Booze News: Happy Dipsomania Week!

Attention, fellow inebriates!

Joe Dante and his merry movie gurus at Trailers From Hell have proclaimed this 1/52 interval of the calendar year to be "Dipsomania Week," and as thus, their website will be featuring audio commentaries to accompany the original advertisements for three of the greatest booze movies of all time.

First up, and available now, is the trailer for Barfly (1987), featuring running commentary by A History of Violence screenwriter Josh Olson.  That will be followed on Wednesday by producer/director Dan Ireland’s take on The Days of Wine and Roses (1962).  And on Friday, Joe Dante will cap off the fest by providing his thoughts on the promo for Harvey (1950).

If you are unfamiliar with Trailers From Hell, click on the link and go to the site immediately.  You are in for a real treat.  The site is a treasure trove of cinematic trivia and a great way to discover catalog titles of which you were not previously aware.  Adding booze to the mix is just icing on the cake. 

However, be warned, the day after I discovered Trailers From Hell, I was pretty much useless due to sleep deprivation.  I just couldn't pull myself away from the site.

Thanks TFH gurus for giving soused cinema enthusiasts another reason to celebrate (not that we need much of an incentive to lift a glass)! 

Cheers,
garv

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Booze News: DRUNK HISTORY is back!

Greetings, fellow inebriates,

Like the phoenix of Greek myth and X-Men fame, Drunk History never dies.  It merely disappears for long intervals.

The brainchild of Derek Walters and Jeremy Konner, Drunk History began as a popular series of short films on the Funny or Die website, in which soused storytellers passionately recounted historical anecdotes while actors and comedians re-enacted the tales.  After a prolonged absence, Drunk History reappeared briefly as a segment on HBO's short-lived Funny or Die Presents.  Now the concept returns yet again--this time as an eight-episode, weekly series on Comedy Central, beginning July 9th at 10pm Eastern (a rerun throughout the week).

Each episode of the new show will feature multiple history lessons centered around a particular U.S. city.  For example, episode 1 is Washington, D.C. themed, and features dubious accounts of the Watergate investigation (with Fred Willard as Deep Throat), the rivalry between John Wilkes Booth (Adam Scott) and Edwin Booth (Will Forte), and the epic encounter between Richard Nixon (Bob Odenkirk) and Elvis Presley (Jack Black).  If you can't wait until July 9th, the first episode is available now in its entirety on Comedy Central's site.  Here's the link--> Drunk History Episode 1

The return of Drunk History is most welcome.  I greatly look forward to future episodes, which promise the participation of Kristen Wiig, Connie Britton, Winona Ryder, Aubrey Plaza, Bradley Whitford, Owen and Luke Wilson, and many others.

Summer TV just got interesting.  Set your DVRs and chill your cocktails. 

Cheers,
garv

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Review: Pie-Eyed (1925)

USA/Silent/B&W-18m./Dir: Scott Pembroke & Joe Rock/Wr: Tay Garnett (titles)/Cast: Stan Laurel (Stanley), Glen Cavendar (Jack Tinney, nightclub manager), Thelma Hill (Girl in club)

Stan Laurel first journeyed to America in 1910 as part of the Fred Karno comedy troupe, the same British theatrical company that featured Charlie Chaplin.  Laurel was both Chaplin’s roommate and understudy, and he continued in the shadow of his former roommate when Chaplin left Karno for motion pictures.  Stan continued on the stage (mostly vaudeville) for four years, performing as a Chaplin impersonator, until making his own leap to the movies in late 1917.

While Chaplin found his enduring Tramp character and rose to fame with his second cinematic short subject, Laurel spent nine years churning out mediocre short comedies before latching onto the comic persona and partnership that would endear him to mass audiences.  During those nine years, Stan experimented with different characters and styles of comedy, flip-flopping between manic oafs and slow-witted boobs, often borrowing from Chaplin, the most popular comedian of the silent era.

