Reviews Written By: ACC1SLND21RI6provided by Amazon.com |
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 | Eton S350DL AM/FM Shortwave Deluxe Radio Receiver | |
 | "Fun radio for beginners and old radioheads" | 2008-08-07 |
| Just got the Chinese badged version of Eton S350DL AM/FM Shortwave Deluxe Radio Receiver (Black) and Grundig S350 Deluxe AM/FM/Shortwave Radio, Black (the Tecsun BCL-3000) as a gift from a friend who brought it back from his hometown in China. Out of the box and after a few hours of use, I've got to say it's a fun portable radio. For those who cut their teeth on analog radios, the S350DL is sure to be a nostalgic trip down radio land. It has been for me. Dialing in 1 Khz increments, but with a digital readout. Flipping SW band switches / FM-AFC / RF Gain / Wide-Narrow filters / dial-type volume control. Tuning in shortwave stations that drift slightly (depending on room temperature). It all had me remembering my first shortwave set. And I've owned many shortwave radios since the late 1960s, including a Realistic DX-160, Zenith Trans-Oceanic H500, Panasonic RF-B45, Degen DE-1120 (Kaito KA-1120). In some ways the BCL-3000/S350DL embodies the best and worst of these radios. The sound is as good as the Zenith Trans-Oceanic with its bass and treble controls; Wide/Narrow filters are similar to the Degen/Kaito, although broader they do sort out some of the weaker stations; plastic build is like so many plastic radio cases -- it can and will break when dropped; the automatic frequency lock to eliminate drifting common to analog radios like the Realistic helps. If you're looking for a radio that provides on-the-spot frequency accuracy, digital readout, multi-station memory, sync mode, drift-free operation, and other technical innovations in recent years, the BCL-3000/S350DL is probably not the radio for you. It's more like the 1960s Montgomery Wards AM/FM/SW radio my parents gave me as a kid; it's a great beginner's shortwave set or ideal for old radioheads. Having said that, it does do a pretty decent job of receiving most of the major international shortwave stations, despite some overlapping on other frequencies. It seems to excel on AM and FM, pulling in weak stations and amplifying the reception better than some of my portables like the Panasonic RF-B45 and Degen DE-1102. FM stereo is available through headphones or auxiliary speakers which it has jacks for. The whip antenna is sufficient to receive many stronger stations. It even has connections for an outdoor antenna/ground which I'm sure will improve the signal reception immensely; a makeshift 20 foot aerial seems to indicate it will respond well to a longer wire antenna. Simply put, it's a fun radio to use! | ||
 | Griffin iTrip Mini FM Transmitter for iPod Mini | |
 | "Good FM Reception on Car and House Radios" | 2008-07-05 |
| The Griffin iTrip Mini FM Transmitter for Apple iPod 4 GB mini M9434LL/A (Green) works well on both my car and house radios. Of course, this depends on the quality of your radio and location to transmit the signal. Reception is excellent throughout my house and yard, especially if you have a sensitive radio (mine is a Kaito KA1102 - Worldband radio.). FM reception in the car depends on making certain you are driving in an unobstructed area (this is the case even with public FM stations). PROS: * What I like about the unit is that it attaches conveniently to the iPod and looks like an integral part of the iPod. * It covers the full FM band, although adjusting it while driving is impractical. CONS: * The greatest fault I find with this unit is that it drains the iPod battery within about 3 hours of air play. * It cost me a bomb (over $40) when I first purchased it, but I see now a used one is substantially less and won't set you back. Otherwise, the Griffin iTrip Mini FM Transmitter is a nice addition to those who own an iPod mini. | ||
 | Lawrence of Arabia | |
 | "Beautiful myth-making film on T.E. Lawrence" | 2008-04-17 |
The acting, music and cinematography of Lawrence of Arabia is absolutely gorgeous. Other than that, it is historically inaccurate and flawed. Some characters are merely composites or fictional players used to create a story. Geographical details and events are contrived and sacrificed for the sake of storytelling. Even his brother, A.W. Lawrence on viewing the film in 1962 said, "I should not have recognised my brother." Case in point, the words and actions of characters Dryden, Colonel Brighton, Sherif Ali and Jackson Bentley (not altogether Lowell Thomas) are constrained neither by historical fact nor specific plausibility; they are mere poetic license for screen writer Bolt's narrative more than anything else. The film suggests Lawrence was an oddity, exploited by the British and Emir Feisal for their political ends. In reality Lawrence was not the unwitting tool portrayed in the film. He had been closely involved in these issues as early as 1915. He probably had a more salient view than Allenby of British-Indian, French and Arab political objectives. In actual fact, Lawrence was a key adviser to Feisal, both during the Arab Revolt and at the Paris Peace Conference. Lawrence also devised a map of the Middle East demarcating separate countries for Armenians and the peoples of present-day Syria, Jordan and parts of Saudi Arabia in another state, based on tribal patterns and commercial routes; the map is presently on display at the Imperial War Museum in London. Another mistaken point in the film is that when Arab tribesmen went home with their spoils of war, Lawrence's Revolt afterwards operated under smaller Arab forces. This is not so. As the Revolt spread north, it took on tribal forces previously unused. The Hauran forces long known to be available, and finally called out in the last stages of the campaign, increased the Arab army to a far larger size. The film also projects the Arab Revolt as an meaningless victory. On the contrary, it had significant impact. The French and British Imperial Government in India feared its consequences would fan the flame of independence movements in the Middle East and elsewhere. With the British endorsement of the Revolt, it ushered in the respectability of nationalist rebellion and undermined imperialism, which Communists and President Wilson in his Fourteen Points had already addressed. Without the success of the Revolt and Britain's support for Hussein's cause, transition from Turkish Ottoman rule to the French and British Mandates in Syria and Iraq would probably not have been as smooth. Without the Revolt -- and Lawrence's involvement in it -- Arab acquisition of self-government in these countries would have quite possibly taken longer than it did. Even the inference that Lawrence was homosexual is baseless. Those who knew him well have stated adamantly that he was not. In "The Letters of T. E. Lawrence" to a homosexual man, Lawrence wrote that he did not find homosexuality morally wrong, yet he did find it distasteful. As for the Ottoman commander (played by Jose Ferrer) whom Lawrence accused of whipping and sodomising him in Deraa, the Bey went on to lead a blameless post-war life without a trace of scandal. Modern biographers have also questioned whether the incident actually occurred. Firstly, there's a problem with the chronology of Lawrence's account, whose subsequent sex-life after Deraa revolved around male flagellation or masochism and a rigid programme of physical rehabilitation. Secondly, Lawrence's own statements and actions concerning the incident have contributed to the confusion; while he mentions it in "Seven Pillars of Wisdom", he removed a page from his war diary covering the event in question. Despite the many, many historical falsehoods about Lawrence and the events surrounding his campaign in the Middle East portrayed in Lawrence of Arabia, I still love David Lean's film for its epic grandeur, Maurice Jarre's sweeping score and Peter O'Toole's superb performance. I suppose had it not been for these factors, I and many viewers would probably never have been introduced to Lawrence, let alone be interested in him or the Middle East. Having said that, I rate the film five stars for artistic merit; however, for its historical content, I give it 1 star. As for the quality of the one disc DVD, which this review is based on, the wide screen format is sufficient for projecting the breathtaking panorama of the desert. The price is ideal too. If you want to wait and see more depth and clarity, I would imagine a Blu-Ray DVD would be the disc to get in the future. | ||
 | Lawrence of Arabia | |
| "Beautiful myth-making film on T.E. Lawrence" | 2008-04-17 |
