Heresy, I suppose, but I was more pissed off at the demise of the Bonzo Dog Band than I was by the splitting of The Beatles, the retirement of Ziggy Stardust, or the return of Take That. The Mop Tops were grown-up music and a different generation, and after Stardust there was always Aladdin Sane, but neither could have inspired me to run home from school as I did for Vivian Stanshall, Neil Innes and co. when they shared billing with the proto-Pythons, Palin, Jones, Idle and Gilliam on Do Not Adjust Your Set. Now that’s the kind of thoughtful anarchy parents should encourage their children to watch, not Glee or High School Musical, but something with wit and humor that leans towards culture and art and thinking about life, with all its wrinkly absurdities.
It was always Vivian, of course, that rather scary looking Ginger Geezer, who was the Peter Cook of Pop, a chummy Evelyn Waugh, a more interesting Stephen Fry, the missing link between The Beatles and Monty Python.
I saw Vivian Stanshall’s Week when it first went out in 1975, then or thereabouts, and was mesmerized by the great ginger god’s wit, surreal humor and seemingly boundless energy, who, I knew (as did everyone else, surely?), made life that little bit more fun.
The print of this documentary is water-color cloudy, but honestly it does somehow underline the unreality that such a superb human should have ever visited this blue marble planet and in our life time to boot. Well, dearhearts, how lucky are we?
Now here’s what the blurb says:
‘In this film shot in 1975 (after the Bonzo Dog Doo-Dah Band and before the Sir Henry movie) Viv articulates his interests and obsessions with his usual surreal humour and some intoxication by the river.
“If I had all the money I’ve spent on drink — I’d spend it on drink.”
It’s Sunday and time for some fire and brimstone. In other words, a good ol’ revival meeting.
Pastor Tommy Bates is in the house!
I detect of bit of racial stereotyping when the braying Bates tells the little Hispanic kid that, with the Lord’s help, he won’t grow up to be a drug addict, a convict, or some kind of, hold on to your hats, entertainer! Neeeeverrr.
At the end of the clip, Pastor Bates’ partner, who is using a small Black girl as an armrest, asks the penetrating question “wouldn’t you like the Holy Ghost to come on you like that”?
Luis Buñuel was one of cinema’s greatest film directors. From his first short, the Surrealist classic Un Chien Andalou in 1929, through The Exterminating Angel in 1962, to Belle de Jour in 1967, and his last, That Obscure Object of Desire in 1977, Buñuel created a brilliant body of work, which has rarely been equalled.
But film wasn’t his only passion. In his autobiography, My Last Breath, Buñuel gave his own special recipe on how to create the perfect Martini.
‘To provoke, or sustain, a reverie in a bar, you have to drink English gin, especially in the form of the dry martini. To be frank, given the primordial role in my life played by the dry martini, I think I really ought to give it at least a page. Like all cocktails, the martini, composed essentially of gin and a few drops of Noilly Prat, seems to have been an American invention. Connoisseurs who like their martinis very dry suggest simply allowing a ray of sunlight to shine through a bottle of Noilly Prat before it hits the bottle of gin. At a certain period in America it was said that the making of a dry martini should resemble the Immaculate Conception, for, as Saint Thomas Aquinas once noted, the generative power of the Holy Ghost pierced the Virgin’s hymen “like a ray of sunlight through a window-leaving it unbroken.”
‘Another crucial recommendation is that the ice be so cold and hard that it won’t melt, since nothing’s worse than a watery martini. For those who are still with me, let me give you my personal recipe, the fruit of long experimentation and guaranteed to produce perfect results. The day before your guests arrive, put all the ingredients-glasses, gin, and shaker-in the refrigerator. Use a thermometer to make sure the ice is about twenty degrees below zero (centigrade). Don’t take anything out until your friends arrive; then pour a few drops of Noilly Prat and half a demitasse spoon of Angostura bitters over the ice. Stir it, then pour it out, keeping only the ice, which retains a faint taste of both. Then pour straight gin over the ice, stir it again, and serve.
‘(During the 1940s, the director of the Museum of Modern Art in New York taught me a curious variation. Instead of Angostura, he used a dash of Pernod. Frankly, it seemed heretical to me, but apparently it was only a fad.)’
This wasn’t the first time, the genius director had shared his favored drink, in his Oscar-winning film The Discreet Charm of the Bourgeoisie, Buñuel had his actors prepare the perfect Martini.
This was no affectation, as Buñuel had his cocktail everyday and once remarked:
“If you were to ask me if I’d ever had the bad luck to miss my daily cocktail, I’d have to say that I doubt it; where certain things are concerned, I plan ahead.”
As discussed in his essential autobiography, Buñuel’s passions for drinking, smoking and a love of handguns, defined who he was. It was a combination which would, you would think, make Buñuel the perfect choice as a director for one of those 1960s or 1970s James Bond movies. David Cairns, over at his excellent film blog, Shadowplay suggested this idea a couple of years back, proposing a Bond movie cast from some of Buñuel’s previous casts, with Dan O’Herlihy as Bond and Fernando Rey as the villain. Cairns also proposes:
Could we resist Catherine Deneuve as Bond girl Anne Dalou, and could she resist playing it if the high priest of cinematic surrealism were in charge? Zachary Scott, fresh from THE YOUNG ONE, could play Bond’s CIA counterpart Felix Leiter. Oh wait, he died in 1965. Damn. OK, Bernie Hamilton then. Sean Connery always thought Felix should be black — I presume on the basis that it was the kind of thankless part where nobody would object, and therefore you should make the effort.
Ken Adam, I submit, would have had a great time building sets for Bunuel, who loved “secret passages leading on to darkness”.
THE EXTERMINATING ANGEL would make a great title for a Bond. Imagine what Shirley Bassey could do with a lyric like that. Much better than QUANTUM OF SLOSH, anyway.
But let’s call our imaginary Bunuel Bond GRAN CASINO ROYALE. The globe-trotting narrative will take us through Spain, the U.S.A., Mexico and France. Bond will battle tarantulas, snakes and flesh-eating ants, and face enemies armed with razors, rifles, burlap sacks and buggy-whips. All in search of a mysterious box with undisclosed, buzzing contents…
I can’t say I was much of a fan of Indiana Jones, the first and third films were okay, but second and fourth - o boy. Hey, but what do I know? After all, I like Zardoz. So, if you like Henry Walton Jones jnr. Ph.D, then you might be tickled by this rather fab, behind-the-scenes film of artist Matt Busch making the illustrated Indiana Jones World Map:
... showing all of the locations that Indy has made archeological discoveries- not just the movies- but the novels, the comic books, the Young Indy TV shows, the video games, and more.
Years in the making, there are 36 different archeological artifacts displayed with legend sections listing info on the items. The Key chart lets you decipher symbols for each artifact to see how the story was presented, be it film, novel, TV Episode, etc… Here, Busch shares some insight into the extensive research and detail he put into illustrating this monumental image.