Pie-Eyedwas Laurel’s attempt at making the type of soused slapstick two-reeler that propelled Chaplin to success.  In the short Stanley plays a drunken reveler at a night spot known as the Firewater Club.  After guzzling wine, Laurel passes out at his table.  Later he awakes to try his hand at directing the band, as well as dancing with the showgirl wife of the owner, and getting into scuffles with various employees and patrons.  The nightclub manager, an ex-boxing champion, tires quickly of Stanley’s antics.  He roughs up the nuisance and kicks him out of the establishment, after giving Stan his business card, should he ever want boxing lessons.  

Staggering along the street in the early morning hours, Stanley attracts the attention of a beat cop; and the remainder of the short consists of the policeman’s attempts to drag the drunk off the street and into what he believes to be Stanley’s apartment.  In reality, the cop plants Stanley in the domicile of the nightclub manager, having read the address off the business card.

Pie-Eyed plays like a mash-up of Chaplin’s drunken shorts.  The nightclub scenes are reminiscent of The Rounders (1914) and A Night Out (1915), while the street gags (especially those involving Stanley’s overcoat) in the second half of the picture are lifted from Pay Day (1922).  Unfortunately, none of the gags in Pie-Eyed are as fresh or funny as those in the earlier Chaplin shorts.  What’s more, the character of a drunken lout is an ill fit for Stan Laurel.  The most interesting aspect of the short is that it occasionally utilizes animation.  Hand-drawn lines and stars appear on screen whenever Stan experiences a shock or blow (much like one would see in a comic strip).

As a glimpse into Stan Laurel’s development as a comedian, Pie-Eyed has historic value.  However, without Stan’s later achievements, there wouldn’t be much reason to revisit this unexceptional slapstick short.

Drinks Consumed--Wine (possibly Champagne)

Intoxicating Effects--Staggering, stumbling, hiccups, seeing things, harmonizing, passing out, public disturbance, bickering, brawling, and bar tossed

Potent Quotables--STANLEY (after being punched by the nightclub manager): Have you anything that strong with alcohol?

Video Availability--This particular short is available in several video compilations, including The Stan Laurel Collection 2 (Slapstick Symposium) (2 disc)and Slapstick Encyclopedia (Image).

Similarly Sauced Cinema--For Grade-A, booze-fueled comedy from Stanley, check out the classic Laurel and Hardy short, Them Thar Hills (1934).

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Booze News: When Rupert Pupkin speaks you better listen!

Greetings, fellow inebriates,

This is slightly off-topic, but I wanted to make you aware that I submitted a guest post today for the Rupert Pupkin Speaks film blog.  If you are unfamiliar with the Rupert Pupkin Speaks site, please take this opportunity to check it out.  This phenomenal film blog is all about keeping older movies in the public consciousness.  In addition to short reviews of Warner Archives releases and other unique video offerings, the site regularly features "favorite film lists" from a variety of contributors, including film bloggers and critics.  I recently discovered Rupert Pupkin Speaks, and it has quickly become one of my favorite destinations on the Internet.

In recent weeks, Rupert Pupkin Speaks has been featuring curated lists of "Favorite Underrated Comedies."  As a lover of both classic film comedy and "top ten" lists, this was a party that I just couldn't resist.  And I have to admit that I enjoyed the freedom of pontificating on films that weren't necessarily alcohol-centric.  Click on the link below to view my humble submission; and while you're at it, stick around to check out some of the other posts.  You're sure to discover some obscure and wonderful titles that you never knew existed.

Garv's post on Rupert Pupkin Speaks

Cheers,
garv

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Review: Treasure Island (1990)

USA/TV/C-132m./Dir: Fraser Clarke Heston/Wr: Fraser Clarke Heston/Cast: Charlton Heston (Long John Silver), Christian Bale (Jim Hawkins), Julian Glover (Dr. Livesey), Richard Johnson (Squire Trelawney), Oliver Reed (Billy Bones), Christopher Lee (Blind Pew), Isla Blair (Mrs. Hawkins), Michael Halsey (Israel Hands), Nicholas Amer (Ben Gunn), Pete Postlethwaite (George Merry)

"Fifteen men on the dead man's chest--
...Yo-ho-ho, and a bottle of rum!
Drink and the devil had done for the rest--
...Yo-ho-ho, and a bottle of rum!"