The acting, music and cinematography of Lawrence of Arabia is absolutely gorgeous. Other than that, it is historically inaccurate and flawed. Some characters are merely composites or fictional players used to create a story. Geographical details and events are contrived and sacrificed for the sake of storytelling. Even his brother, A.W. Lawrence on viewing the film in 1962 said, "I should not have recognised my brother." Case in point, the words and actions of characters Dryden, Colonel Brighton, Sherif Ali and Jackson Bentley (not altogether Lowell Thomas) are constrained neither by historical fact nor specific plausibility; they are mere poetic license for screen writer Bolt's narrative more than anything else. The film suggests Lawrence was an oddity, exploited by the British and Emir Feisal for their political ends. In reality Lawrence was not the unwitting tool portrayed in the film. He had been closely involved in these issues as early as 1915. He probably had a more salient view than Allenby of British-Indian, French and Arab political objectives. In actual fact, Lawrence was a key adviser to Feisal, both during the Arab Revolt and at the Paris Peace Conference. Lawrence also devised a map of the Middle East demarcating separate countries for Armenians and the peoples of present-day Syria, Jordan and parts of Saudi Arabia in another state, based on tribal patterns and commercial routes; the map is presently on display at the Imperial War Museum in London. Another mistaken point in the film is that when Arab tribesmen went home with their spoils of war, Lawrence's Revolt afterwards operated under smaller Arab forces. This is not so. As the Revolt spread north, it took on tribal forces previously unused. The Hauran forces long known to be available, and finally called out in the last stages of the campaign, increased the Arab army to a far larger size. The film also projects the Arab Revolt as an meaningless victory. On the contrary, it had significant impact. The French and British Imperial Government in India feared its consequences would fan the flame of independence movements in the Middle East and elsewhere. With the British endorsement of the Revolt, it ushered in the respectability of nationalist rebellion and undermined imperialism, which Communists and President Wilson in his Fourteen Points had already addressed. Without the success of the Revolt and Britain's support for Hussein's cause, transition from Turkish Ottoman rule to the French and British Mandates in Syria and Iraq would probably not have been as smooth. Without the Revolt -- and Lawrence's involvement in it -- Arab acquisition of self-government in these countries would have quite possibly taken longer than it did. Even the inference that Lawrence was homosexual is baseless. Those who knew him well have stated adamantly that he was not. In "The Letters of T. E. Lawrence" to a homosexual man, Lawrence wrote that he did not find homosexuality morally wrong, yet he did find it distasteful. As for the Ottoman commander (played by Jose Ferrer) whom Lawrence accused of whipping and sodomising him in Deraa, the Bey went on to lead a blameless post-war life without a trace of scandal. Modern biographers have also questioned whether the incident actually occurred. Firstly, there's a problem with the chronology of Lawrence's account, whose subsequent sex-life after Deraa revolved around male flagellation or masochism and a rigid programme of physical rehabilitation. Secondly, Lawrence's own statements and actions concerning the incident have contributed to the confusion; while he mentions it in "Seven Pillars of Wisdom", he removed a page from his war diary covering the event in question. Despite the many, many historical falsehoods about Lawrence and the events surrounding his campaign in the Middle East portrayed in Lawrence of Arabia, I still love David Lean's film for its epic grandeur, Maurice Jarre's sweeping score and Peter O'Toole's superb performance. I suppose had it not been for these factors, I and many viewers would probably never have been introduced to Lawrence, let alone be interested in him or the Middle East. Having said that, I rate the film five stars for artistic merit; however, for its historical content, I give it 1 star. As for the quality of the one disc DVD, which this review is based on, the wide screen format is sufficient for projecting the breathtaking panorama of the desert. The price is ideal too. If you want to wait and see more depth and clarity, I would imagine a Blu-Ray DVD would be the disc to get in the future. | ||
 | Lawrence of Arabia | |
| "Beautiful myth-making film on T.E. Lawrence" | 2008-04-17 |
| The acting, music and cinematography of Lawrence of Arabia is absolutely brilliant. It's little wonder it was an award-winning film and remains a huge favourite. Unfortunately scriptwriters and directors sometimes take the liberty to distort historical accuracy for the sake of telling an adventurous tale about extraordinary people. Such is the case with Lawrence of Arabia. While the film does indeed follow the exploits of T.E. Lawrence in the Middle East during WWI, it must be noted that some characters are merely composites or fictional players used to create a story. Geographical details and events are contrived and sacrificed for the sake of storytelling. Even his brother, A.W. Lawrence on viewing the film in 1962 said, "I should not have recognised my brother." Case in point, the words and actions of characters Dryden, Colonel Brighton, Sherif Ali and Jackson Bentley (not altogether Lowell Thomas) are constrained neither by historical fact nor specific plausibility; they are mere poetic license for screen writer Bolt's narrative more than anything else. The film suggests Lawrence was an oddity, exploited by the British and Emir Feisal for their political ends. In reality Lawrence was not the unwitting tool portrayed in the film. He had been closely involved in these issues as early as 1915. He probably had a more salient view than Allenby of British-Indian, French and Arab political objectives. In actual fact, Lawrence was a key adviser to Feisal, both during the Arab Revolt and at the Paris Peace Conference. Lawrence also devised a map of the Middle East demarcating separate countries for Armenians and the peoples of present-day Syria, Jordan and parts of Saudi Arabia in another state, based on tribal patterns and commercial routes; the map is presently on display at the Imperial War Museum in London. Another mistaken point in the film is that when Arab tribesmen went home with their spoils of war, Lawrence's Revolt afterwards operated under smaller Arab forces. This is not so. As the Revolt spread north, it took on tribal forces previously unused. The Hauran forces long known to be available, and finally called out in the last stages of the campaign, increased the Arab army to a far larger size. The film also projects the Arab Revolt as an meaningless victory. On the contrary, it had significant impact. The French and British Imperial Government in India feared its consequences would fan the flame of independence movements in the Middle East and elsewhere. With the British endorsement of the Revolt, it ushered in the respectability of nationalist rebellion and undermined imperialism, which Communists and President Wilson in his Fourteen Points had already addressed. Without the success of the Revolt and Britain's support for Hussein's cause, transition from Turkish Ottoman rule to the French and British Mandates in Syria and Iraq would probably not have been as smooth. Without the Revolt -- and Lawrence's involvement in it -- Arab acquisition of self-government in these countries would have quite possibly taken longer than it did. Even the inference that Lawrence was homosexual is baseless. Those who knew him well have stated adamantly that he was not. In T. E. Lawrence: The Selected Letters to a homosexual man, Lawrence wrote that he did not find homosexuality morally wrong, yet he did find it distasteful. As for the Ottoman commander (played by Jose Ferrer) whom Lawrence accused of whipping and sodomising him in Deraa, the Bey went on to lead a blameless post-war life without a trace of scandal. Modern biographers have also questioned whether the incident actually occurred. Firstly, there's a problem with the chronology of Lawrence's account, whose subsequent sex-life after Deraa revolved around male flagellation or masochism and a rigid programme of physical rehabilitation. Secondly, Lawrence's own statements and actions concerning the incident have contributed to the confusion; while he mentions it in Seven Pillars of Wisdom: A Triumph he removed a page from his war diary covering the event in question. Despite the many, many historical falsehoods about Lawrence and the events surrounding his campaign in the Middle East portrayed in Lawrence of Arabia, I still love David Lean's film for its epic grandeur, Maurice Jarre's sweeping score and Peter O'Toole's superb performance. I suppose had it not been for these factors, I and many viewers would probably never have been introduced to Lawrence, let alone be interested in him or the Middle East. Having said that, I rate the film five stars for artistic merit; however, for its historical content, I give it 1 star. Sorry, facts cannot be rewritten. As for the quality of the one disc DVD, which this review is based on, the wide screen format is sufficient for projecting the breathtaking panorama of the desert. The price is ideal too. If you want to wait and see more depth and clarity, I would imagine a Blu-Ray DVD would be the disc to get in the future. | ||
 | Lawrence of Arabia (Single Disc Edition) | |
| "Beautiful myth-making film on T.E. Lawrence" | 2008-04-17 |
