, breaks away from her bickering parents at a beach boardwalk and finds a strange funhouse. It’s a simple premise, yet so much disturbing stuff going on in this segment that it’s almost impossible to describe. We have the tension between the parents, raising the specter of divorce (the thing most kids fear more than anything else except death). Then we have the separation of the child from the parents (another primal fear). And, finally, we have the freakish funhouse, which, though apparently deserted, is still lit with eerie neon light.
Continue reading “Perfect Films: “Us””Friday Night Rock-Out: “Masterplan”
Back in the early 1980s when I was in high school, Wendy O. Williams and The Plasmatics played the annual Halloween Festival Concert at the U.F. Bandshell. I didn’t go, but some of my friends did, and word quickly spread that Williams and the band had played a great set. Also, apparently, Williams bared her breasts, as she was wont to do in concert. In fact, I heard that she had come on-stage wearing nothing on her upper half except a heavy coating of whipped cream (which quickly slid off).
Ahhh, punk rock.
Sadly, Williams’s life ended tragically when she committed suicide in 1998. She battled depression throughout her life, and it finally caught her. Which really sucks, because she sounded like an amazing person. Also, I think she would have had a comeback, at some point. She and the Plasmatics made some incredible music. My favorite of their songs is this one, “Masterplan.”
Rock on…
What I’m Reading: “A Guest of the Reich”
Ever since Donald Trump was first elected in 2016, people have been talking about the “two Americas.” Namely, the working class, poorly educated, white, xenophobic America that voted for Trump and the middle- and upper-class, highly educated, “elitist,” multi-cultural America that voted for Hillary Clinton (and, later, Kamala Harris).
This perception of two Americas—and, indeed, of a “cold” Civil War that is currently being waged between them—is warranted and realistic. America is more polarized than it has been since the 1860s, and there is a very real possibility of the country tearing itself apart (not militarily, I think, but politically, in the same way the USSR erased itself in 1990).
However, I’m not sure we are in a battle between two Americas, per se, as in one between two worldviews. In one worldview, America is under threat of racial dilution, socialist revolution, and religious transgression, all of which will create an evil, perverse America, which its adherents would rather be dead than live in. In the other world view, America is under threat of nascent Fascism, corporatism, kleptocracy, and the climate apocalypse that will inevitably result from all these things.
As usual, the Germans have a much better word for this: Weltanschauung, a term that encapsulates the philosophical and cognitive underpinnings that define a social group or generation (or both). As an English major in the 1980s, I was obliged to read Eustace M. Tillyard’s classic The Elizabethan World Picture, which explores the conscious and subconscious belief system of Britons in the time of Shakespeare. More recently, I read Robert O’Niell’s memoir The Operator, which recounts his years as a Navy Seal fighting in Iraq and Afghanistan. In this book, he describes the weltanschauung of the Afghani locals whom he encountered, some of whom—quite literally—believed in dragons.
Continue reading “What I’m Reading: “A Guest of the Reich””R.I.P. Wings Hauser
When I saw Michael Mann’s brilliant film The Insider in 1999, one of the many highlights, for me, came in a pivotal courtroom scene. The film’s co-protagonists, Jeffrey Weygand, is trying to testify against the tobacco industry with the help of a Mississippi attorney, Ron Motley, played by Bruce McGill. McGill gives a great, over-the-top performance, but it’s matched by that of the guy playing the evil tobacco attorney. When I realized who this second actor was, I almost shouted at the screen, “That’s Wings Hauser!”
It thrilled my heart to see Hauser in an A-list movie, at last. And he was giving an A-list (if brief) performance! On this blog, I write a lot about great B-Movies, and Hauser appeared in more B-movies than any other actor I can think of (except, perhaps, Michael Caine in his “I-need-money” phase). With his country-boy good looks and imposing physique, Hauser ended up playing a lot of villains. Most notably, he played the psychopathic pimp Ramrod in 1982’s Vice Squad with sadistic panache. (Fun fact: that film also features Season Hubley, Kurt Russel’s then-girlfriend, who also appeared in Escape from New York.)
Whatever role he played, though, Hauser was always great. As an actor, he had that rarest and most coveted of gifts—the ability to seem completely real. That is, you never noticed he was acting. He was always convincing, and magnetic, too.
He also did a great turn in 1987’s noir film Tough Guys Don’t Dance, which was critically panned but which I really liked; it’s one of the most gleefully perverse films ever released by a major studio.
Sadly, Hauser passed away last week. He was a great character actor. I’ll miss him.
Friday Night Rock-Out: “Linda Linda”
The power of rock-and-roll transcends language. And that’s a good thing because I don’t speak a word of Japanese. Even so, I love this song. It’s from Japanese punk band The Blue Hearts, and it sounds like something The Ramones might have done, back in the day.
Also, I’m pretty sure it’s about a girl named Linda. Or maybe two girls named Linda. Or maybe one girl named “Linda Linda.” Or maybe…
Screw it. Rock on…
Ash Clifton, Writer 