That little ditty, invented by Robert Louis Stevenson for his adventure novel, Treasure Island,is the primary reason why we associate pirates with rum to this day.  Sure, the alcoholic buccaneers featured in Stevenson’s story were not without historical precedent.  Eighteenth century privateers traded rum and sailors of all sorts certainly drank it; but after the publication of Treasure Island it was impossible to disassociate pirates from their drink of choice. 

Rum plays a central role throughout Treasure Island.  When ex-buccaneer Billy Bones takes lodging at the Admiral Benbow Inn, he spends his evenings swilling rum and singing the seafaring song printed above.  Overindulgence in the drink leads to Bones’ death and in turn fuels the plot, as Jim Hawkins, the inn-keeper’s son, discovers a treasure map amongst the dead man’s possessions.  When the boy hero takes to sea in search of pirate gold, he discovers that most of his crewmates are old shipmates of Bones with plans of mutiny, larceny, and murder.  Hawkins is nearly discovered overhearing the mutineers’ plans, but his neck is saved when the pirates are distracted by their thirst for rum. Rum continues to serve as Hawkins’ ally for the remainder of the book, as the dim-witted buccaneers are defeated at nearly every turn by their weakness for the drink. 

Not only is Treasure Island the most important of all pirate tales; it is also the most often filmed.  The story has been adapted for film and television more than fifty times, including multiple silents, iconic MGM and Disney classics, animated shorts and features, and a Muppetized version.  However, the most faithful and in my opinion the best of all of the Treasure Island movies was a 1990 made-for-television production, produced, written, and directed by Fraser Clarke Heston (the son of the most forceful of all ham actors, Charlton Heston).

Don’t let the fact that the picture was produced for basic cable stop you from seeking out Fraser Heston’s take on the oft-filmed tale.  The production values are excellent (with the tall ship from the 1962 version of Mutiny on the Bounty standing in for the Hispanola), the cinematography is lush, and the soundtrack by The Chieftains is appropriately seaworthy.  Best of all is the cast.  A teenage Christian Bale makes an admirable Jim Hawkins; noted drunkard Oliver Reed is perfectly cast as the boozy Billy Bones; and Christopher Lee is wonderfully slimy as Blind Pew.  Finally, in the pivotal role of Long John Silver, Heston has cast his dad.  I’ve never been a big fan of the over-actor I like to call “Cheston.”  However, Cheston makes one of the best movie Silvers, capturing both the ruthlessness and the folksy charm that the part requires.   

Heston the younger wisely chooses not to try to improve upon a classic.  The dialogue is more than 90 percent Stevenson, and the story sticks close to the text, with the exception of a few judicious cuts.  Consequently, if you are a fan of the book, the 1990 movie version will be the one you'll treasure.  It is a film that can be enjoyed with the whole family, or better yet with a bottle of rum. 

Drinks Consumed--Rum (with water and straight), port wine, and ale

Intoxicating Effects--Harmonizing, staggering, slurred speech, bickering, brawling, physical violence, passing out, and death

Potent Quotables--DR. LIVESEY (to Billy Bones): I have only one thing to say to you, sir.  If you keep on drinking rum, the world will soon be quit of a very dirty scoundrel.  

Video Availability--DVD (Warner Brothers)

Similarly Sauced Cinema--Cheston, Oliver Reed, and Christopher Lee also co-starred in the best adaptation of Alexandre Dumas’ swashbuckler with The Three Musketeers (1973) and The Four Musketeers (1974).