| The acting, music and cinematography of Lawrence of Arabia is absolutely brilliant. It's little wonder it was an award-winning film and remains a huge favourite. Unfortunately scriptwriters and directors sometimes take the liberty to distort historical accuracy for the sake of telling an adventurous tale about extraordinary people. Such is the case with Lawrence of Arabia. While the film does indeed follow the exploits of T.E. Lawrence in the Middle East during WWI, it must be noted that some characters are merely composites or fictional players used to create a story. Geographical details and events are contrived and sacrificed for the sake of storytelling. Even his brother, A.W. Lawrence on viewing the film in 1962 said, "I should not have recognised my brother." Case in point, the words and actions of characters Dryden, Colonel Brighton, Sherif Ali and Jackson Bentley (not altogether Lowell Thomas) are constrained neither by historical fact nor specific plausibility; they are mere poetic license for screen writer Bolt's narrative more than anything else. The film suggests Lawrence was an oddity, exploited by the British and Emir Feisal for their political ends. In reality Lawrence was not the unwitting tool portrayed in the film. He had been closely involved in these issues as early as 1915. He probably had a more salient view than Allenby of British-Indian, French and Arab political objectives. In actual fact, Lawrence was a key adviser to Feisal, both during the Arab Revolt and at the Paris Peace Conference. Lawrence also devised a map of the Middle East demarcating separate countries for Armenians and the peoples of present-day Syria, Jordan and parts of Saudi Arabia in another state, based on tribal patterns and commercial routes; the map is presently on display at the Imperial War Museum in London. Another mistaken point in the film is that when Arab tribesmen went home with their spoils of war, Lawrence's Revolt afterwards operated under smaller Arab forces. This is not so. As the Revolt spread north, it took on tribal forces previously unused. The Hauran forces long known to be available, and finally called out in the last stages of the campaign, increased the Arab army to a far larger size. The film also projects the Arab Revolt as an meaningless victory. On the contrary, it had significant impact. The French and British Imperial Government in India feared its consequences would fan the flame of independence movements in the Middle East and elsewhere. With the British endorsement of the Revolt, it ushered in the respectability of nationalist rebellion and undermined imperialism, which Communists and President Wilson in his Fourteen Points had already addressed. Without the success of the Revolt and Britain's support for Hussein's cause, transition from Turkish Ottoman rule to the French and British Mandates in Syria and Iraq would probably not have been as smooth. Without the Revolt -- and Lawrence's involvement in it -- Arab acquisition of self-government in these countries would have quite possibly taken longer than it did. Even the inference that Lawrence was homosexual is baseless. Those who knew him well have stated adamantly that he was not. In T. E. Lawrence: The Selected Letters to a homosexual man, Lawrence wrote that he did not find homosexuality morally wrong, yet he did find it distasteful. As for the Ottoman commander (played by Jose Ferrer) whom Lawrence accused of whipping and sodomising him in Deraa, the Bey went on to lead a blameless post-war life without a trace of scandal. Modern biographers have also questioned whether the incident actually occurred. Firstly, there's a problem with the chronology of Lawrence's account, whose subsequent sex-life after Deraa revolved around male flagellation or masochism and a rigid programme of physical rehabilitation. Secondly, Lawrence's own statements and actions concerning the incident have contributed to the confusion; while he mentions it in Seven Pillars of Wisdom: A Triumph he removed a page from his war diary covering the event in question. Despite the many, many historical falsehoods about Lawrence and the events surrounding his campaign in the Middle East portrayed in Lawrence of Arabia, I still love David Lean's film for its epic grandeur, Maurice Jarre's sweeping score and Peter O'Toole's superb performance. I suppose had it not been for these factors, I and many viewers would probably never have been introduced to Lawrence, let alone be interested in him or the Middle East. Having said that, I rate the film five stars for artistic merit; however, for its historical content, I give it 1 star. Sorry, facts cannot be rewritten. As for the quality of the one disc DVD, which this review is based on, the wide screen format is sufficient for projecting the breathtaking panorama of the desert. The price is ideal too. If you want to wait and see more depth and clarity, I would imagine a Blu-Ray DVD would be the disc to get in the future. | ||
 | Lawrence of Arabia (Superbit Collection) | |
| "Beautiful myth-making film on T.E. Lawrence" | 2008-04-17 |
| The acting, music and cinematography of Lawrence of Arabia is absolutely brilliant. It's little wonder it was an award-winning film and remains a huge favourite. Unfortunately scriptwriters and directors sometimes take the liberty to distort historical accuracy for the sake of telling an adventurous tale about extraordinary people. Such is the case with Lawrence of Arabia. While the film does indeed follow the exploits of T.E. Lawrence in the Middle East during WWI, it must be noted that some characters are merely composites or fictional players used to create a story. Geographical details and events are contrived and sacrificed for the sake of storytelling. Even his brother, A.W. Lawrence on viewing the film in 1962 said, "I should not have recognised my brother." Case in point, the words and actions of characters Dryden, Colonel Brighton, Sherif Ali and Jackson Bentley (not altogether Lowell Thomas) are constrained neither by historical fact nor specific plausibility; they are mere poetic license for screen writer Bolt's narrative more than anything else. The film suggests Lawrence was an oddity, exploited by the British and Emir Feisal for their political ends. In reality Lawrence was not the unwitting tool portrayed in the film. He had been closely involved in these issues as early as 1915. He probably had a more salient view than Allenby of British-Indian, French and Arab political objectives. In actual fact, Lawrence was a key adviser to Feisal, both during the Arab Revolt and at the Paris Peace Conference. Lawrence also devised a map of the Middle East demarcating separate countries for Armenians and the peoples of present-day Syria, Jordan and parts of Saudi Arabia in another state, based on tribal patterns and commercial routes; the map is presently on display at the Imperial War Museum in London. Another mistaken point in the film is that when Arab tribesmen went home with their spoils of war, Lawrence's Revolt afterwards operated under smaller Arab forces. This is not so. As the Revolt spread north, it took on tribal forces previously unused. The Hauran forces long known to be available, and finally called out in the last stages of the campaign, increased the Arab army to a far larger size. The film also projects the Arab Revolt as an meaningless victory. On the contrary, it had significant impact. The French and British Imperial Government in India feared its consequences would fan the flame of independence movements in the Middle East and elsewhere. With the British endorsement of the Revolt, it ushered in the respectability of nationalist rebellion and undermined imperialism, which Communists and President Wilson in his Fourteen Points had already addressed. Without the success of the Revolt and Britain's support for Hussein's cause, transition from Turkish Ottoman rule to the French and British Mandates in Syria and Iraq would probably not have been as smooth. Without the Revolt -- and Lawrence's involvement in it -- Arab acquisition of self-government in these countries would have quite possibly taken longer than it did. Even the inference that Lawrence was homosexual is baseless. Those who knew him well have stated adamantly that he was not. In T. E. Lawrence: The Selected Letters to a homosexual man, Lawrence wrote that he did not find homosexuality morally wrong, yet he did find it distasteful. As for the Ottoman commander (played by Jose Ferrer) whom Lawrence accused of whipping and sodomising him in Deraa, the Bey went on to lead a blameless post-war life without a trace of scandal. Modern biographers have also questioned whether the incident actually occurred. Firstly, there's a problem with the chronology of Lawrence's account, whose subsequent sex-life after Deraa revolved around male flagellation or masochism and a rigid programme of physical rehabilitation. Secondly, Lawrence's own statements and actions concerning the incident have contributed to the confusion; while he mentions it in Seven Pillars of Wisdom: A Triumph he removed a page from his war diary covering the event in question. Despite the many, many historical falsehoods about Lawrence and the events surrounding his campaign in the Middle East portrayed in Lawrence of Arabia, I still love David Lean's film for its epic grandeur, Maurice Jarre's sweeping score and Peter O'Toole's superb performance. I suppose had it not been for these factors, I and many viewers would probably never have been introduced to Lawrence, let alone be interested in him or the Middle East. Having said that, I rate the film five stars for artistic merit; however, for its historical content, I give it 1 star. Sorry, facts cannot be rewritten. As for the quality of the one disc DVD, which this review is based on, the wide screen format is sufficient for projecting the breathtaking panorama of the desert. The price is ideal too. If you want to wait and see more depth and clarity, I would imagine a Blu-Ray DVD would be the disc to get in the future. | ||
 | The Decalogue (Special Edition Complete Set) | |
| "A Meditation on Morality" | 2008-02-22 |
| Krzysztof Kieslowski's "Decalogue" is a series of ten short films set in a block of towering flats in modern Warsaw. Co-written by Kieslowski and Krzysztof Piesiewicz for Polish television in the late 1980s, the ten one-hour-long episodes explore each of the Ten Commandments, although many of the Commandments actually overlap one another.
