It's that time of year! Just 12 days until Christmas, and Groggy plans to celebrate in inimitable fashion. Expect reviews of at least a few Christmas-themed movies in the coming weeks. Nothing focuses a blog more than an arbitrary theme!
Last year I experimented with Best and Worst lists for both movies and books. Considering the blog's topic, the movie list is a given. I'll give the book side of things some thought (have read a lot this past year; categories and ratings require more effort), and throw in a TV-related piece if time allows.
Expect the lists, anyway, after the New Year. Despite what internet list makers tend to think, a year ends on December 31st, not before.
Showing posts with label Holidays. Show all posts
Showing posts with label Holidays. Show all posts
Friday, December 13, 2013
Tuesday, July 30, 2013
Thoughts on Groggy's Fifth Anniversary
Five years ago today, I gave birth to Nothing is Written: A Film Blog. Reading this initial post, it's clear I had no idea what I was doing. Being "fairly eclectic" would come as a shock to readers, who know 90% of my posts are simple movie reviews. I also use my real name, something I've avoided where possible.
I take a lot of pride in this blog. Just maintaining interest in something for this long is a big accomplishment. With past blogs, my engagement was always hit and miss: periods of intense involvement, followed by neglect, repeat until I give up. (Heck, my T.E. Lawrence site isn't exactly thriving.) This follows through to my writing generally; the real reason I haven't gotten anywhere professionally, I suspect, is through this lack of focus and energy. Otherwise I'd have a dozen pieces on Moviepilot by now.
Why blog? For one, I was a wide-eyed film student then, still dreaming that I could be the next David Lean. I had a lot to say about movies and honed my knowledge through different classes. Freshman year I had Professor Marcia Landy, a decidedly eccentric scholar, for a class on Italian genre movies. Getting thrust into an advanced level course right away really helped my appreciation of film analysis. Sure, I reject the more obnoxious strains of literary theory: not everything is a metaphor for penises and Communism, guys. But encouraging me to dig beneath a film's surface level certainly helped.
Then there were the actual production classes. My strongest memory of the Pittsburgh Film Institute comes from standing in a blizzard juggling a book, a light board, a camera and tripod, then dropping them all in the snow just as a bus drove by. Then finding my film cartridges were defective, and having to re-shoot, develop and edit the project all in one day. Time and stress eventually put paid to that dream, or maybe I realized I wasn't cut out for it. Either way, my love of movies burns strong.
Reading film criticism certainly helped. Glenn Erickson of DVD Savant is my biggest influence. I love reading his reviews, which are both learned and conversational - a difficult task. When not actually ripping off his style (readers may judge for themselves), I certainly hew to Erickson's approach to movies: analyze the film while entertaining the reader. I like to think my pieces appeal to the casual reader and serious film scholar alike. If they do, I've succeeded.
My current style developed junior year (2009-2010). A big part was my flirtation with journalism: I'm nothing if not a dilettante. I briefly wrote for The Pitt News, and having my reviews dissected and pared down by editors certainly influenced my style. No longer obnoxiously verbose, I decided a succinct, (relatively) economic style that I still use today. No long sentences dammit! Convey as much information in as little space as possible.
Any works that I'm especially proud of? I'm very happy with my Lawrence of Arabia pieces from last fall, the Seven Scenes from Seven Pillars of Wisdom article especially. That epic Charge of the Light Brigade piece from May took two months to research and write; I think it turned out well. Hard to pick a favorite among individual reviews, but my pieces on In Cold Blood and Dr. Strangelove hew closest to my ideal style. I enjoy writing the occasional bad movie article; one even got linked by AV Club. Finally, there's the review index, which I created one long May night during 2010's summer term.
I've no delusions that Nothing is Written is a timeless work of film criticism. But I take pride if only for putting so much time and effort into the blog. It's an expression of my love for cinema, passion for writing, and evidence that if I ever get off my ass, I can actually do something. If people read my reviews and enjoy them, gain a deeper appreciation for old favorites, heck if they put something new in their Netflix queue, I've succeeded. Thank you all for reading.
I take a lot of pride in this blog. Just maintaining interest in something for this long is a big accomplishment. With past blogs, my engagement was always hit and miss: periods of intense involvement, followed by neglect, repeat until I give up. (Heck, my T.E. Lawrence site isn't exactly thriving.) This follows through to my writing generally; the real reason I haven't gotten anywhere professionally, I suspect, is through this lack of focus and energy. Otherwise I'd have a dozen pieces on Moviepilot by now.
Yet I've never gotten sick of blogging about film, and don't plan on getting sick of it. There are way too many films to discuss, too many angles to explore. If I get sick of reviews, I could write about television or plays, as I've done recently. Profiles of actors or directors aren't off the table, either. Nothing is Written will live until I drop dead or someone hacks the site. Either would be a tragedy.
Then there were the actual production classes. My strongest memory of the Pittsburgh Film Institute comes from standing in a blizzard juggling a book, a light board, a camera and tripod, then dropping them all in the snow just as a bus drove by. Then finding my film cartridges were defective, and having to re-shoot, develop and edit the project all in one day. Time and stress eventually put paid to that dream, or maybe I realized I wasn't cut out for it. Either way, my love of movies burns strong.
Reading film criticism certainly helped. Glenn Erickson of DVD Savant is my biggest influence. I love reading his reviews, which are both learned and conversational - a difficult task. When not actually ripping off his style (readers may judge for themselves), I certainly hew to Erickson's approach to movies: analyze the film while entertaining the reader. I like to think my pieces appeal to the casual reader and serious film scholar alike. If they do, I've succeeded.
I settled into the review groove with my Lean Quest in fall of 2008. It was easier to write about individual films than some of the ambitious ideas. My writing on those early pieces is verbose and obnoxious. I've even gone back and rewrote a few, because I'd rather have an articulate piece about my favorite film than some lumpen mass of unformed 19 year old thought stinking things up. Then I instituted the ratings system on reviews, something I eventually discarded (except for the index).
My current style developed junior year (2009-2010). A big part was my flirtation with journalism: I'm nothing if not a dilettante. I briefly wrote for The Pitt News, and having my reviews dissected and pared down by editors certainly influenced my style. No longer obnoxiously verbose, I decided a succinct, (relatively) economic style that I still use today. No long sentences dammit! Convey as much information in as little space as possible.
Any works that I'm especially proud of? I'm very happy with my Lawrence of Arabia pieces from last fall, the Seven Scenes from Seven Pillars of Wisdom article especially. That epic Charge of the Light Brigade piece from May took two months to research and write; I think it turned out well. Hard to pick a favorite among individual reviews, but my pieces on In Cold Blood and Dr. Strangelove hew closest to my ideal style. I enjoy writing the occasional bad movie article; one even got linked by AV Club. Finally, there's the review index, which I created one long May night during 2010's summer term.
I've no delusions that Nothing is Written is a timeless work of film criticism. But I take pride if only for putting so much time and effort into the blog. It's an expression of my love for cinema, passion for writing, and evidence that if I ever get off my ass, I can actually do something. If people read my reviews and enjoy them, gain a deeper appreciation for old favorites, heck if they put something new in their Netflix queue, I've succeeded. Thank you all for reading.
Monday, May 27, 2013
Happy Memorial Day!
I break my nine-day silence to commemorate Memorial Day. For all American veterans and soldiers currently serving, thank you.
No films recently, but a very special post (or series of posts) is in the works. Hopefully, fans of British television will appreciate it.
No films recently, but a very special post (or series of posts) is in the works. Hopefully, fans of British television will appreciate it.
Thursday, February 14, 2013
Saturday, February 2, 2013
Groundhog Day
Groundhog Day is a pretty big deal in Pennsylvania. I live fairly close to Punxsutawney, so Phil's annual prediction (early spring this year!) gets extensive news coverage. I personally doubt the wisdom of a rodent too dumb to cross the highway intact, but it's a harmless enough tradition aside from DUI-related arrests. At face value though, it's hard to see much dramatic potential in the holiday.
Harold Ramis's Groundhog Day (1993) though is a classic comedy. Words like life-affirming, heart-warming and feel-good get thrown around like Styrofoam peanuts, but this wonderful fantasy earns them all.