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Review: Seven Psychopaths (2012)

USA/C-110m./Dir: Martin McDonagh/Wr: Martin McDonagh/Cast: Colin Farrell (Marty Faranan); Sam Rockwell (Billy Bickle); Christopher Walken (Hans Kieslowski); Woody Harrelson (Charlie Costello); Tom Waits (Zachariah Rigby); Abbie Cornish (Kaya); Linda Bright Clay (Myra); Bonny (Bonny the Shih Tzu)

In terms of quality, 2012 was an above average year at the multiplex.  Not only did it see the release of first rate films from many of the top directors working today (including The Master, Moonrise Kingdom,and Lincoln); it also featured slyly smart and amusing popcorn pictures (such as the brilliant Cabin In The Woods,Looper,and The Avengers).  Picking a “best” picture from the diverse group of well-crafted 2012 releases is a confounding task.  However, if asked what was the single most blissfully entertaining movie of the year, I would respond, “Seven Psychopaths” without hesitation.  

Seven Psychopathsis a feast of a movie.  It stars Colin Farrell as Marty, an alcoholic screenwriter who is having difficulty with his newest script, “Seven Psychopaths”—the problem being he’s only come up with one psychopath and he’d rather spend his time drinking.  Marty’s best pal, Billy (Sam Rockwell), an unemployed actor who kidnaps dogs on the side for reward money, desperately wants to help his friend finish the script, even if it means introducing Marty to real psychopaths.  Things take a dark turn for Marty, Billy, and Billy’s partner in the dog kidnapping biz, Hans (Christopher Walken), when Billy kidnaps a Shih Tzu owned by demented gangster Charlie Costello (Woody Harrelson).  Add to the mix a serial killer with a playing card fetish, a bunny-toting vigilante (Tom Waits), and a pissed off girlfriend (Abby Cornish), and Marty is in for one hell of a drunken ride.

Seven Psychopaths is the type of film that is easy to dismiss as a smug writer’s exercise that is way up its own butt.  Marty’s script and the movie we are watching are given the same title, so when the onscreen characters discuss Marty’s script, they are usually commenting on the movie they are in.  The postmodern humor could easily become insufferable if Martin McDonagh’s screenplay wasn’t so darn smart and funny.  Luckily, the playwright turned filmmaker’s follow-up to his excellent In Bruges (2008)shows no signs of a sophomore slump.

Another thing that helps sell the challenging material is the socko cast.  Colin Farrell holds together the disparate elements of the story with an anxious, witty variation on the cliché of the alky screenwriter.  Christopher Walken brings both hilarity and emotional depth to the role of the pacifist of the group.  It’s one of his best turns in a career of great performances.  However, the real standout is Sam Rockwell as Billy.  McDonagh gives the character of Billy the juiciest material, and Rockwell squeezes every bit of nectar and pulp out of it.  If you’ve liked Sam Rockwell in previous movies, you’ll love him in this.  It is Sam Rockwell at his Sam Rockwellest.

If the idea of Pulp Fiction (1994)crossed with Adaptation (2002)sounds like a good time at the movies, than you owe it to yourself to check out Seven Psychopaths.  It is a decidedly well-mixed cocktail.

Drinks Consumed--White wine, margaritas, bourbon (Buffalo Trace), beer (Shiner Bock, Corona, and others), and unnamed cocktails

Intoxicating Effects--Hangover, memory blackouts, bickering, swearing, physical violence, and drunk driving

Potent Quotables--MARTY: I don’t have a drinking problem.  I just like drinking.
BILLY: Of course you do, Marty.  One, you’re a writer. Two, you’re from Ireland. It’s part of your heritage.  You’re fucked. 
MARTY: Fuck off now, Billy.  Seriously, just fuck off now.  I’m not in the fuckin’ mood!
BILLY: You’re fucked from birth.  Spanish have got bullfighting.  The French got cheese.  And the Irish have got alcoholism.

Video Availability--DVDand Blu-Ray(Sony)

Similarly Sauced Cinema--Colin Farrell also drowned his sorrows with liquor in Martin McDonagh’s directorial debut, In Bruges (2008).