The series is profoundly meditative, without being boring. The actors are remarkably believable, especially when Kieslowski relies on close-ups of the face; the soul of their character is practically laid bare. Very intimate. I was particularly struck by the guardian angel or witness - a young man (Artur Barcis) - who appears in eight of the episodes, just before a Commandment is broken. It's hard to say which episodes are the best. Each one projects a powerful moral message, forcing you to consider both sides of the issue and to realise these time-honoured laws have many ramifications in our daily lives, even today. My personal favourites include episodes 1, 2, 5, 6, 7, 8 and 10. Roger Ebert's commentary at the beginning is an excellent primer to those unfamiliar with Kieslowski and the synopsis behind "Decalogue", and I would recommend viewing it before the series. Lastly, one need not understand the Polish language or culture to appreciate "Decalogue". For that matter one need not come from a Judeo-Christian background. "Decalogue" is a film full of emotion and intelligence that can be universally understood and appreciated by all. Absolutely beautiful!!! | ||
 | Mephisto | |
| "Lessons in Power and Moral Corruption" | 2008-01-18 |
| Klaus Mann's "Mephisto" is based loosely on the legend of Mephistopheles and Doctor Faustus. Only in Mann's version, the characters are members of his family. Enter Hendrik Hoefgen (or Klaus Mann's brother-in-law Gustaf Gründgens) alias Faust/Mephisto played by Klaus Maria Brandauer.
Adapted by Hungarian director Istvan Szabo in this 1981 film rendition, Hendrik Hoefgen is a provincial actor from Hamburg who arrives in Berlin during the Nazi regime's ascendancy, determined to become the greatest thespian in Germany. As his reputation grows, a Hermann Göring-type minister (Rolf Hoppe) takes notice of his performance as Mephisto. Over time, for the sake of adulation, fame and social position, he ingratiates himself to his newfound Nazi patron - a more menacing Mephisto -- and is offered all that he desires in the theatrical world. The price? Surrender your Communist convictions, disassociate yourself from your Jewish friends and Afro-German mistress (Karin Boyd), divorce your wife (Mann's sister, Erika). In exchange, act as a puppet spokesman for the Third Reich. He complies and is appointed director of the Prussian theatre, admired as an actor in his role as Mephisto and respected in the Nazi government's social circle. As Nazi control takes hold throughout Germany, Hendrik Hoefgen's colleagues escape to America, or into secret cells, preparing for resistance. His wife leaves. His friends beg him to join them. Although aware of the dangers, he remains behind, believing he can stage works unhindered by the Nazi government. Too late to realise the impracticality of his folly, he complies to survive, winning small victories that give the illusion of freedom. The day of his reckoning comes in the last minutes of the film. The minister, unwilling to compromise and assist him any further, marches him to what appears to be a huge, dark void - a stage...perhaps hell. He is forced onto it. Spotlights bear down upon him. He runs frantically to and fro. Stops. Looks into the intensely bright light and pleads: "What do you want? I'm only an actor". Absolutely haunting! Although Klaus Mann's novel more or less lampoons the complicity of his brother-in-law with the Nazis, the film explores a flawed and opportunistic, yet all too recognisably human character. One could draw parallels to what becomes of individuals and art when oppressive regimes impinge upon them. Some relent to it in order to survive; others who have a moral conscience flee to fight it. Acting? Klaus Maria Brandauer's performance is so multi-layered, he captures the essence of the actor's psyche for invention and role playing. Equally mesmerising and sinister in his role is Rolf Hoppe. Karin Boyd is also a fascinating and talented actress to watch. The DVD? The version I own must be the first edition release. The film quality appeared to be a scan and pan version. There was no interactive language menu, although English subtitles appeared by default in this German language film. As for the translation, well, some words in German are naturally more meaningful than the English translation. Still, I'm immensely delighted to possess this DVD, considering it is getting nearly impossible to find, and if you do manage to track it down it's available at some ridiculous prices. I can only hope this Oscar winning film will be re-released in the near future. It would be great to see the 1960 German version of this film ("Faust" starring Gustaf Gründgens) and some literature discussing Klaus Mann's novel included in a box set. How about it, Criterion? Kino? | ||
 | Life Is Beautiful | |
| "Bellissimo!!!" | 2008-01-15 |
| "Life is Beautiful" is without doubt a wonderful film. At once we are reminded of the extremes of life - love and hatred, kindness and cruelty, laughter and sadness. Yet, through it all, "Life is Beautiful" for its optimism, courage and inner strength amidst adversity. Lessons that we as parents, as spouses and, above all else, as human beings should emulate.
The film moves quickly thanks to Roberto Benigni's brilliant story, tightly woven script and slapstick humour. Indeed, at times I thought I was watching Charlie Chaplin, Buster Keaton or Harpo Marx in some scenes, i.e. the changing of hats, the horse in the restaurant, the umbrella dance, the runaway car, the exaggerated goosestep. As for the Miramax `Collector's Edition' DVD, it features various film trailers, an interview with Benigni nd his wife (Nicoletta Braschi) and an interactive menu with language options in Italian or English. I watched it in Italian with English subtitles, and although I don't speak the language, I found it relatively easy to follow. "Life is Beautiful" really pulls at the heartstrings. You'll have a good laugh, a good cry. And you'll realise life is indeed beautiful! | ||
 | Life Is Beautiful | |
| "Bellissimo!!!" | 2008-01-15 |
| "Life is Beautiful" is without doubt a wonderful film. At once we are reminded of the extremes of life - love and hatred, kindness and cruelty, laughter and sadness. Yet, through it all, "Life is Beautiful" for its optimism, courage and inner strength amidst adversity. Lessons that we as parents, as spouses and, above all else, as human beings should emulate.
The film moves quickly thanks to Roberto Benigni's brilliant story, tightly woven script and slapstick humour. Indeed, at times I thought I was watching Charlie Chaplin, Buster Keaton or Harpo Marx in some scenes, i.e. the changing of hats, the horse in the restaurant, the umbrella dance, the runaway car, the exaggerated goosestep. As for the Miramax `Collector's Edition' DVD, it features various film trailers, an interview with Benigni nd his wife (Nicoletta Braschi) and an interactive menu with language options in Italian or English. I watched it in Italian with English subtitles, and although I don't speak the language, I found it relatively easy to follow. "Life is Beautiful" really pulls at the heartstrings. You'll have a good laugh, a good cry. And you'll realise life is indeed beautiful! | ||
 | Life Is Beautiful | |
| "Bellissimo!!!" | 2008-01-15 |
| "Life is Beautiful" is without doubt a wonderful film. At once we are reminded of the extremes of life - love and hatred, kindness and cruelty, laughter and sadness. Yet, through it all, "Life is Beautiful" for its optimism, courage and inner strength amidst adversity. Lessons that we as parents, as spouses and, above all else, as human beings should emulate.