Phil Connors (Bill Murray) is a jaded Pittsburgh weatherman who's stuck covering Groundhog Day. Unfortunately Phil becomes stuck reliving February 2nd for eternity. Phil uses his dubious gift to indulge himself, scoring with women, hitting it rich and gorging on pastries. Soon he grows depressed and takes to killing himself. Over time however he masters several skills, wooing his producer Rita (Andie McDowell) and learning to be a better person.
A modern day film blanc, Groundhog Day is a pleasantly uplifting fantasy. Danny Rubin's script makes brilliant use of its inventive premise, exploring the contours of human existence. When Phil adjusts he uses it to act without consequences (be it robbing a bank or stealing Punxsutawney Phil) and ultimately to help friends and townspeople. Yet his powers are limited, as when he tries (and fails) to save a homeless man. Phil can "live forever" but he can't control fate.
Groundhog Day's simplest lesson is self-improvement. Bill goes from indulging fantasies to helping townspeople with every conceivable errand, until he's Punxsutawney's most honored citizen. It takes a few hundred Groundhog Days but Phil gains real skills and empathy for others. He can score with Rita by "learnings" Ramis handles this material lightly, providing plenty of gags while keeping sentimentality dialed down. It compares well to Murray's awful Scrooged, which force feeds its audience unearned treacle.
Bill Murray gives a career-best performance. He starts off with typical deadpan snarkiness but gradually evolves into an endearing character. Andie McDowell makes a charming love interest. Ramis provides amusing support: Stephen Toblowsky as an annoying insurance salesman, Chris Elliot as Phil's cranky cameraman, Brian Doyle Murray (Bill's brother) as the groundhog honcho. See if you can spot a very young Michael Shannon in a walk-on role.
Hooray for Groundhog Day, a genuinely heartwarming movie. Hooray as well for an "early spring"! Now if you'll excuse me, I need to dig my car out of the driveway...
Harold Ramis's Groundhog Day (1993) though is a classic comedy. Words like life-affirming, heart-warming and feel-good get thrown around like Styrofoam peanuts, but this wonderful fantasy earns them all.
Phil Connors (Bill Murray) is a jaded Pittsburgh weatherman who's stuck covering Groundhog Day. Unfortunately Phil becomes stuck reliving February 2nd for eternity. Phil uses his dubious gift to indulge himself, scoring with women, hitting it rich and gorging on pastries. Soon he grows depressed and takes to killing himself. Over time however he masters several skills, wooing his producer Rita (Andie McDowell) and learning to be a better person.
A modern day film blanc, Groundhog Day is a pleasantly uplifting fantasy. Danny Rubin's script makes brilliant use of its inventive premise, exploring the contours of human existence. When Phil adjusts he uses it to act without consequences (be it robbing a bank or stealing Punxsutawney Phil) and ultimately to help friends and townspeople. Yet his powers are limited, as when he tries (and fails) to save a homeless man. Phil can "live forever" but he can't control fate.
Groundhog Day's simplest lesson is self-improvement. Bill goes from indulging fantasies to helping townspeople with every conceivable errand, until he's Punxsutawney's most honored citizen. It takes a few hundred Groundhog Days but Phil gains real skills and empathy for others. He can score with Rita by "learnings" Ramis handles this material lightly, providing plenty of gags while keeping sentimentality dialed down. It compares well to Murray's awful Scrooged, which force feeds its audience unearned treacle.
Bill Murray gives a career-best performance. He starts off with typical deadpan snarkiness but gradually evolves into an endearing character. Andie McDowell makes a charming love interest. Ramis provides amusing support: Stephen Toblowsky as an annoying insurance salesman, Chris Elliot as Phil's cranky cameraman, Brian Doyle Murray (Bill's brother) as the groundhog honcho. See if you can spot a very young Michael Shannon in a walk-on role.
Hooray for Groundhog Day, a genuinely heartwarming movie. Hooray as well for an "early spring"! Now if you'll excuse me, I need to dig my car out of the driveway...
Sunday, January 6, 2013
Best & Worst Film Viewings of 2012
![]() |
| "Hey Groggy, your Best & Worst list is a week late!" |
With fewer films, my movie habits naturally became less varied. While I unearthed a few obscure gems, you'll note few foreign language movies and only a handful of theatrical releases. Still, I hope there's enough variety to keep your attention. Certainly some choices will be controversial, though Groggy's never shied away from pissing people off.
With one exception, I restrict both lists to first-time viewings only.
Best Viewings of 2012:
10. The Avengers (2012, Joss Whedon)
I expected The Avengers to be a cynical, jerry-rigged blockbuster. Okay, in outline form it is: four Marvel superheroes (plus two "normal" sidekicks) team up to battle an alien menace. But Joss Whedon transcends blockbuster expectations with a witty screenplay and sharp characterization. The stars play off each other marvelously, and even the requisite CGI bombast proves exciting. It's the best superhero film in ages, easily topping the convoluted Dark Knight Rises and lame-o Spider-Man reboot.
9. Picnic at Hanging Rock (1975, Peter Weir)
Peter Weir's eerie think piece registered much stronger on a re-watch. It's undeniably a frustrating film, from its thinly-sketched characters to its elliptical storyline with its unresolved conclusion. But the unique aesthetics, from the ethereal photography and dreamy score to Weir's indescribable frisson of supernatural menace, are indescribably seductive.
8. That Hamilton Woman (1941, Alexander Korda)
Winston Churchill's favorite movie remains a top-notch melodrama. Alexander Korda perfectly couches the doomed romance of Admiral Nelson and Lady Hamilton within the Napoleonic Wars, crafting each angle with due respect. Laurence Olivier and Vivien Leigh parlay their real-life marriage into one of cinema's most glamorous couples.
7. Serpico (1973, Sidney Lumet)
Sidney Lumet could earn four spots on this list: Dog Day Afternoon, Equus and The Pawnbroker are all superb. I chose Serpico for its mix of righteous anger and rich characterization. Al Pacino is an eccentric cop who loves ballet and dresses like a hippie, yet proves the straightest arrow in a hopelessly corrupt NYPD. You'll be rooting for him even in a seemingly-lost cause.
6. Sunday, Bloody Sunday (1971, John Schlesinger)
John Schlesinger's low-key character study is among his best work. Beyond its straightforward portrayal of a bisexual love triangle, Sunday succeeds as a slice of life drama, helped by a trio of marvelous stars: Peter Finch, Glenda Jackson and Murray Head. It's that most pleasant cinematic surprise: no action, little directorial flash, just a well-told, engrossing story.
5. Westward the Women (1951, William Wellman)
William Wellman's distaff Western is an oater unlike any other. Its gritty, straightforward narrative resembles Wellman's war picture Battleground, depicting a wagon party's westward passage as an attritional battle against the elements, Indians and each other. It scores points, too, for its mostly female cast, with Denise Darcel, Hope Emerson and Julie Bishop (among others) proving hardy, unglamorous frontier gals.
4. Victim (1961, Basil Dearden)
Basil Dearden's social drama was genuinely groundbreaking. Dirk Bogarde plays a closeted barrister forced to confront his sexuality when an ex-lover commits suicide - and when he's targeted by blackmailers. Dearden couches its heart-wrenching message (homosexuality was then illegal in the UK) within a thrilling detective story. With lots of class actors, moody photography and complex plotting, Victim holds up far better than any Stanley Kramer film.
3. Mountains of the Moon (1990, Bob Rafaelson)
A wonderfully unique historical epic, chronicling Sir Richard Burton and John Hanning Speke's harrowing exploration of the Nile. Bob Rafaelson provides expected genre thrills, with exciting action, culture shock and ravishing vistas worthy of David Lean. But Mountains works best as a psychodrama, with Patrick Bergen and Iain Glenn brilliantly mismatched as two explorers whose friendship sours into tragic rivalry.
2. A Matter of Life and Death (1946, Michael Powell & Emeric Pressburger)
A Matter of Life and Death might be The Archers' best work. This marvelously inventive fantasy, contrasting a dour, monochrome Heaven with a verdant, Technicolor England, rates high on technical merits alone. But it's the warmhearted humanism, from a charming cast (David Niven, Kim Hunter, Marius Goring, Roger Livesley) to the simple message of universal love, that makes Powell & Pressburger's achievement so special.