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Review: The Master (2012)

USA/C-137m./Dir: Paul Thomas Anderson/Wr: Paul Thomas Anderson/Cast: Joaquin Phoenix (Freddie Quell); Philip Seymour Hoffman (Lancaster Dodd); Amy Adams (Peggy Dodd); Laura Dern (Helen Sullivan); Ambyr Childers (Elizabeth Dodd); Jesse Plemons (Val Dodd); Rami Malek (Clark)

There are a handful of films that so dazzle you with the power of their images that, as you leave the theater, the world appears changed.  Colors are more vibrant.  Textures appear in sharper focus.  You notice the composition between shapes.  Your concentration is heightened.  In short, you view the world as if it were a movie.  Paul Thomas Anderson’s latest film, The Master,is one such film.

The story, what there is of one, centers around Freddie Quell (Joaquin Phoenix) a sex-obsessed, alcoholic World War vet, diagnosed with a “nervous condition.” After being released from the naval veteran’s hospital, Freddie loses one job due to erratic fits of anger and flees another job due to inadvertently poisoning a co-worker with his highly-potent homebrew.  It is Freddie’s talent for low-budget mixology, combining ingredients such as industrial alcohol and paint thinner with fruit juice, that initially ingratiates him with Lancaster Dodd (Philip Seymour Hoffman), a huckster leader of an infant scientific/religious movement (some call it a cult).  Dodd sees Quell as his greatest conversion challenge, and Quell sees Dodd and his group as a respite from his wandering.  However, under-the-surface Dodd and his extended family may be as tightly-wound and animalistic as Freddie. 

The Master is a difficult, confounding film that will leave many audiences cold.  Those that aren’t turned off by Anderson’s cryptic writing and the film’s deliberate pace may well be repelled by the often sexually crude dialogue and the energy of Phoenix’s raw-nerve performance.  That said, The Master is a work of art, and it is easily the best film of the year.  Paul Thomas Anderson has yet to make a bad film, but with the one-two punch of There Will Be Blood and The Master, his work has risen to the level of that of the top rank of film artists, such as Welles, Kubrick, and Fellini.

There is much to praise in this 137-minute work of art.  Anderson always get the most from the actors that he works with (from Philip Baker Hall to Tom Cruise to Adam Sandler to Daniel Day-Lewis), and The Master contains career-topping performances from Phoenix, Hoffman, and Amy Adams.  The cinematography by Mihai Malaimare Jr. is mesmerizing, and the Jonny Greenwood's score amps us the tension without intruding on the action.  The only area where one might find fault is in the lack of story, but it is hard to complain when the film is so rich in characterization.  The movie will leave you with plenty to contemplate, even if you can’t quite process the narrative upon a first viewing.

For soused cinema enthusiasts, The Master is a banquet.  Freddie Quell is a capital “A” alcoholic, and the film focuses loving attention on his mixology skills.  Much like the Three Stooges, Freddie can concoct volcanically potent yet drinkable cocktails from the most unlikely ingredients (though he doesn’t use an old boot as a cocktail shaker).  The character of Lancaster Dodd is also an inveterate tippler, but he keeps his predilections better hidden, under the watchful eye of his domineering wife.  The tug of war between Quell and Dodd, two bombastic boozers, makes fascinating viewing.

Drinks Consumed--Torpedo juice (180-proof grain alcohol drained from a torpedo); poisonous punch (made from a variety of liquors and paint thinner); champagne; Old Fashions, and scotch served neat

Intoxicating Effects--brawling, physical violence, swearing, hangover, memory blackouts, sneaking sips, harmonizing, jail time, destruction of property, and soused sex
 
Potent Quotables--When asked by Dodd if Freddie’s brew is poison, Quell responds, “Not if you drink it smart.”  (I’ll replace this paraphrase with the exact quote when the film is released on video.) 

Video Availability--The Master is available on Blu-rayand DVDfrom Starz/Anchor Bay.


Similarly Sauced Cinema--Daniel Plainview (Daniel Day-Lewis) in Paul Thomas Anderson’s previous masterwork, There Will Be Blood (2007),is also fond of his drink. 

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