The film moves quickly thanks to Roberto Benigni's brilliant story, tightly woven script and slapstick humour. Indeed, at times I thought I was watching Charlie Chaplin, Buster Keaton or Harpo Marx in some scenes, i.e. the changing of hats, the horse in the restaurant, the umbrella dance, the runaway car, the exaggerated goosestep. As for the Miramax `Collector's Edition' DVD, it features various film trailers, an interview with Benigni nd his wife (Nicoletta Braschi) and an interactive menu with language options in Italian or English. I watched it in Italian with English subtitles, and although I don't speak the language, I found it relatively easy to follow. "Life is Beautiful" really pulls at the heartstrings. You'll have a good laugh, a good cry. And you'll realise life is indeed beautiful! | ||
 | The Lathe of Heaven | |
| "A Faustian dilemma" | 2007-08-08 |
| When I read Ursula K. Le Guin's "The Lathe of Heaven" I was immediately captivated with it. The idea that someone could change reality (George Orr) with dreams and moreover, get caught up in the megalomania of changing the world for one's personal gain (Dr. Haber), makes for a compelling story, if not an ethical one. It reminded me of Goethe's Faustian dilemma - how much power, how much knowledge is enough. Naturally when "The Lathe of Heaven" first appeared on PBS in 1979 I was attracted to it. I watched it with fascination like most of the reviewers here, and I viewed it anew last night on DVD with equal curiosity. Does the story still have validity today? Yes, it does; the message is as timeless as Goethe's. Is the DVD transfer good? Well, to be fair, the producers tell us at the outset the digital transfer of the colours may be dark and imperfect from the only surviving two inch video tape. Even some of the special effects seem dated now. And the cover version of the Beatles' "A Little Help From My Friends" pales by comparison to the original airing. But these are minor distractions; the story and its moral still make it a brilliant and relevant film. Would I recommend it? Yes, "The Lathe of Heaven" is a science fiction film that belongs with classics like "Metropolis", "2001: A Space Odyssey " and "Star Wars". Buy it. Watch it. Add it to your DVD library. | ||
 | Playhouse 90 - Requiem for a Heavyweight | |
| "A Knockout Teleplay" | 2007-01-15 |
| There are two versions of Rod Serling's (creator/writer for the original Twilight Zone) "Requiem For A Heavyweight": The Playhouse 90 live TV performance starring Jack Palance, Ed Wynn, Keenan Wynn and Kim Hunter; the other is the movie starring Anthony Quinn, Jackie Gleason, Micky Rooney and Julie Harris. My personal preference is the Playhouse 90 version that aired on TV in 1956. The acting is incredibly believable for a live performance. Jack Palance as Harlan 'Mountain' McClintock looks the part of a battered prize-fighter, but with a thoughtfulness and sensitivity one would not think of a pugilist. Ed Wynn as Army, the trainer, delivers a dramatic performance surprisingly not expected for someone more famous for his comedic roles. And his son, Keenan Wynn as Maish, is equal to the task as a desperate and opportunistic manager. Likewise Kim Hunter puts in a fine portrayal as the compassionate social worker who takes a genuine interest in finding a new career for Mountain McClintock. These actors breathe such warmth and humanity into this brilliantly scripted play, it is little wonder Serling went on to win accolades for it. An interesting footnote about the Playhouse 90 version is that Ed Wynn was terrified of `serious' acting and kept goofing his lines in rehearsal. When the producers wanted to fire him, Jack Palance said he would quit if they replaced Ed Wynn. On live broadcast night, Wynn surprised everyone with his pitch-perfect performance, and his quick ad libs to cover his mistakes. Rod Serling, an admirer of Wynn's work, went on to use his talents in a Twilight Zone episode. Regrettably this wonderful performance has not been transferred to DVD. Hopefully when it debuts in DVD format, the murky images and scratches will be removed and the sound improved from the VHS version. This is a truly a masterpiece to add to any film buff's library. | ||
 | Kaito Worldband AM/ FM/ SW/ SSB single side band radio,shortwave radio KA1102 | |
| "Fell in love with this little radio within 5 minutes of using it" | 2006-10-14 |
| The Kaito KA1102 (Degen DE1102 in Asia) is absolutely fantastic! It certainly lives up to all the positive things reviewers have said about it. It is as good as my 14 year old Panasonic RF-B45. The Kaito outshines the Panasonic with its 'wide' and 'narrow' bandwidth. The shortwave frequencies match the Panasonic for selectivity, although, perhaps, it's reception is a bit clearer. MW is a bit better overall. In Malaysia however the selection of MW stations is not as numerable as in the US; nevertheless, I was able to pull in a station in Vietnam that I could not get on my Panasonic, plus several Thai, Indonesian and Chinese stations. FM is more selective than the Panasonic as well. Bass and stereo reception may be heard with the earphones on FM. Some reviewers fault the ergonomics (i.e. paging system), but I find it no more confusing than some 3G cell phones. As for the push button volume control, well, again, it's like so many cell phones; you get used to it. I only find that it's not as loud as the Panasonic, but I suppose after-market speakers could remedy this. The blue backlight and rechargeable batteries are an asset too. As for cons, it overloads when an external wire antenna is hooked to the whip aerial, but this may be because it is amplified. When using an internal wire antenna of similar length plugged into the antenna jack there is no overload. With the Panasonic, it does not matter whether it is hooked to the whip or jack. The radio is about the size of a postcard. Reminds me of the old pocket transitor radios back in the 1960s. It will definitely be a keeper whenever I travel overseas. As for the price, it's definitely worth it. You get a lot of radio for the buck. I bought mine (Degen DE1102) from China and it was a lot cheaper than what you'll find elsewhere on the web. If you opt for this and you live in the US, you might consider getting a 110 volt power adaptor. My only hope now is that it gives me as many years of listening pleasure as the Panasonic RF-B45. POST-SCRIPT (30 March 2007) Six months on and this little dynamo is still functioning...and I have been pretty aggressive with it. From Malaysia, I have have logged shortwave stations from Austria, Canada, Egypt, Turkey, the Netherlands, Sweden, North (Voice of Korea, Pyongyang) and South Korea, New Zealand, Iraq (Kurdish speaking station), Voice of Africa (Libya), Iran and Taiwan -- all rather difficult to receive at times. Of course, BBC, Voice of Russia, China Radio International, NHK, Deutsche Welle, Radio Australia, Radio Thailand, Radio Indonesia, Voice of Vietnam, Radio Singapore, All India Radio are flame throwers in this part of the world. The single greatest asset of this radio remains its wide/narrow filter; it does a superb job of reducing powerful stations next to weaker ones. This portable SW PPL radio is still No. 1 in my book!!! | ||
 | Hogan's Heroes - The Complete Fifth Season | |
| "Hilarious" | 2006-09-28 |
| Get ready for another season of wacky antics and laughs from the gang at Stalag 17. The guys are up to their old tricks to sabotage and subvert the Nazi efforts, along with the bungling Col. Klink and Sgt. Schultz. Here's what you can expect in Season 5. The 26 episodes with original telecast dates include: Episode 1: Hogan Goes Hollywood (9/26/1969) Episode 2: The Well (10/3/1969) Episode 3: The Klink Commandos (10/10/1969) Episode 4: The Gasoline War (10/17/1969) Episode 5: Unfair Exchange (10/24/1969) Episode 6: The Kommandant Dies at Dawn (10/31/1969) Episode 7: Bombsight (11/7/1969) Episode 8: The Big Picture (11/14/1969) Episode 9: The Big Gamble (11/21/1969) Episode 10: The Defector (11/28/1969) Episode 11: The Empty Parachute (12/5/1969) Episode 12: The Antique (12/12/1969) Episode 13: Is There a Traitor in the House? (12/19/1969) Episode 14: At Last-Schultz Knows Something (12/26/1969) Episode 15: How's the Weather? (1/2/1970) Episode 16: Get Fit or Go Fight (1/9/1970) Episode 17: Fat Hermann, Go Home (1/16/1970) Episode 18: The Softer They Fall (1/23/1970) Episode 19: Gowns by Yvette (1/30/1970) Episode 20: One Army at a Time (2/13/1970) Episode 21: Standing Room Only (2/20/1970) Episode 22: Six Lessons From Madame LaGrange (2/27/1970) Episode 23: The Sergeant's Analyst (3/6/1970) Episode 24: The Merry Widow (3/13/1970) Episode 25: Crittendon's Commandos (3/20/1970) Episode 26: Klink's Escape(3/27/1970) This season marks Col. Crittendon's fourth appearance in the show. It would also be Sgt. Kinchloe's (Ivan Dixon) last year with the series. | ||
 | Andy Griffith Show - 16 Episodes | |
| "The best of the best and still a hoot to watch" | 2006-07-12 |
| "The Andy Griffith Show -- 16 Episodes" makes the ideal introductory collection. The episodes in this anthology are taken from the show's early seasons, before Floyd the Barber, Goober and Howard Sprague joined it.