1. Lincoln (2012, Steven Spielberg)
Steven Spielberg's best "serious" film. Far from a stolid biopic, Lincoln is a sophisticated political drama mixing wry humor, sharp characterizations (thanks Tommy Lee Jones and James Spader!) and refreshing historical insight. At its center is Daniel Day-Lewis, giving a phenomenal portrayal of our greatest, yet least-understood President. This movie deserves every award coming its way.
Honorable mentions: Anatomy of a Murder, Captain Blood, Dog Day Afternoon, Elizabeth I, The Lady Vanishes (1938), Midnight Cowboy, The Prime of Miss Jean Brodie, Quiz Show, The Small Back Room, The Taking of Pelham 123 (1974)
Worst Viewings of 2012
I watched some abominable crap this year, yet some bad movies are just ordinarily bad. Where's the fun in picking on Leprechaun Back 2 Tha Hood or Grizzly? No, we'll go after films that are offensively, audaciously bad, egregiously rubbing their failings in your face.
10. Orca (1977, Michael Anderson)
This whale of a flop earns a spot for its laughably outsized ambition. Grizzly at least knows it's a chintzy Jaws knock-off. Producer Dino De Laurentiis seriously thought he could top Steven Spielberg's fish tale. Not with weeping orca eyes, bloody whale fetuses and cetaceans blowing up an entire town he can't. All that plus Richard Harris at his hammiest! Yet it's not the worst post-Jaws creature feature on this list...
9. Scorpio (1973, Michael Winner)
How on Earth is a spy movie starring Burt Lancaster, Alain Delon and Paul Scofield boring? For a start, it's directed by uber-hack Michael Winner. Then there's a story long on cliches and short on suspense. Finally, populate that with nonsensical action and characters without discernible motivation. Paul Scofield emerges unscathed because, well, he's Paul Scofield. Lancaster and Delon aren't so lucky.
8. Farewell to the King (1989, John Milius)
Whatever cheese he's produced, John Milius forever earns a pass for The Wind and the Lion. Yet even the Raisuli couldn't save Farewell to the King, which plays like Lord Jim re-envisioned by a 14 year old. Besides shamelessly cribbing from Lawrence of Arabia and penning laughably overwrought dialogue (LEOROYD AM I!!!!), Milius encourages Nick Nolte to engulf scenery like a famished Gary Busey. No wonder Nigel Havers and James Fox seem like they'd rather be in another movie - any other movie.
7. The Ides of March (2011, George Clooney)
George Clooney relates the astounding message that American politics is corrupt and soul-destroying. This will shock viewers who haven't turned on a TV in the past two years. Everyone else will be bored stiff by the cliched story, flat characters and complete lack of drama. Politics has never been so dull.
6. Batman Forever (1995, Joel Schumacher)
Say what you will about Batman & Robin: that misbegotten monstrosity has the camp factor of Batnipples and Arnold Schwarzenegger instructing us to "always winterize your pipes!" It's a cool party indeed compared to Batman Forever, a bafflingly serious mess which mixes the mis-en-scene of video poker with the commercial savvy of a Happy Meal. You know something's wrong when Jim Carey is much, much less annoying than Tommy Lee Jones.
5. The Four Feathers (2002, Shekhar Kapur)
The 1939 Four Feathers is an all-time great adventure movie, still enjoyable for its thrilling battle scenes and glorious Technicolor. Shekhar Kapur's revisionist take is Exhibit A of why people hate remakes. A.E.W. Mason's tale of colonial derringdo becomes a stentorian P.C. whine fest, featuring Heath Ledger as a simpering git who wanders aimlessly into the Sudanese desert and achieves nothing. Two hours cleaning the litter box would be better spent.
4. Hanna (2011, Joe Wright)
Joe Wright deviates from soporific, Keira Knightley-starring literary adaptations with this over-baked mess. A film featuring a pubescent girl assassin could be entertaining, if Saorise Ronan showed a hint of emotion and Wright weren't spinning the camera like an overloaded dryer. On the plus side, there is Cate Blanchett's hilarious Peggy Hill impression! Thankfully, with Anna Karenina Wright's returned to movies that can be safely slept through.
3. Prophecy (1979, John Frankenheimer)
Talk about misplaced priorities. A mutant bear movie should be scary right? Too bad John Frankenheimer spends most of this interminable film lecturing us about environmentalism, corporate greed, Indian rights, urban squalor and abortion, boring us to tears long before the monster shows up. Then this happens:
Ouch.
2. Anonymous (2011, Roland Emmerich)
A Tudor film from the director of Independence Day ought to have raised alarm bells. Besides butchering history beyond recognition (Shakespeare's plays were penned by an incestuous nobleman), it trades cohesive storytelling for a lurid, nonsensical conspiracy plot that makes Oliver Stone seem cogent. And no Mr. Day After Tomorrow, swooping CGI camera angles and pointless flashbacks don't make you an auteur.
1. American Beauty (1999, Sam Mendes)
After 9/11, three Middle Eastern wars and economic collapse, late '90s angst films (Fight Club, Magnolia) now seem like narcissistic whining. Sam Mendes's American Beauty with its Best Picture Oscar takes the cake. Ostensibly a satire of middle class America, its intellectual onanism proves insufferable. What's more offensive: celebrating loathsome creeps as embodiments of personal expression; pedophilia postulated as sexual awakening; or an empty paper bag framed as profundity? Either this movie's aged terribly or was never good in the first place. It's definitely infuriating garbage.
* * *
Thanks to my loyal readers for another year of great blogging! New reviews coming soon.
Tuesday, December 25, 2012
Best & Worst Books Read in 2012
This year Groggy looks at his best and worst 2012 reads. Usually I post these lists on Facebook, since this is after all a film blog. But glitches in Facebook's Note system deleted at least one of my previous lists, so this seemed a safer alternative.
Despite having a full-time job (and hence next to nil free time) I still managed over 100 books this year. Sure, many of them were re-reads, which is why you won't see any Flashman books on this list. And yeah, a handful of Goosebumps books pad out the list. So it's not like I'm reading Crime & Punishment 100 times. Still it's enough for a list.
Anyway, without further adieu:
Best Ten Books Read in 2012:
Groggy reads 99% percent history and other nonfiction these days. Back in college of course there was more time and hence more variety of subjects; now I have to be pickier. Nonetheless, even within this narrow confine I found a lot of worthwhile books this year, a few classics and a few recent volumes.
10. Gertrude Bell: Queen of the Desert, Shaper of Nations - Georgina Howell
Gertrude Bell is a truly remarkable woman: Alpine adventurer, explorer, archaeologist, Arabist, intelligence operative, Middle East Kingmaker. Howell's sprawling biography does her justice. The book explores Bell's myriad talents, unique, vivacious personality, her personal frustrations and public achievements. Its main success, perhaps, comes in illumniating an incredible personage shamefully overlooked.
9. Dark Continent: Europe's Twentieth Century - Mark Mazower
Mazower's provocative book eschews traditional 20th Century narratives for barbed analysis of European politics. His sociopolitical dissection points up uncomfortable facts: the differences between Nazism and "old right" Fascism, appeal of totalitarian movements to interwar Europeans, Stalin's remarkable economic achievements coupled with political oppression, Thatcherism's inherent unworkability, the USSR as Europe's last traditional empire. Mazower's chapters on Nazi imperialism and internationalist idealism presage more recent volumes. The European Union has proven more successful than Mazower suggests, but the book remains a remarkable volume.
8. Bloom County: The Complete Collection, Vols. 1-2 - Berke Breathed
Berkeley Breathed's brilliant '80s satirical comic strip, part Doonesbury and part Calvin & Hobbes, now comes in beautifully-packaged compilations, complete with Breathed's commentary. True, many jokes are very dated: who remembers James Watt or Joan Jett? But Breathed's playful art, lovable characters and colorful sense of humor remain timeless.
