Daily Archives: April 29, 2012

‘Man Men’ gets naughty ‘At the Codfish Ball’

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Tonight’s episode of “Mad Men” was called “At the Codfish Ball,” but it might as well have been called “The In-laws.”

Peggy, disappointed that her boyfriend, Abe, suggested they live together rather than get married, asks her mother over for a special dinner to announce their new living arrangements.

Instead of staying for dessert, Peggy’s mom gets up and leaves at the news. Heck, she even takes back the dessert she brought with her.

For all the change the series has been demonstrating as it marches through the 1960s, it was a pointed reminder that social mores had yet to change substantially and young women were expected to get married, or — as Peggy’s mom noted — get a cat. Then another cat. Then another cat. “Then you’re done.”

There was a similarly unpleasant undertone to the visit by Megan’s parents to the Draper household. Sure there were a few moments of lighthearted family fun, particularly when Sally and Megan and her mother went shopping and came home so Don could play Dagwood to Megan’s Blondie.

But most of the time the in-laws were visiting was filled with hate-filled French tirades between Megan’s parents.

Megan’s mother — played by Julia Ormond, who is, needless to say, too young to be playing Jessica Pare’s mother — livened thing up considerably at the ball that the family and Roger Sterling attended late in the episode.

After striking sparks with Roger, Megan’s mom accompanies him into a room down the hall from the ballroom. It is there they are spotted by Don’s young daughter, Sally (Kiernan Shipka) in a thoroughly compromising position. It’s another disillusioning moment for Sally and a shocking moment in the episode.

Random observations:

Roger’s one liners continue to be a highlight of the series. “Maybe Jesus was just pursuing the loaves and fishes account,” he notes during a discussion of motivations for good acts. John Slattery is at his most charming in this episode, partnering with Sally for the business gathering and jokingly calling her a “mean drunk” before giving her a Shirley Temple. And, needless to say, before giving her an eyeful by his antics with her sort-of-grandmother.

Joan (Christina Hendricks) gets the prize for best recovery of the episode. After observing that Peggy (Elizabeth Moss) isn’t wearing an engagement ring, Joan hears about Abe’s proposal and blurts out, “Shacking up?” before she recovers and convinces Peggy it’s really a romantic idea.

For the second time this season, “Mad Men” mines the “Twin Peaks” cast for guest stars. A few weeks ago it was Madchen Amick as Andrea, Don’s old fling.

Tonight Ray Wise, the actor who played Leland Palmer, murder victim Laura Palmer’s father on “Twin Peaks,” guest starred as a business executive who breaks some bad news to Don regarding the repercussions of his infamous ad about tobacco and smoking in The New York Times.

Which “Twin Peaks” vet will guest next? I’m holding out for Peggy Lipton.

The road to ‘The Avengers’ (part two)

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Sixty years after the “Captain America” serial debuted in 1944, another Marvel movie milestone occurred: The aborted release of “The Fantastic Four,” a low-budget movie (co-produced by the legendary Roger Corman). Made to perpetuate rights to Marvel’s first family, the movie was pretty bad. While the cast and crew apparently thought it would be released and a premiere was announced, the movie was shelved. Today it is legend to some and reality to others who have bought bootleg DVD copies at comic book conventions.

For a while it seemed like Marvel’s heroes were destined for low-budget life only. Then “X-Men” was a hit in 2000, followed by “Spider-Man” two years later. The characters, as well as the Fantastic Four, were sold off by Marvel to different companies, though. While Sam Raimi made two good “Spider-Man” films, “Fantastic Four” and its sequel were lackluster enough to make fans crazy. After decades of no big-screen adaptations, were Marvel’s heroes fated to live only through erratic, variable-quality movies?

And would fans never see a unified Marvel universe onscreen?

At some point, Marvel decided to take the best of the properties it still had film rights to — Iron Man, Captain America and other longtime Avengers stalwarts — and knit a coherent universe.

The “Yes!” moment came in 2008 with the release of “Iron Man.” Sure, before Jon Favreau’s movie there had been references to the larger world of Marvel characters, notably on computer screens in the “X-Men” movies. Fun “Easter eggs” maybe, but with no hope of follow-through.