The comedic genius of Don Knotts shines throughout this collection, notably in "Rafe Hollister Sings", "The Big House", "Barney's First Car", "High Noon in Mayberry", "The Rival" and "Andy Discovers America". The Darling family was always a favourite, and two episodes "The Darlings Are Coming" and "Mountain Wedding" are on this collection; hillbilly Ernest T. Bass (Morris) stars in the latter episode. "The Loaded Goat" and "Dogs, Dogs, Dogs" are also remarkably funny. Basically, the best of the best seem to be in this collection. The humour is down-to-earth and good-natured. It is never forced or contrived. One readily identifies with the characters and situations. This honesty is what made The Andy Griffith Show such a hit among viewers and earned its cast a number of Emmy Awards. As for the quality of the DVD set itself, I concur with most of the reviewers. The audio-video quality is not on par with many of today's DVD releases. In fact, I suspect it is nowhere near the pristine quality of the recent season-by-season releases of The Andy Griffith Show. This 2-DVD set (recorded on both sides of each DVD) appears to be panned and scanned from a VHS copy. Frankly, after reading the reviews I was a bit reluctant to buy it, but having watched all 16 episodes I am not one bit disappointed, despite the original film's minor scratches and slight ghosting, pops and hisses which generally appeared at the beginning of some, not all episodes. On the bright side, the introductory music is here and the episodes look in tact from what I recall of The Andy Griffith Show. The final verdict? Well, if you enjoyed the show, or have heard about it, yet don't really want to spend a lot, make yourself happy and get "The Andy Griffith Show -- 16 Episodes". After more than 40 years, it is still a hoot to watch. | ||
 | Hogan's Heroes - The Complete Fourth Season | |
| "More Hogan Humor" | 2006-06-05 |
| These are the episodes that aired in the 4th season from 22 September 1968 to 22 March 1969: Episode 1: Clearance Sale at the Black Market Episode 2: Klink vs. the Gonculator Episode 3: How to Catch a Papa Bear Episode 4: Hogan's Trucking Service...We Deliver the Factory to You Episode 5: To the Gestapo with Love Episode 6: Man's Best Friend Is Not His Dog Episode 7: Never Play Cards with Strangers Episode 8: Color the Luftwaffe Red Episode 9: Guess Who Came to Dinner? Episode 10: No Names Please Episode 11: Bad Day in Berlin Episode 12: Will the Blue Baron Strike Again Episode 13: Will the Real Colonel Klink Please Stand Up Against the Wall? Episode 14: Man in a Box Episode 15: The Missing Klink Episode 16: Who Stole My Copy of Mein Kampf? Episode 17: Operation Hannibal Episode 18: My Favorite Prisoner Episode 19: Watch the Trains Go By Episode 20: Klink's Old Flame Episode 21: Up in Klink's Room Episode 22: The Purchasing Plan Episode 23: The Witness Episode 24: The Big Dish Episode 25: The Return of Major Bonacelli Episode 26: Happy Birthday, Dear Hogan Werner Klemperer (Col. Klink) would win an Emmy award, Best Supporting Actor in a Comedy Series in Season 4. Look for more hilarious antics from Hogan and company. It's another keeper! | ||
 | The Desert Fox | |
| "A classic film about the heroics of an honourable man" | 2006-05-08 |
| While this 1951 biographical film on WWII German Field Marshal Erwin Rommel is stylistically dated, "The Desert Fox" is a decent enough documentary about key moments in his life between 1941 to 1944. Based on the research undertaken by Michael Rennie, who was a POW in North Africa when he first encountered Rommel, he relates how his travel to Germany after the war and interviews with family members and soldiers who served under him influenced his quest to discover the truth behind Rommel's death. From there, the film attempts to probe how and why Rommel became a conspirator in Adolf Hitler's assassination. Although filmed six years after the WWII, "The Desert Fox" is surprisingly respectful in its treatment of Rommel. He is portrayed as an honourable man who fought for his country's cause, but then realised he had to correct Hitler's misuse of power, disregard for life and dishonour of Germany. As for the cinematography, I found the weakest scene in the film was in the opening when British commandos attempted to assassinate Rommel in 1941; it is set on a film stage and looks it. Otherwise, the historical footage of some of the battles in North Africa, the Atlantic fortifications and D-Day are appropriately segued to his life and lend authenticity. There are even brief glimpses of Generals Eisenhower and Patton, as well as then British Prime Minister Churchill's tribute honouring the heroics of Rommel. James Mason's portrayal of Rommel is superb. Jessica Tandy as Rommel's dutiful and supportive wife is passable, although it's certainly not her finest performance. The digital transfer of this B&W film looks fine. | ||
 | Hogan's Heroes - The Complete Second Season | |
| "A genuine feel-good show for the whole family" | 2006-03-31 |
I watched just four episodes of "Hogan's Heroes - Second Season" last night, and I must say what I have viewed already convinces me the show has lost none of its charm since I first saw it, way back in 1966. Even my 16 year old daughter was pleading to watch more of the zany antics from the cast of Stalag 13; she couldn't stop laughing. I too was amazed -- after not having seen the syndication of the show in over 20 years -- at how good Werner Klemperer, Bob Crane, John Banner et al really were; they were such comedic geniuses. Their timing and acting was so convincing, no matter how farcical their schemes. Moreover, the concept of Hogan's Heroes was in itself a clever premise for satirising the Nazis. All of the shows have been digitally remastered, albeit pan and scan format. The sound is in Dolby 5.1 (mono). Only the filmlet extras, i.e. the gags, Bob Crane-Sigrid Valdis' wedding, Jello/DreamWip commercial with Carol Channing, Leslie Uggums appearance, Air Force recruitment ommercials and two promo spots with Gary Moore-John Banner and the entire cast, are in their original condition. There are also a number of radio interviews. Nevertheless, they are wonderful additions of the show for fans. With so much jocularity going for it, I can't wait to watch the other episodes on this 5-DVD set, which incidentally is packaged in three slim DVD cases. There's also a nice synopsis of each show on all of the cases. Based on the few shows I've seen of "Hogan's Heroes: Season Two" I've already placed my order for "Hogan's Heroes: Season One", and quite possibly "Hogan's Heroes: Season Three". The programme was, and remains, absolutely hilarious! "Hogan's Heroes: Season Two" is one hearty laugh after the after...a genuine feel-good show for the whole family. | ||
 | The Moody Blues - Strange Times | |
| "Take Us Back When We Were Young" | 2006-03-12 |
"Strange Times" is reminiscent of the Moody Blues' 1970 album, "Question Of Balance". Instrumentation is stripped of keyboards and orchestra on some songs, relying much on drums, acoustic guitar, bass and their signature harmonies. The album, as the title suggests, relates to time, a theme first explored in "Days of Future Passed". Unlike that early concept album, "Strange Times" looks back at their career. musical era and "love-and-peace" mantra. The album's cover photography and rocking title track "Strange Times" alludes to the age of Aquarius ("house of the water sign") when the Moodies first burst onto the music scene in the 1960s. The song "The One" is purportedly about the Moodies; verses one through four refer -- or so it would seem -- to former MB members Denny Laine, Mike Pinder, Patrick Moraz and the current MB line up, respectively. "My Little Lovely" is a fairy-tale like song Ray Thomas composed for his granddaughter. "The Swallow" is a hypnotic guitar-driven tune Justin Hayward composed one evening in the south of France. "English Sunset", "Haunted" and "Foolish Love" are three more songs from Hayward, equally rousing. "Nothing Changes" returns to the Moodies use of the 'spoken word', read by its author and MB drummer, Graeme Edge, who while not as profound as in earlier poems, sums up the album's message rather aptly. "Strange Times" comprises 14 tracks in all, of which less than a handful are inspiring, and these come the group's bassist, John Lodge, whose songs while quite meaningful are not in the vein of his up tempo classic " Ride My See-Saw". Included is a booklet containing the lyrics and pictures of the band at the studio in Italy where the album was recorded. All in all, "Strange Times" is a brilliant return to what made the Moodies one of the masters of art rock -- strong vocal harmonies, tight concept albums, catchy tunes and thoughtful lyrics. | ||
 | The Enigma of Kaspar Hauser | |
| "What constitutes normalcy and civility?" | 2006-02-13 |