7. The White Nile - Alan Moorehead
Aussie author Moorehead was a brilliant narrative historian, mixing colorful prose with a warm human touch. Moorehead chronicles European exploration and exploitation of the Nile, the 19th Century's greatest frontier. His subjects are a diverse lot: the contentious Richard Burton and John Hanning Speke, the glamorous adventure couple Stanley and Florence Baker, Henry Stanley and Dr. Livingstone, the messianic Mahdi, the enigmatic Gordon of Khartoum. Moorehead ties them splendidly together, crafting a vivid, compulsively readable epic. His complementary volume The Blue Nile is a bit sloppier but also highly recommended.
6. A Line in the Sand: The Anglo-French Struggle for the Middle East, 1914-1948 - James Barr
Much has been written about Britain and France's conniving to divide the post-WWI Middle East. Less often told is the resultant imperial rivalry. In this fascinating chronicle, Barr analyzes the fissures in the Anglo-French alliance, as the two powers jealously jockeyed for power, influence and oil. Both powers used regional nationalism, be they post-war Arab movements or the rising tide of Zionism, to undermine each other, with disastrous results. Barr's account is lucid, eye-opening and compellingly written.
5. The October Country - Ray Bradbury
The literary world lost a giant with the passing of Ray Bradbury. This story collection is one of his best, here leaning towards overt horror. Some of Bradbury's scariest stories are here: the killer baby of "The Small Assassin," the pitiless fate of "The Scythe," the shocking image which concludes "Skeleton." For Bradbury fans whose tastes skew darker, this is invaluable.
4. The Fiery Trial: Abraham Lincoln and American Slavery - Eric Foner
Foner delivers an invaluable account of Abraham Lincoln's views on race. In Foner's view, Lincoln underwent a painful personal evolution, from a "moderate" Whig accepting white supremacy while restricting slavery's spread, to an abolitionist advocating resettlement of freed blacks, to a full-throated advocate for equality. Honest Abe comes off as extremely flawed but admirable, seeking to sublimate his prejudices to the greater good. Foner treats Lincoln with admirable delicacy, avoiding modern value judgments to show a statesman both very much of his time, yet undeniably revolutionary.
3. The Siege: The Full Horrifying Account of the Kut Disaster - Russell Braddon
Braddon's account of the Siege of Kut bests even Woodham-Smith's The Reason Why as a study in military failure. Braddon seethes with anger at this masterpiece of mismanagement, when arrogant British generals sent 6th Division to do an army's job, underestimating logistics and numerically-superior Turkish opponents. At book's center is Charles Townshend, a self-proclaimed genius who launched a disastrous campaign against impossible odds, trapped his division in a disease-ridden village, panicked his superiors into ill-advised rescue attempts and enjoyed a cushy captivity while his men endured forced labor. True, it's not objective: Braddon makes his contempt for Townshend plain, and his own POW experiences color his empathy for the soldiers' plight. Faced with a craven villain like Townshend though, who could blame him?
2. The Destruction of Lord Raglan: A Tragedy of the Crimean War, 1854-1855 - Christopher Hibbert
For readers unwilling to slog through Kinglake's nine-volume history, this is the best popular account of the Crimean War. Hibbert gives a brilliant grunt's-eye view of the conflict, mixing blow-by-blow battle accounts with the terrifying monotony of life in the trenches. His main point, that Lord Raglan's been unfairly smeared from 1855 onwards, is highly debatable; Raglan still comes off as a decent man with no business leading an army. Contextualizing his performance amidst bureaucratic muddle, poor weather and a military completely unprepared for a major war makes it more understandable, and Raglan himself sympathetic.
1. Empire of Liberty: A History of the Early Republic, 1789-1815 - Gordon S. Wood
Wood's entry in the Oxford History of the United States never fails to impress. It's a truly remarkable tome, overwhelming the reader in its sheer breadth and depth. Wood touches on every conceivable topic - the rise of evangelical religion, women and minority roles, attitudes on slavery, the contrast between America's high ideas and low culture - with skill and sensitivity. He couples these microhistories with shrewd analyses of the Federalist-Republican split, Hamilton's financial system, the Revolution's international impact and the Republic's hesitant early foreign policy. A masterpiece.
Honorable mentions: Glory Road (Catton), The Arab Awakening (Antonius), Quartered Safe out Here (Fraser), (Kabaservice), The Great Anglo-Boer War (Farwell), Founding Brothers (Ellis), The Fierce Pawns (Macrory), Rule & Ruin: The Downfall of Moderation and the Destruction of the Republican Party (Kabaservice)
Worst Ten Books Read in 2012:
I also found time for some truly wretched works. Their sins range from sublimating history to a political agenda, to tackling an impossible subject, to intellectual laziness and sloppy construction, to just plain bad writing. And yes, there's an R.L. Stine book included.
10. Chitral Charlie: The Rise and Fall of Major General Charles Townshend - N.S. Nash
This biography sets about the thankless task of rehabilitating Townshend, the antagonist of Kut. Soldier-turned-journalist Nash tries his hardest to be fair, approaching his subject with brusque humor and inside knowledge of armed forces social climbing. For all Nash's pleading, Townshend still comes off as an arrogant twit who needlessly sacrificed his men in pursuit of selfish glory. Not a bad book, just a fatally misguided one.
9. The Crimean War: A Reappraisal - Philip Warner
After reading some really great Crimean War histories this year - not only Hibbert but Orlando Figes' The Crimean War - it was inevitable I'd find a bad one. Warner presents interesting arguments that our understanding of the Crimea is flawed, and that it was really a success and credit to the Anglo-French-Turkish alliance. Unfortunately they're couched in a dull, dry, meandering book that becomes too saturated in details to see the big picture. When a 200 page book takes four months to read, it probably hasn't succeeded.
8. Three Empires on the Nile: The Victorian Jihad, 1869-1899 - Dominic Green
One of the pitfalls of narrative history is it forsakes analysis for storytelling. Woe then to the historian who can't tell a story. Green ties together several related topics - the collapse of Khedivist Egypt, Urabi Pasha's nationalist coup d'etat, the Mahdist Wars. Unfortunately he presents each story in spectacularly superficial and uninteresting fashion, providing zero insight into this epochal clash of imperialism, Islamism and nationalism. Attempts to equate the Mahdists with al-Qaeda do its author no credit, either. With so much ink spilled over the Mahdi already you're well-advised skipping this one.
7. Military Blunders: The How and Why of Military Failure - Saul David
There are some things you don't expect from a book written in 1997 and reprinted in 2012. For instance, the author referring to Russians as "Asiatics of low intelligence." Or repeating the canard that Singapore fell to Japanese troops because all its guns faced the sea. Or confusing Matthew Ridgeway with Maxwell Taylor. Even the accurate bits are just regurgitation of Geoffrey Regan's work - pretty damning in and of itself, considering Regan's been recycling himself for years. A shame as I enjoyed David's biography of Lord Cardigan.
6. Kingmakers: The Invention of the Modern Middle East - Karl E. Meyer & Shareen Blair Brysac
Ostensibly a look at how British and American policymakers shaped the last 150 years of Middle Eastern politics. In reality it's a scatter-shot, meandering collection of biographical essays, some scarcely connected to the topic. Fiona Shaw and Lord Lugard are interesting figures but how on Earth do they relate? Last time I checked South Africa wasn't part of the Middle East. A longish chapter on the CIA in Beirut rambles without divulging any points-of-interest. Chapters on T.E. Lawrence, Gertrude Bell and Paul Wolfowitz border on superficial. The book's only interesting in the margins, and the margins aren't worth it when most of these figures have biographies of their own.
5. Planet of the Lawn Gnomes - R.L. Stine
Picking on Goosebumps books, especially the new Horrorland series, is like shooting fish in a barrel. But childhood nostalgia compels me to read them, so here we are. Glance at the title and spend about 30 seconds shaping a story around it. You've given it more thought than R.L. Stine did.
4. The Meinertzhagen Mystery: The Life and Legend of a Colossal Fraud - Brian Garfield
Novelist Garfield vindictively destroys Richard Meinertzhagen, one of England's most eccentric heroes of the 20th Century. He's admittedly convincing in spots, deflating some of Meinerzhagen's more egregious anecdotes (the "Heil Meinertzhagen" silliness) and showing him an ornithological fraud (an argument made before). But Garfield goes beyond into extreme nuttiness, for instance hinting with Glenn Beck-ish "just asking questions" delicacy that Meinertzhagen murdered his wife. It's a tiresome screed, bloody-minded in its willingness to promote any nonsense that reflects negatively on its subject.