At the end of “Iron Man,” Tony Stark (Robert Downey Jr.) returns to his home and finds Nick Fury (Samuel L. Jackson) waiting for him. Fury tells Stark he’s not the only superhero in the world and tells him he’s there to talk about “the Avengers initiative.”

By that point, fans knew that Marvel had big plans for their universe. Soon, each movie would build toward “The Avengers.”

A long four years followed, but fans were rewarded with some fun movies. “The Incredible Hulk” in 2008 was, I thought, a terrific movie, with good Hulk action but also exciting scenes, including one in which soldiers pursue Bruce Banner (Edward Norton) through a South American slum.

The Hulk movie continued — even amped up — the Avengers foreshadowing. Spymaster Fury didn’t reappear but SHIELD was all over the movie, as it had been in “Iron Man,” and Downey Jr. appeared as Stark at the end. Maybe best of all were the references to the “super soldier” program that created Captain America, as Hulk’s nemesis the Abomination was created in part because of the same serum that, decades earlier in the comics, made Steve Rogers Captain America.

Between them, “Iron Man” and “The Incredible Hulk” made for a great one-two punch.

“Iron Man 2” dug deeper into SHIELD and the Marvel universe two years later. SHIELD was fully staffed by this point, with not only Fury and Agent Coulson returning but Natasha Romanov (Black Widow, played by Scarlett Johansson) showing up. Cap’s shield was even on hand, in Stark’s lab.

We found out why a year later, when the summer of 2011 brought fans “Thor” and “Captain America.”

The two movies almost felt like two chapters of one story. Although “Thor” took place in Asgard and the present day and “Captain America” took place in the 1940s (with a modern-day framing device) the movies integrated the Avengers building blocks. SHIELD agent Coulson and references to other characters, notably a veiled reference to Gamma scientist Bruce Banner, were sprinkled through “Thor,” while “Captain America” put the Red Skull in search of the Cosmic Cube, a treasure from the armory of Odin, Thor’s father.

The two movies didn’t have the impact of “Iron Man,” perhaps, because the earlier film took so many people by surprise. But “Thor” and “Captain America” are so strong, so entertaining and so thorough in their establishing of “The Avengers” that they exude confidence.

By this point, Marvel was confident enough of its plans to end the movies not only with surprise extra scenes but James Bond-style “Captain America will return in The Avengers” slides.

Even while DC Comics was floundering, releasing a half-hearted “Green Lantern” movie that clumsily introduced Amanda Waller, a Nick Fury surrogate, and couldn’t get “Dark Knight” director Chris Nolan to agree to let his Batman character exist in the same world as the rest of the Justice League, Marvel had established its world.

The long road led to “The Avengers.” The movie comes out this week. Early reviews are very positive, and Marvel seems confident enough to continue to build its movie universe.

 

 

 

The geek years of our lives: 1982

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I’ve noted before in this space that 1977 was a pivotal year for movies. Two words: “Star Wars.”

But just as 1939 is a golden year for movie lovers, 1982 is a golden year for geeks. Maybe never before and maybe never since have so many milestone movies been released in a single year, many of them in the summer months alone.

I was reviewing movies that year — I had begun four years earlier and did it for another eight years, so it was prime moviegoing time for me — and even then I realized we were seeing something special.

As the 30th anniversary of this pivotal year rolls around, the Alamo Drafthouse Cinema is holding screenings of many of the movies. I can’t make those showings, but I’ll probably watch a few on disc. In the meantime, here’s my little look back.

“Conan the Barbarian” — The Arnold Schwarzenegger movie was one of the first movies I saw through the press junket process, going to Chicago to see it and interview the cast and filmmakers. But even without that, I recognized the movie for what it was: The rare moment when Hollywood got the sword-and-sorcery genre right. There are some cheesy effects, to be sure. But the world of the pulp barbarian hero came to life.

“The Road Warrior” — I had seen George Miller’s “Mad Max,” the dire action thriller starring Mel Gibson as a cop in a lawless land, but it was small in scope compared to “The Road Warrior.” Like “Conan,” “The Road Warrior” quickly defined its genre. All the elements were in place: A nihilistic hero with a heart; truly menacing bad guys; a varied and fascinating collection of good guys; stunts like movies had never seen before.