"The Enigma of Kaspar Hauser" is the true account of one early 19th century foundling, Kaspar Hauser, who was locked and shackled in a dungeon from birth, only to be freed and exposed to society after 17 years in isolation (save for the lone keeper who fed and abused him). To add to his tragic circumstance, he was murdered almost as mysteriously as he was confined. What makes "The Enigma of Kaspar Hauser" so compelling is not so much this man's biography. Rather it is Werner Herzog's exploration of the individual's role in society, especially when he has a personal history like Kaspar Hauser. Herzog looks at what would happen to such a person were he to interact with ordinary villagers, children, bureaucrats, clergymen, scientists and educators. We discover over the course of the film that his perceptions would be different from their own. As he learns to walk, develop language skills, process logic, interpret dreams, understand the concept of God and perform piano solos, we realise what constitutes normalcy and civility according to society. We see man's incessant need to analyse, to explain, to classify and to codify that which is seemingly different than himself. More importantly, we see how individuality is broken and conformity becomes the norm. Not that all men are such cruel and intolerable ogres, Herzog lets us also see the tenderness and kindness humanity possesses. Herzog's symbolism is quite subtle too. The abrupt cut to a still photograph and silence at the beginning is reflective of Kaspar Hauser's life. It too began peaceably and was cut short. It's a scene that foreshadows and epitomises the events to come. The symbolism can even be ironic. I was particularly amused at the end when the crippled bureaucrat walks away thinking about Kaspar Hauser's 'abnormal' brain after an autopsy has been performed. Once again, one has to wonder who and what is normal, or so Herzog would have us think. As you watch the film, you cannot help but feel empathy for Kaspar Hauser. This is owed partly to the performance of Bruno S. He is brilliant. The rigidity, the blank stare, the child-like innocence could perhaps only be depicted by someone who had lived and endured a similar fate. When you see Bruno S., keep in mind he was a 41 year old, non-actor playing a teenager. He, himself, had been abused, not unlike Kaspar Hauser, by his mother who was a prostitute; he was sent to an asylum and incarcerated for a petty crime. Overall, "The Enigma of Kaspar Hauser" is a wonderful film. The DVD package is not bad either. It comes with a commentary from Werner Herzog synced to the film, if one so wishes. A biography on Herzog is also included. Subtitle options are in English and German. | ||
 | Jim Croce - The Definitive Collection | |
| "Good compilation from a 70's legend" | 2005-11-26 |
| "The Definitive Collection" showcases Jim Croce's talent as a wordsmith and musician. It features both hits and radio-friendly tunes from the first album with his wife Ingrid and his three solo albums. Croce's tender, thoughtful and humourous songs, along with guitarist Murray Mueleisen's classical fretwork, aptly demonstrate his prowess as a singer/songwriter. Any doubt about his talent can easily be dispelled after listening to his stirring love songs "Time In A Bottle", "Operator", "Have To Say I Love You In A Song", "Lover's Cross", "A Long Time Ago" and "Spin Spin Spin". For comic relief "Bad, Bad Leroy Brown," "Working At The Carwash Blues," "Don't Mess Around With Jim", "Five Short Minutes" and "Roller Derby Queen" will tickle and pick you up. All in all, "The Definitive Collection" is an excellent choice over most of the Jim Croce anthologies, whether you're a fan or a newcomer to his music. Those compilation albums with additional tracks are probably just as good, but rather than purchase these it might be better to consider obtaining the entire Croce catalogue, including the early recordings with his wife. Otherwise, go with "The Definitive Collection". It contains most of his best material. | ||
 | Renaissance - Tales of 1001 Nights, Vol. 1 | |
| "Strictly for Progressive Rock aficionados" | 2005-10-08 |
| If one's musical inclination lies in the fusion of folk, rock and classical music, then "Tales of 1001 Nights -- Vols. I & II" by Renaissance should resonate comfortably with you. Similar in musicality to Mannheim Steam Roller, but interwoven with thoughtful lyrics from Cornish poetess Betty Thatcher, many of the masterpieces which brought international acclaim to this seventies 'art rock' group are faithfully represented here, both in their Carnegie Hall and studio recordings between 1971 and 1979. While the inclusion of "Rajah Khan", "The Flood at Lyons" and "Sisters" would have been nice additions to either of these albums (or perhaps another album a la "Tales of 1001 Nights -- Vol. 3"), it is nonetheless an absolute delight to hear many of Michael Dunford's skillfully crafted compositions, Annie Haslam's soaring vocals, Terry Sullivan's classical interpretations on keyboard, Jon Camp's lead bass and John Tout's percussion preserved on two CDs for future generations. Though critics often label Renaissance a 'pretentious' progressive rock band, one should consider their musical repertoire in the context of instruments available and musical styles other bands had covered up to this time, in which case one will then realise the innovation and intelligence of these meistersingers. | ||
 | The River - Criterion Collection | |
| "Renoir's River of Life is a Masterpiece on the Human Condition" | 2005-10-06 |
| On the surface, Jean Renoir's film "The River" is a docu-drama on India and its people, replete with temples, religious festivals and cultural practices, set amidst the backdrop of the Bengal River. Scratch the surface and "The River" becomes a metaphor on the meaning of life, or at least the Hindu concept of it -- a cycle of births and deaths. Several scenes allude to this theme. For instance, the statue of Hindu goddess Kali, symbolising creation and destruction, is moulded from the river's clay and returns to clay when it is submerged in the river after devotees complete a ritual celebration. Mr. John (Arthur Shields) at one point philosophises on life with his American cousin, Capt. John (Thomas E. Breen), stating one man jumps from the San Francisco Golden Gate Bridge while another goes on his way across the bridge. When young Bogey (Richard Foster), Harriet's brother, dies from a cobra's bite a sibling is born some months after his death. Between birth and death are the lives of ordinary people who reside, work, play or worship along the river. Some face conflict which is either solved or insoluble. Capt. John is the war veteran (unspecified war) who has lost a leg and is struggling to put his past behind him. Valerie, Melanie and Harriet (Adrienne Court, Radha and Patricia Walters) are adolescent girls who express their respective infatuations for Capt. John and their ensuing growing pains. Mr. John is the British expatriate and widower who has contentedly adopted the ways and culture of India, yet agonises over the mixed-race status his marriage to an Indian woman has created for his daughter Melanie. Harriet's father (Esmond Knight) is the manager of a jute factory, busy with its operation, yet concerned about his children growing up. Boats laden with jute ply the river bringing Indian labourers, pursuing their livelihood. And holy men spend their days mediating at the banks of the river. The point is, each represents an extension of how humanity as a whole goes about living between birth and death. As for the photography, "The River" is nothing short of spectacular. Interestingly, it was the first Technicolor film shot in India, which apparently posed some inherent technical limitations that Renoir had to overcome while filming in the tropics, which makes it all the more magnificient. The result is an impressionist's dream. Renoir does a Renoir in setting up shots that could have been stills from his father's own paintings. Look for the twin girls sleeping, the nanny and children peering through a colonnade lined railing, the teenage girls sneaking a view of Capt. John's arrival from a crumbling brick fence. There are so many lovely images, actually far too many to mention in this review. Some reviewers have commented about the weak performances of the actors. While this is a fair assessment, Renoir had little choice. Had he compromised artistic preference and authenticity for the stereotypical India the studio heads in Hollywood wanted, perhaps the funding for more notable actors of the day could have been cast. When producer Kenneth McEldowney, a newcomer to the film industry, consented to Renoir's concept for "The River" funding was limited to no more than a handful of well-known actors. Although he cast amateurs like Breen (an actual amputee) and Radha (a classical Indian dancer), it is arguable their personal backgrounds made their roles more realistic and believable. All in all, "The River: Criterion Collection" is EXCELLENT. In addition to this beautiful 90-minute movie, there's a commentary from Martin Scorsese -- a key figure in the restoration of the film, an interview with Jean Renoir, a conversation with Rumer Godden, the author of "The River", as well as the original theatrical trailer and some off screen stills taken during the filming. A booklet comes with this collection too, featuring essays from notable film scholars (Ian Christie and Alexander Sesonske) and technical insight on the restoration of the film. | ||
 | The Duellists | |
| "More Than A Grudge Match" | 2005-09-30 |