3. American Conspiracies: Lies, Lies and More Dirty Lies that the Government Tells Us - Jesse Ventura
This semi-literate rant, courtesy of America's favorite wrestler-turned-politician, is more funny than offensive. While reading, I couldn't help remembering Ventura's appearance as a Man in Black (with Alex Trebek!) on The X-Files. "Mr. Ventura, your scientific illiteracy makes me SHUDDER!"
2. The Politically Incorrect Guide to the British Empire - H.W. Crocker III
The PIG Guides never cease to amaze with their vacuous demagoguery. Groggy readers know I'm an unrepentant Anglophile, but even I blanch at Crocker's high Victorian jingoism. Given the plethora of recent pro-empire books by Niall Ferguson, Lawrence James and Saul David its premise of an intellectual conspiracy to slander Britain is dubious to begin with. But Crocker's reactionary racial and political attitudes - calling the Irish "shiftless, ignorant, stubborn, contumacious and cruel," deeming the Maori genocides "fun with muskets," claiming the Opium Wars a "defense of free trade" - are shocking in a book published last year. All wrapped in a smug, self-satisfyingly contrarian attitude that reflexively deems dissenters part of a liberal-Marxist-Muslim conspiracy to hide the truth. Charming.
1. The Real Lincoln: A New Look at Abraham Lincoln, His Agenda and an Unnecessary War - Thomas DiLorenzo
This mendacious piece of garbage makes the PIG Guide look like Sir John Fortescue. Not only does it slander America's greatest President to promote an extremist neo-libertarian agenda; that would be obnoxious enough. But it's painfully obvious that DiLorenzo is a hack who can't even keep his propaganda straight. He arrogates states the right to secede and repudiate the Constitution, then chastises Lincoln for claiming seceded states outside Constitutional protection. He claims that Lincoln ignored chances for "peaceful abolition" when the South rejected precisely that. Or selective facts: He cites Andrew Jackson as a guru of small government, ignoring how Jackson overrode the Supreme Court re: expelling the Five Civilized Tribes, or his decidedly Unionist reaction to the Nullification Crisis. Or brazen lies, like saying the Emancipation Proclamation didn't free a single slave. Or paranoid rants about the "Marxist" Lincoln cult. The result? A book that commits every conceivable sin: it's poorly argued, ideologically slanted, inaccurate and painfully unreadable.
An equivalent film-related list will come in the next week. There are still some year-end theatrical releases to catch so stay tuned!
Despite having a full-time job (and hence next to nil free time) I still managed over 100 books this year. Sure, many of them were re-reads, which is why you won't see any Flashman books on this list. And yeah, a handful of Goosebumps books pad out the list. So it's not like I'm reading Crime & Punishment 100 times. Still it's enough for a list.
Anyway, without further adieu:
Best Ten Books Read in 2012:
Groggy reads 99% percent history and other nonfiction these days. Back in college of course there was more time and hence more variety of subjects; now I have to be pickier. Nonetheless, even within this narrow confine I found a lot of worthwhile books this year, a few classics and a few recent volumes.
10. Gertrude Bell: Queen of the Desert, Shaper of Nations - Georgina Howell
Gertrude Bell is a truly remarkable woman: Alpine adventurer, explorer, archaeologist, Arabist, intelligence operative, Middle East Kingmaker. Howell's sprawling biography does her justice. The book explores Bell's myriad talents, unique, vivacious personality, her personal frustrations and public achievements. Its main success, perhaps, comes in illumniating an incredible personage shamefully overlooked.
9. Dark Continent: Europe's Twentieth Century - Mark Mazower
Mazower's provocative book eschews traditional 20th Century narratives for barbed analysis of European politics. His sociopolitical dissection points up uncomfortable facts: the differences between Nazism and "old right" Fascism, appeal of totalitarian movements to interwar Europeans, Stalin's remarkable economic achievements coupled with political oppression, Thatcherism's inherent unworkability, the USSR as Europe's last traditional empire. Mazower's chapters on Nazi imperialism and internationalist idealism presage more recent volumes. The European Union has proven more successful than Mazower suggests, but the book remains a remarkable volume.
8. Bloom County: The Complete Collection, Vols. 1-2 - Berke Breathed
Berkeley Breathed's brilliant '80s satirical comic strip, part Doonesbury and part Calvin & Hobbes, now comes in beautifully-packaged compilations, complete with Breathed's commentary. True, many jokes are very dated: who remembers James Watt or Joan Jett? But Breathed's playful art, lovable characters and colorful sense of humor remain timeless.
7. The White Nile - Alan Moorehead
Aussie author Moorehead was a brilliant narrative historian, mixing colorful prose with a warm human touch. Moorehead chronicles European exploration and exploitation of the Nile, the 19th Century's greatest frontier. His subjects are a diverse lot: the contentious Richard Burton and John Hanning Speke, the glamorous adventure couple Stanley and Florence Baker, Henry Stanley and Dr. Livingstone, the messianic Mahdi, the enigmatic Gordon of Khartoum. Moorehead ties them splendidly together, crafting a vivid, compulsively readable epic. His complementary volume The Blue Nile is a bit sloppier but also highly recommended.
6. A Line in the Sand: The Anglo-French Struggle for the Middle East, 1914-1948 - James Barr
Much has been written about Britain and France's conniving to divide the post-WWI Middle East. Less often told is the resultant imperial rivalry. In this fascinating chronicle, Barr analyzes the fissures in the Anglo-French alliance, as the two powers jealously jockeyed for power, influence and oil. Both powers used regional nationalism, be they post-war Arab movements or the rising tide of Zionism, to undermine each other, with disastrous results. Barr's account is lucid, eye-opening and compellingly written.
5. The October Country - Ray Bradbury
The literary world lost a giant with the passing of Ray Bradbury. This story collection is one of his best, here leaning towards overt horror. Some of Bradbury's scariest stories are here: the killer baby of "The Small Assassin," the pitiless fate of "The Scythe," the shocking image which concludes "Skeleton." For Bradbury fans whose tastes skew darker, this is invaluable.
4. The Fiery Trial: Abraham Lincoln and American Slavery - Eric Foner
Foner delivers an invaluable account of Abraham Lincoln's views on race. In Foner's view, Lincoln underwent a painful personal evolution, from a "moderate" Whig accepting white supremacy while restricting slavery's spread, to an abolitionist advocating resettlement of freed blacks, to a full-throated advocate for equality. Honest Abe comes off as extremely flawed but admirable, seeking to sublimate his prejudices to the greater good. Foner treats Lincoln with admirable delicacy, avoiding modern value judgments to show a statesman both very much of his time, yet undeniably revolutionary.
3. The Siege: The Full Horrifying Account of the Kut Disaster - Russell Braddon
Braddon's account of the Siege of Kut bests even Woodham-Smith's The Reason Why as a study in military failure. Braddon seethes with anger at this masterpiece of mismanagement, when arrogant British generals sent 6th Division to do an army's job, underestimating logistics and numerically-superior Turkish opponents. At book's center is Charles Townshend, a self-proclaimed genius who launched a disastrous campaign against impossible odds, trapped his division in a disease-ridden village, panicked his superiors into ill-advised rescue attempts and enjoyed a cushy captivity while his men endured forced labor. True, it's not objective: Braddon makes his contempt for Townshend plain, and his own POW experiences color his empathy for the soldiers' plight. Faced with a craven villain like Townshend though, who could blame him?
2. The Destruction of Lord Raglan: A Tragedy of the Crimean War, 1854-1855 - Christopher Hibbert
For readers unwilling to slog through Kinglake's nine-volume history, this is the best popular account of the Crimean War. Hibbert gives a brilliant grunt's-eye view of the conflict, mixing blow-by-blow battle accounts with the terrifying monotony of life in the trenches. His main point, that Lord Raglan's been unfairly smeared from 1855 onwards, is highly debatable; Raglan still comes off as a decent man with no business leading an army. Contextualizing his performance amidst bureaucratic muddle, poor weather and a military completely unprepared for a major war makes it more understandable, and Raglan himself sympathetic.