“Poltergeist” — This movie, directed by “Texas Chainsaw Massacre” director Tobe Hooper and produced by Steven Spielberg, was like the “Mirror Mirror” universe take on the suburban world given to us a few weeks later when director Spielberg released “E.T.” After decades of old dark house horror movies, the “haunted ranch house” tale told in “Poltergeist” seemed as fresh as could be.

“Star Trek II: The Wrath of Khan” — While I really enjoyed the J.J. Abrams “Star Trek” reboot from a couple of years ago, the fact remains that Abrams, other moviemakers and all of fandom still believes that Nicholas Meyer’s take on Gene Roddenberry’s classic space opera is the one to emulate. And why not? Meyer brought a sharp military take to the familiar characters, pushed them through their paces in a quick-witted, thrilling plot, injected a ton of humor and tragedy and gave us one of the most heart-pounding climaxes ever. To this day, I remember the “Does Spock really die?” rumors before the movie opened, with fans eagerly anticipating/dreading the answer.

“E.T. The Extra-Terrestrial” — Sure the ending is marred by one of those “ohmygod he’s dead, no he’s not” resurrections. But time has probably dimmed our recollection of how simultaneously sweet and tart this movie is. The kids were cute but had realistic anti-sibling mean streaks, the mom (Dee Wallace. Sigh.) was a barely-hanging-in-there abandoned woman and E.T. himself was a great creation. It deserved to make a ton of money.

“The Thing” — Man, what a great horror flick. Director John Carpenter was on a roll with “Halloween,” “Escape from New York” and this, making him the most subversive director working and one of the most crowd-pleasing. Think about the endings to those movies for a minute: “Halloween” ended by establishing the boogeyman really existed. “Escape” ended with the protagonist, played by Kurt Russell, deciding “the hell with it” and destroying a tape that could save the world. And “The Thing” ended its cold and nightmarish story with a man versus alien creature showdown — featuring Russell and Keith David — that couldn’t have been more harsh.

The two last movies of the summer of 1982, “Tron” and “Halloween III,” were lesser lights, but how could they not be? “Tron” left enough of an impression to spawn a sequel nearly 30 years later. And “Halloween III” was a noble experiment that ultimately failed. Rather than try to top John Carpenter’s original, the movie’s producers went for a whole new story, about a fiendish plot to sacrifice millions of children with Halloween monster masks. “Three more days to Halloween!” was the earworm TV commercial jingle of the year. I just wish the movie had found an audience.

What a year.

The Great Newspaper Comics Challenge Part 11

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It’s time for our weekly look at newspaper comics. Because surely the funnies didn’t stop being funny when ads for Camels ran alongside “Blondie and Dagwood.” Hey kids! Cigarettes!

“Classic Peanuts” finds Charlie Brown walking along after the little red-haired girl. Chuck is walking seven blocks behind her, fantasizing about what it would be like to walk along with her, go into her house with her, talk with her. Oh, Chuck. You’re cute and pathetic even when you’re being a stalker!

In “Baby Blues,” each parent wakes up with alarm in the middle of the night, accusing the other of scratching with nails. Turns out its Hammie down under the covers, hiding out from a monster in his room. “How did he get past your deadly toenails?” Dad asks. Too true!

Furthering understanding between couples everywhere, “The Wizard of Id” features the wizard’s wife complaining that he never listens to her. The wizard zaps her, freezing her in place, and goes out drinking with friends. He returns and zaps her back into motion again, where she continues her rant. “I love being a wizard,” he thinks. I think: This strip is going to be clipped and put on the billboards of couples counselors everywhere.

“Lio” and “Speed Bump” feature good sight gags. It’s book report day at school and Lio gets thrown out of class for choosing “The Exorcist” over “Winnie the Pooh” or “Goodnight Moon.” And in “Speed Bump,” it’s a road kill truck, rather than an ice cream truck, that draws all the vultures along a stretch of desert road.

“Hi and Lois” shows Lois beating her rugs with a broom because things “get so dusty over the winter.” Neighbor Thirsty’s wife borrows the broom and heads toward Thirsty, a murderous gleam in her eye. Too late for couples counseling here — call 911!

“Hagar the Horrible” tells us doctors play golf.

In “The Family Circus,” one of the kids takes Barfy for a walk. We’ve talked about this before, I’m sure, but Barfy? Really? Did they name the cat Spray Urine on Furniture?