Joseph Conrad's story "The Duellists" is the subject of Ridley Scott's first film. Set in the Napoleonic era, two French officers, D' Hubbert(Keith Carradine) and Feraud(Harvey Keitel) fight a series of duels over a period of 30 years. What provokes the duels? Presumably when D' Hubbert delivers a message to Feraud while attending the gala of an aristocratic madame, he thwarts Feraud's advances, although D' Hubbert is oblivious to his intentions. Scott gives us a clue to Feraud's character in the opening scene of the film when he is engaged in a duel with another man. This is the reason for D' Hubbert's presence at the gala. We realise from this point Feraud is actually a pugnacious hothead, teetering on the psychotic. While D' Hubbert attempts to avoid him, this unfortunate incident escalates into four unresolved duels between them. Eventually in the fifth and final duel, they stalk one another on D' Hubbert's country estate, with pistols in hand. Feraud sights D' Hubbert and misses his shot, whereupon D' Hubbert spares his life on the condition the duel is finished. Humiliated, Feraud commits suicide, plunging himself into a river. Ridley Scott's photography and tight editing makes for a visually compelling film. The French countryside and villages lend beauty and authenticity to the story, as does Scott's attention to the changing fashions and hairstyles over the 30-year period. The music is sparse, yet well placed to enhance the moods and pacing of the film. The Cannes Film Festival in 1977 deservedly awarded it the "Best Debut Film". As with most of Joseph Conrad's stories, "The Duellists" explores the themes of obsession, honour and violence, and how the individual grapples with each in a number situations. The film captures and expresses these themes with suspense and genuine finesse. I heartily recommend "The Duellists" to anyone who enjoys Joseph Conrad, Ridley Scott, Napoleonic history or martial arts. | ||
 | Justin Hayward - Classic Blue | |
| "Gentle sounds to caress the soul" | 2005-09-22 |
| Open your mind (and ears) to the beauty of the 80-piece London Philharmonic Orchestra and The Moody Blues' guitarist/singer/songwriter Justin Hayward interpreting classic rock and pop songs, and you get "Classic Blue". Devoid of a rhythm section, Justin's voice and the orchestra have plenty of space to express themselves in the 13 songs featured on this album. Justin's voice is in good form, and the variety of songs gives him the opportunity to show off his versatility as a vocalist. Listening to the album one almost gets the impression Justin not only had a genuine feel for these compositions, he was pleasantly diverted from his projects as a solo artist or Moody Blue. I was particularly moved by his interpretations of "MacArthur Park", "God Only Knows", "A Whiter Shade Of Pale", "Forever Autumn", Scarborough Fair" and "Stairway to Heaven". No less stirring are Peter Green's "Man of the World", Lennon & McCartney's "Black Bird", Don McLean's "Vincent", "Smokey Robinson's "Tears of a Clown" and three songs by "Classic Blue" collaborator/composer Mike Batt, the most memorable being "Bright Eyes", sung originally by Art Garfunkel. Many may not be aware of it, but "Classic Blue" is a hard-to-find collectible. I had wanted it largely for this reason, but was surprised to learn it had a decent collection of well performed songs. I would advise anyone who has had similar reservations to reconsider and add "Classic Blue" to their music library. Justin Hayward and Mike Batt, together with the London Philharmonic Orchestra have put together a 'classic' that's certainly worth owning. Give it a listen on a quiet night with the lights dimmed, and preferably shared with a loved one close by your side. It's gentle sounds will surely caress the soul. | ||
 | The Moody Blues - A Night at Red Rocks with the Colorado Symphony Orchestra | |
| ""A night of magic filled with fairy dust"" | 2005-09-20 |
| Recorded at the Red Rocks amphitheatre in September 1992, "The Moody Blues - A Night at Red Rocks with the Colorado Symphony Orchestra" features band members Justin Hayward, John Lodge, Ray Thomas and Graeme Edge, performing some of their compositions with the lushly orchestrated accompaniment of the Colorado Symphony Orchestra, just as it was when they released the first of their 'core seven' albums. While more than 19 songs -- the number represented here -- were performed at this concert, these tracks sufficiently cover their hits and favourites from the albums "Days of Future Passed" right up to the then current release of "Keys Of The Kingdom". To hear the additional songs played during this concert, one will need to track down the "Time Traveller" boxed set with the optional fifth CD. There's a fabulous rendition of Thomas' "Legend Of A Mind" and Lodge's "Emily's Song" on this audio CD. The songs on the Red Rocks DVD are predominately compositions written and performed by Justin Hayward who, while he sounded as though he had a cold at the time, pulled off the vocals with aplomb. John Lodge and Ray Thomas are heard too, either in backing vocals or their own songs. Even Graeme Edge is heard at the beginning of the concert, reciting for the first time, his poem "Late Lament", which was originally recorded by Michael Pinder. If purists want to nit pick on any aspect of the concert, I suppose the female back-up vocalists and additional drummer is a bit over the top, considering the studio albums of The Moody Blues were mastered without additional musicians. My guess is these artistes were included in the line up either for eye candy and/or sound dynamics. Whatever the reason, they neither enhance nor degrade the quality of the performance; The Moodies and the orchestra remain the dominant sound throughout the show. However, if you compare the Red Rocks concert to their made-for-French-television performance, "The Moody Blues: The Lost Performance - Live in Paris 1970", you will notice The Moodies are actually more relaxed; the band members clown around with each other or chat up the audience. Although most of the songs are overdubbed using studio recordings -- a practice common to television programming then, according to The Moodies producer Tony Clarke -- the Paris performance of the Moody Blues Mk II line up a la Pinder, Lodge, Thomas, Hayward and Edge is certainly more entertaining. For one, they were younger, at their peak and hungry to best themselves. True collectors of The Moody Blues will get both DVDs as well as whatever else is out there. As for "The Moody Blues - A Night at Red Rocks with the Colorado Symphony Orchestra", it is definitely one for the collection. You will watch and sing along like the audience interspersed throughout the video, over and over again. Don't hesitate to buy this one. | ||
 | Without Limits | |
| "A Winner On All Accounts" | 2005-08-24 |
| "Without Limits" is a biopic about America's great middle distance runner in the 2,000 to 10,000 metre events, the late Pete Prefontaine (Billy Crudup), as told through his coach and mentor Bill Bowerman (Donald Sutherland). The film takes us back to the late 1960's and early 1970's when `Pre' set many firsts, on and off the track. The film attempts to explain his compulsion for excellence. It introduces us to his high school exploits, highlights some of his races and records set while at the University of Oregon and his 1972 Olympic bid in Munich. We see Bowerman and Pre at odds over strategy and technique, but growing in respect and admiration of one another. The film also underscores Pre's disgust with the obsolete policies of America's Amateur Athletic Union (AAU) and the International Olympic Committee. There are also scenes with contemporaries Lassi Veron and Frank Shorter. Pre's girlfriend (Monica Potter), dalliances and flirtations with the ladies at the University of Oregon are woven into the story as well. More than a biopic, "Without Limits" is a film about the will to win, to be the best, to give one's all, whether it be in sports or any of life's countless trials. While some may consider Pre high spirited and arrogant, it was his conviction to never compromise on excellence that drove him to push the limits. And that's what the film explores. Pre was an inspiration, and I hope those who watch this film will be equally driven to excel, just as he did. He was certainly one of my heroes. And I am only too delighted to recommend this film. It's immensely satisfying to see director Robert Towne and co-writer Kenny Moore (Pre's friend and former world-class runner) consider him great enough to merit this biopic. The track-savvy authenticity and love of the man is deeply reflected in this moving story. Thanks also to the incredibly believable performances of Donald Sutherland and Billy Crudup, the film rises triumphantly and honours not only Pre, but Bowerman as well. Pick up the DVD and be inspired by a legend. | ||
 | The Strawbs - Halcyon Days: The A&M Years | |
| "Halcyon Days, Indeed!" | 2005-08-24 |
| "Halcyon Days: The A&M Years" (US release) while not necessarily the definitive compilation of The Straws is certainly one of the best. Many of their more popular songs from the albums Strawbs to Nomadness are featured in this 2-CD album. Over 35 songs ar featured, including a few songs from Dave Cousins' Two Weeks Last Summer. The track selection is solid throughout. There are folk flavoured songs like "Witchwood", "The Battle" and "The Hangman & The Papist", rock ditties like "Round and Round" and "Lay Down", the psychedelic "Queen of Dreams", the spiritual "Benedictus" and the classically inflected "Tears & Pavan" and "Autumn". Cousins' poetics and music is simply enthralling. The keyboard wizardry of Rick Wakeman is on show before he joined Yes. The grittier, harder sound of Ford and Hudson is also evident. Only the lovely voice of the late Sandy Denny is not heard here. Indispensable to this album is a 24-page booklet. It provides an excellent overview of the group's history. Cousins sheds meaning on many of the songs he authored. And pictures of various members are interspersed throughout. Halcyon Days is an excellent album. Don't hesitate to buy it if you can find it, new or used. | ||
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