1. Empire of Liberty: A History of the Early Republic, 1789-1815 - Gordon S. Wood
Wood's entry in the Oxford History of the United States never fails to impress. It's a truly remarkable tome, overwhelming the reader in its sheer breadth and depth. Wood touches on every conceivable topic - the rise of evangelical religion, women and minority roles, attitudes on slavery, the contrast between America's high ideas and low culture - with skill and sensitivity. He couples these microhistories with shrewd analyses of the Federalist-Republican split, Hamilton's financial system, the Revolution's international impact and the Republic's hesitant early foreign policy. A masterpiece.
Honorable mentions: Glory Road (Catton), The Arab Awakening (Antonius), Quartered Safe out Here (Fraser), (Kabaservice), The Great Anglo-Boer War (Farwell), Founding Brothers (Ellis), The Fierce Pawns (Macrory), Rule & Ruin: The Downfall of Moderation and the Destruction of the Republican Party (Kabaservice)
Worst Ten Books Read in 2012:
I also found time for some truly wretched works. Their sins range from sublimating history to a political agenda, to tackling an impossible subject, to intellectual laziness and sloppy construction, to just plain bad writing. And yes, there's an R.L. Stine book included.
10. Chitral Charlie: The Rise and Fall of Major General Charles Townshend - N.S. Nash
This biography sets about the thankless task of rehabilitating Townshend, the antagonist of Kut. Soldier-turned-journalist Nash tries his hardest to be fair, approaching his subject with brusque humor and inside knowledge of armed forces social climbing. For all Nash's pleading, Townshend still comes off as an arrogant twit who needlessly sacrificed his men in pursuit of selfish glory. Not a bad book, just a fatally misguided one.
9. The Crimean War: A Reappraisal - Philip Warner
After reading some really great Crimean War histories this year - not only Hibbert but Orlando Figes' The Crimean War - it was inevitable I'd find a bad one. Warner presents interesting arguments that our understanding of the Crimea is flawed, and that it was really a success and credit to the Anglo-French-Turkish alliance. Unfortunately they're couched in a dull, dry, meandering book that becomes too saturated in details to see the big picture. When a 200 page book takes four months to read, it probably hasn't succeeded.
8. Three Empires on the Nile: The Victorian Jihad, 1869-1899 - Dominic Green
One of the pitfalls of narrative history is it forsakes analysis for storytelling. Woe then to the historian who can't tell a story. Green ties together several related topics - the collapse of Khedivist Egypt, Urabi Pasha's nationalist coup d'etat, the Mahdist Wars. Unfortunately he presents each story in spectacularly superficial and uninteresting fashion, providing zero insight into this epochal clash of imperialism, Islamism and nationalism. Attempts to equate the Mahdists with al-Qaeda do its author no credit, either. With so much ink spilled over the Mahdi already you're well-advised skipping this one.
7. Military Blunders: The How and Why of Military Failure - Saul David
There are some things you don't expect from a book written in 1997 and reprinted in 2012. For instance, the author referring to Russians as "Asiatics of low intelligence." Or repeating the canard that Singapore fell to Japanese troops because all its guns faced the sea. Or confusing Matthew Ridgeway with Maxwell Taylor. Even the accurate bits are just regurgitation of Geoffrey Regan's work - pretty damning in and of itself, considering Regan's been recycling himself for years. A shame as I enjoyed David's biography of Lord Cardigan.
6. Kingmakers: The Invention of the Modern Middle East - Karl E. Meyer & Shareen Blair Brysac
Ostensibly a look at how British and American policymakers shaped the last 150 years of Middle Eastern politics. In reality it's a scatter-shot, meandering collection of biographical essays, some scarcely connected to the topic. Fiona Shaw and Lord Lugard are interesting figures but how on Earth do they relate? Last time I checked South Africa wasn't part of the Middle East. A longish chapter on the CIA in Beirut rambles without divulging any points-of-interest. Chapters on T.E. Lawrence, Gertrude Bell and Paul Wolfowitz border on superficial. The book's only interesting in the margins, and the margins aren't worth it when most of these figures have biographies of their own.
5. Planet of the Lawn Gnomes - R.L. Stine
Picking on Goosebumps books, especially the new Horrorland series, is like shooting fish in a barrel. But childhood nostalgia compels me to read them, so here we are. Glance at the title and spend about 30 seconds shaping a story around it. You've given it more thought than R.L. Stine did.
4. The Meinertzhagen Mystery: The Life and Legend of a Colossal Fraud - Brian Garfield
Novelist Garfield vindictively destroys Richard Meinertzhagen, one of England's most eccentric heroes of the 20th Century. He's admittedly convincing in spots, deflating some of Meinerzhagen's more egregious anecdotes (the "Heil Meinertzhagen" silliness) and showing him an ornithological fraud (an argument made before). But Garfield goes beyond into extreme nuttiness, for instance hinting with Glenn Beck-ish "just asking questions" delicacy that Meinertzhagen murdered his wife. It's a tiresome screed, bloody-minded in its willingness to promote any nonsense that reflects negatively on its subject.
3. American Conspiracies: Lies, Lies and More Dirty Lies that the Government Tells Us - Jesse Ventura
This semi-literate rant, courtesy of America's favorite wrestler-turned-politician, is more funny than offensive. While reading, I couldn't help remembering Ventura's appearance as a Man in Black (with Alex Trebek!) on The X-Files. "Mr. Ventura, your scientific illiteracy makes me SHUDDER!"
2. The Politically Incorrect Guide to the British Empire - H.W. Crocker III
The PIG Guides never cease to amaze with their vacuous demagoguery. Groggy readers know I'm an unrepentant Anglophile, but even I blanch at Crocker's high Victorian jingoism. Given the plethora of recent pro-empire books by Niall Ferguson, Lawrence James and Saul David its premise of an intellectual conspiracy to slander Britain is dubious to begin with. But Crocker's reactionary racial and political attitudes - calling the Irish "shiftless, ignorant, stubborn, contumacious and cruel," deeming the Maori genocides "fun with muskets," claiming the Opium Wars a "defense of free trade" - are shocking in a book published last year. All wrapped in a smug, self-satisfyingly contrarian attitude that reflexively deems dissenters part of a liberal-Marxist-Muslim conspiracy to hide the truth. Charming.
1. The Real Lincoln: A New Look at Abraham Lincoln, His Agenda and an Unnecessary War - Thomas DiLorenzo
This mendacious piece of garbage makes the PIG Guide look like Sir John Fortescue. Not only does it slander America's greatest President to promote an extremist neo-libertarian agenda; that would be obnoxious enough. But it's painfully obvious that DiLorenzo is a hack who can't even keep his propaganda straight. He arrogates states the right to secede and repudiate the Constitution, then chastises Lincoln for claiming seceded states outside Constitutional protection. He claims that Lincoln ignored chances for "peaceful abolition" when the South rejected precisely that. Or selective facts: He cites Andrew Jackson as a guru of small government, ignoring how Jackson overrode the Supreme Court re: expelling the Five Civilized Tribes, or his decidedly Unionist reaction to the Nullification Crisis. Or brazen lies, like saying the Emancipation Proclamation didn't free a single slave. Or paranoid rants about the "Marxist" Lincoln cult. The result? A book that commits every conceivable sin: it's poorly argued, ideologically slanted, inaccurate and painfully unreadable.
An equivalent film-related list will come in the next week. There are still some year-end theatrical releases to catch so stay tuned!
Sunday, December 23, 2012
A Rankin/Bass Christmas
With Christmas two days away it's time for a holiday treat! We'll examine the much beloved Rankin/Bass specials. Their shows run constantly around the holiday season; in our house, Rudolph and the Frosty shorts are must-see TV. Most of them are charming, a few great.
This article looks at four R/B specials and a fifth related short. Obviously this isn't a comprehensive list. Perhaps we can revisit The Little Drummer Boy and Jack Frost for next year.
Rudolph the Red-Nosed Reindeer (1964)
Rudolph the Red-Nosed Reindeer remains, along with A Charlie Brown Christmas, the gold standard for holiday specials. Exquisitely animated and effortlessly charming, it makes even the most cynical 50 year old feel like a kid.
Rudolph (Billie Mae Richards) is a young reindeer with a glowing red nose. Rudolph tries out for the reindeer games, an audition for Santa Claus's (Stan Francis) sleigh team, but is ridiculed once his nose is revealed. He falls for Clarice (Janis Orenstein), a young doe who's more sympathetic. Outcast Rudolph runs away with Hermey (Paul Soles), a elf who'd rather be a dentist than make toys. They pass through the Island of Misfit toys, befriend prospector Yukon Cornelius (Larry D. Mann) and fight off the Abominable Snowman. Rudolph returns home, just as a snowstorm threatens Santa's delivery plans.
Rudolph is near-perfect family entertainment. Unlike other R/B works, it has a solid plot to complement its technical charms, allowing for movement and settings (the snowy North Pole, barren tundra. dreamlike Island of Misfit Toys). There's a bushel of amusing characters, from the perky Hermy to the grizzled Yukon and his cranky 'Bomble. Rudolph is an immensely likeable protagonist, all naivety and gumption. His scenes with sweetheart Clarice are too cute for words, though his little nose lighting up is sufficient to win us over. The show's be-yourself message is simple, direct and endearing.
Rudolph's Animagic remains the highlight. This stop motion technique uses wooden/plastic dolls with felt trimming, giving the film an enjoyably original (though oft-parodied) look. Rudolph and his pals look like Christmas ornaments to come life, invested with spirit and charm. Johnny Marks's excellent soundtrack, sung by Burl Ives, spawned several Christmas standards, including Have a Holly Jolly Christmas and Silver and Gold. For Christmas fun and holiday cheer Rudolph can't be topped.
Frosty the Snowman (1969)
Our next short sees Rankin/Bass turning to traditional cel animation. Frosty the Snowman is thinner than Rudolph but retains the same spirit of straightforward fun.
Schoolgirl Karen (June Foray) constructs Frosty the Snowman (Jackie Vernon) who comes to life when adorned with Professor Hinkle's (Billy De Wolfe) magic hat. Hinkle wants the hat back, and chases Karen and Frosty to the North Pole. Santa Claus (Paul Frees) inevitably intervenes, saving the day and shaming Professor Hinkle.
Frosty the Snowman is less impressive than Rudolph. The plot is weak even for a 22 minute short (with a silly resolution that renders the story pointless) and the hand-drawn animation not especially striking. But Frosty redeems with its loveable characters. Frosty makes a fun protagonist, mixing dopey naivety with affection for Karen, matched by Professor Hinkle's frantic villainy ("Busy, busy, busy!"). Jimmy Durante's idiosyncratic narration adds a unique touch, as when he proclaims Frosty "the best belly-whopper in the world!" It's a simple short of simple charms, fine holiday entertainment.
Santa Claus is Comin' to Town (1970)
Santa Claus is Comin' to Town is less successful. It's a mostly forgettable show, with its '60s mentality providing perverse amusement. The last thing a holiday special should attempt is being "hip," a lesson Rankin/Bass fail to appreciate.
S.D. Kluger (Fred Astaire) narrates Santa Claus's origin story. He started life as Kris Kringle (Mickey Rooney), a friendly orphan who wishes to be a toymaker. Unfortunately, Kris faces the evil White Wizard (Keenan Wynn) and the more mundane threats of Burgermeister Meisterburger (Paul Frees), a fun-hating village official. Kris enlists the help of some woodland friends along with Miss Jessica (Robie Lester), a teacher who falls for Kris. Together they set up a workshop at the North Pole, and the rest is history.
Viewed with 40 years' distance, Santa Claus plays as painfully obvious counterculture pandering. The show recasts Santa as an anti-establishment rebel, a Robin Hood-type criminal providing illicit gifts to children everywhere. This extends to Mrs. Claus, who transforms from stuffy school marm to long-haired hippie, and the groovy Peter Max-style animation accompanying several musical numbers. The idea, presumably, being that the kids wanted a "with-it" cartoon between Mobe rallies and The Brady Bunch.
Santa Claus has its charms. The animation is predictably top-notch, while Paul Frees and Keenan Wynn provide memorable villain turns. But the story proves uneventful, the leads boring and the songs uncharacteristically flat. This makes it harder to overlook its time capsule qualities. If Rudolph and Frosty are timeless, Santa is painfully dated.
The Year Without a Santa Claus (1974)
This oddity might be best-remembered for its association with Batman and Robin: at one point in Joel Schumacher's Bat-astrophe, Mr. Freeze forces his henchmen to sing along with the Snow Miser. This dubious recognition aside, Year Without a Santa Claus is an enjoyable mixed bag: its bloated story lacks the simple charm of earlier shorts, but makes up for it with inventive characters.
Santa Claus (Mickey Rooney again) becomes ill, forcing Mrs. Claus (Shirley Booth) to find a present-delivering altnerative or else cancel Christmas. Elves Jingle (Bob McFadden) and Jangle (Bradley Bolke) run away to gauge Earthly reaction, shocked to find kids don't believe in Santa. Mrs. Claus, the elves and Earth kid Iggy (Colin Duffy) get caught in needlessly complicated negotiations, trying to convince a) the town Mayor to let Santa's reindeer go; b) the feuding elementals Snow Miser (Dick Shawn) and Heat Miser (George S. Irving) to allow for snow in the Mayor's town; c) Mother Nature (Rhoda Mann) to knock some sense into the lot of them. Does that make sense?
The Year Without a Santa Claus makes a silly story very complex. Santa ends up a bit player with his wife and dopey sidekicks doing all the work. The movie feels like an animated Cold War allegory, with Mrs. Claus performing shuttle diplomacy between the Misers, earthly officials and Mother Nature Henry Kissinger-style. (Does this make Santa Richard Nixon?) If Frosty's plot was too simple, Year becomes convoluted, bogging down in negotiations and relying on set pieces to keep things fresh.
The Animagic provides Year's highpoint. The Misers are wonderfully designed as elemental demons, dripping icicles and fiery hair, with snappy personalities to match. The songs are uneven: while Mrs. Claus's songs are forgettable, the Miser cues provide a snappy theme with standards Blue Christmas and Here Comes Santa Claus picking up some slack. This makes Year fun for all its rough spots.
Frosty Returns (1995)
Our last item isn't official Rankin/Bass, rather an unloved (and unlovable) stepchild. In 1995 CBS roped Peanuts animator Bill Melendez into directing Frosty Returns, a joyless sequel that drags a classic character through the slush.
The small town of Beansboro prepares for its winter festival, but tycoon Mr. Twitchell (Brian Doyle-Murray) plans on ruining the fun with Summer Wheeze. This spray-on snow evaporator angers young Holly (Elisabeth Moss) and her nerdy friend Charles (Michael Patrick Carter). Holly enlists the help of Frosty (John Goodman), no longer endearingly naive but a punchable wiseacre. Together girl and snowman set out to foil the evil Twitchell, singing horribly along the way.
Frosty Returns is irredeemably awful. In this special, holiday cheer proves secondary to environmental preaching and cornball humor. Even with voices by John Goodman, Brian Doyle-Murray and Elisabeth Moss the characters are charmless; Goodman's smartass Frosty begs for a flamethrower to his snow-nads. Returns gets one laugh, when Twitchell drops a squawking environmentalist through a trapdoor. The five seconds of thought put into that gag clearly exhausted the crew's creativity.
Then there's the music. Never mind Mark Mothersbaugh's weird score, which sounds like recycled Rugrats cues. "Let There Be Snow" must be the worst song ever. It's obnoxiously atonal, relying on drawn out stanzas and painfully labored rhymes to deliver a treacly message about "the world dressed in white." And it's sung three times in this 20 minute short, surely the musical equivalent of waterboarding. This auditory excretion elevates Frosty Returns from regrettable cash-in to agonizing atrocity.
* * *
Hopefully you've enjoyed this sardonic sojourn into Christmas cartoons. Stay tuned for more holiday cheer!
This article looks at four R/B specials and a fifth related short. Obviously this isn't a comprehensive list. Perhaps we can revisit The Little Drummer Boy and Jack Frost for next year.
Rudolph the Red-Nosed Reindeer (1964)
Rudolph the Red-Nosed Reindeer remains, along with A Charlie Brown Christmas, the gold standard for holiday specials. Exquisitely animated and effortlessly charming, it makes even the most cynical 50 year old feel like a kid.
Rudolph (Billie Mae Richards) is a young reindeer with a glowing red nose. Rudolph tries out for the reindeer games, an audition for Santa Claus's (Stan Francis) sleigh team, but is ridiculed once his nose is revealed. He falls for Clarice (Janis Orenstein), a young doe who's more sympathetic. Outcast Rudolph runs away with Hermey (Paul Soles), a elf who'd rather be a dentist than make toys. They pass through the Island of Misfit toys, befriend prospector Yukon Cornelius (Larry D. Mann) and fight off the Abominable Snowman. Rudolph returns home, just as a snowstorm threatens Santa's delivery plans.
Rudolph is near-perfect family entertainment. Unlike other R/B works, it has a solid plot to complement its technical charms, allowing for movement and settings (the snowy North Pole, barren tundra. dreamlike Island of Misfit Toys). There's a bushel of amusing characters, from the perky Hermy to the grizzled Yukon and his cranky 'Bomble. Rudolph is an immensely likeable protagonist, all naivety and gumption. His scenes with sweetheart Clarice are too cute for words, though his little nose lighting up is sufficient to win us over. The show's be-yourself message is simple, direct and endearing.
Rudolph's Animagic remains the highlight. This stop motion technique uses wooden/plastic dolls with felt trimming, giving the film an enjoyably original (though oft-parodied) look. Rudolph and his pals look like Christmas ornaments to come life, invested with spirit and charm. Johnny Marks's excellent soundtrack, sung by Burl Ives, spawned several Christmas standards, including Have a Holly Jolly Christmas and Silver and Gold. For Christmas fun and holiday cheer Rudolph can't be topped.
Frosty the Snowman (1969)
Our next short sees Rankin/Bass turning to traditional cel animation. Frosty the Snowman is thinner than Rudolph but retains the same spirit of straightforward fun.
Schoolgirl Karen (June Foray) constructs Frosty the Snowman (Jackie Vernon) who comes to life when adorned with Professor Hinkle's (Billy De Wolfe) magic hat. Hinkle wants the hat back, and chases Karen and Frosty to the North Pole. Santa Claus (Paul Frees) inevitably intervenes, saving the day and shaming Professor Hinkle.
Frosty the Snowman is less impressive than Rudolph. The plot is weak even for a 22 minute short (with a silly resolution that renders the story pointless) and the hand-drawn animation not especially striking. But Frosty redeems with its loveable characters. Frosty makes a fun protagonist, mixing dopey naivety with affection for Karen, matched by Professor Hinkle's frantic villainy ("Busy, busy, busy!"). Jimmy Durante's idiosyncratic narration adds a unique touch, as when he proclaims Frosty "the best belly-whopper in the world!" It's a simple short of simple charms, fine holiday entertainment.
Santa Claus is Comin' to Town (1970)
Santa Claus is Comin' to Town is less successful. It's a mostly forgettable show, with its '60s mentality providing perverse amusement. The last thing a holiday special should attempt is being "hip," a lesson Rankin/Bass fail to appreciate.
S.D. Kluger (Fred Astaire) narrates Santa Claus's origin story. He started life as Kris Kringle (Mickey Rooney), a friendly orphan who wishes to be a toymaker. Unfortunately, Kris faces the evil White Wizard (Keenan Wynn) and the more mundane threats of Burgermeister Meisterburger (Paul Frees), a fun-hating village official. Kris enlists the help of some woodland friends along with Miss Jessica (Robie Lester), a teacher who falls for Kris. Together they set up a workshop at the North Pole, and the rest is history.
Viewed with 40 years' distance, Santa Claus plays as painfully obvious counterculture pandering. The show recasts Santa as an anti-establishment rebel, a Robin Hood-type criminal providing illicit gifts to children everywhere. This extends to Mrs. Claus, who transforms from stuffy school marm to long-haired hippie, and the groovy Peter Max-style animation accompanying several musical numbers. The idea, presumably, being that the kids wanted a "with-it" cartoon between Mobe rallies and The Brady Bunch.
Santa Claus has its charms. The animation is predictably top-notch, while Paul Frees and Keenan Wynn provide memorable villain turns. But the story proves uneventful, the leads boring and the songs uncharacteristically flat. This makes it harder to overlook its time capsule qualities. If Rudolph and Frosty are timeless, Santa is painfully dated.
The Year Without a Santa Claus (1974)
This oddity might be best-remembered for its association with Batman and Robin: at one point in Joel Schumacher's Bat-astrophe, Mr. Freeze forces his henchmen to sing along with the Snow Miser. This dubious recognition aside, Year Without a Santa Claus is an enjoyable mixed bag: its bloated story lacks the simple charm of earlier shorts, but makes up for it with inventive characters.
Santa Claus (Mickey Rooney again) becomes ill, forcing Mrs. Claus (Shirley Booth) to find a present-delivering altnerative or else cancel Christmas. Elves Jingle (Bob McFadden) and Jangle (Bradley Bolke) run away to gauge Earthly reaction, shocked to find kids don't believe in Santa. Mrs. Claus, the elves and Earth kid Iggy (Colin Duffy) get caught in needlessly complicated negotiations, trying to convince a) the town Mayor to let Santa's reindeer go; b) the feuding elementals Snow Miser (Dick Shawn) and Heat Miser (George S. Irving) to allow for snow in the Mayor's town; c) Mother Nature (Rhoda Mann) to knock some sense into the lot of them. Does that make sense?
The Year Without a Santa Claus makes a silly story very complex. Santa ends up a bit player with his wife and dopey sidekicks doing all the work. The movie feels like an animated Cold War allegory, with Mrs. Claus performing shuttle diplomacy between the Misers, earthly officials and Mother Nature Henry Kissinger-style. (Does this make Santa Richard Nixon?) If Frosty's plot was too simple, Year becomes convoluted, bogging down in negotiations and relying on set pieces to keep things fresh.
The Animagic provides Year's highpoint. The Misers are wonderfully designed as elemental demons, dripping icicles and fiery hair, with snappy personalities to match. The songs are uneven: while Mrs. Claus's songs are forgettable, the Miser cues provide a snappy theme with standards Blue Christmas and Here Comes Santa Claus picking up some slack. This makes Year fun for all its rough spots.
Frosty Returns (1995)
Our last item isn't official Rankin/Bass, rather an unloved (and unlovable) stepchild. In 1995 CBS roped Peanuts animator Bill Melendez into directing Frosty Returns, a joyless sequel that drags a classic character through the slush.
The small town of Beansboro prepares for its winter festival, but tycoon Mr. Twitchell (Brian Doyle-Murray) plans on ruining the fun with Summer Wheeze. This spray-on snow evaporator angers young Holly (Elisabeth Moss) and her nerdy friend Charles (Michael Patrick Carter). Holly enlists the help of Frosty (John Goodman), no longer endearingly naive but a punchable wiseacre. Together girl and snowman set out to foil the evil Twitchell, singing horribly along the way.
Frosty Returns is irredeemably awful. In this special, holiday cheer proves secondary to environmental preaching and cornball humor. Even with voices by John Goodman, Brian Doyle-Murray and Elisabeth Moss the characters are charmless; Goodman's smartass Frosty begs for a flamethrower to his snow-nads. Returns gets one laugh, when Twitchell drops a squawking environmentalist through a trapdoor. The five seconds of thought put into that gag clearly exhausted the crew's creativity.
Then there's the music. Never mind Mark Mothersbaugh's weird score, which sounds like recycled Rugrats cues. "Let There Be Snow" must be the worst song ever. It's obnoxiously atonal, relying on drawn out stanzas and painfully labored rhymes to deliver a treacly message about "the world dressed in white." And it's sung three times in this 20 minute short, surely the musical equivalent of waterboarding. This auditory excretion elevates Frosty Returns from regrettable cash-in to agonizing atrocity.
* * *
Hopefully you've enjoyed this sardonic sojourn into Christmas cartoons. Stay tuned for more holiday cheer!
Subscribe to:
Posts (Atom)

















































