Honoring The 10th Anniversary Of HIGH FIDELITY

Although it didn’t come in at #1 at the box office over its opening weekend, HOT TUB TIME MACHINE is certainly John Cusack’s most notable movie in years. 10 years in fact. For March 31st, 2000 was the US release date of HIGH FIDELITY, a defining film of Cusack’s career, and one of my all-time favorite films. So to honor the film on its 10th birthday here’s a personal look back at the film beginning with the original book:

When I heard, sometime in the late 90’s, that they were going to make a movie version of Nick Hornby’s best selling novel “High Fidelity”, I was very skeptical. This was more than just the usual “the book is always better” argument, I felt like this book was my personal emotional property.

Well, the kind of personal emotional property that one shares in common with a huge group of people, but it’s just that I was, and still am to some extent, one of “those guys” that the book described in excruciating yet hilarious detail. You see, in this case “those guys” are the guys who are rock snob geeks who have lousy love-lives but have amazing record collections.

A friend, another one of “those guys”, recommended me the book shortly after its publication in 1995. At that time I worked in a CD store in a strip mall in Greensboro, North Carolina - I moved to that area earlier in the decade because I wanted to be with my girlfriend of over 6 years. In the days after our painful break-up I toiled behind the counters of this new and used compact disc retail store making lists of favorite songs, joining my co-workers in belittling clueless customers, and trying to get over the piles of baggage I was still carrying from that doomed relationship.

The experience of first reading “High Fidelity” was actually a bit disconcerting – I felt it hit too close to home. I joked to friends that it made me feel like I had been bugged, like somebody had been recording all my conversations about what songs to play at a funeral or what’s the best album opening song ever and mixing in exact statements made in fights between me and my ex and turning in them into clever prose. I grew to love it and laugh with it but I still wondered – who was this Nick Hornby fellow and how did he know so much about me?

So by the time the movie was announced, the book was a pretty hardcore emotional touchstone in my psyche. I knew that it was the same for tons of “those guys” out there who all felt this book was about them – oh, no a movie could ruin our sacred text, making it into another rom com that doesn’t take any of this record store culture seriously! But when I heard John Cusack was starring (and co-writing) and “The Grifters” (a Cusack favorite of mine) director Stephen Frears was attached, some of my cynicism evaporated.

The cynicism that remained was directed at the fact that the book took place in London and was written in what I felt at the time was a very British voice. The book was also named after an Elvis Costello song for Christ sakes! What I didn’t consider was that “those guys” were everywhere and the location didn’t matter. So as protagonist Rob Gordon (his last name was Fleming in the book but ostensibly that would’ve been too British) says: “It’s not what you’re like, it’s what you like”, I had to realize that it’s not where you are, it’s still just what you like.

While the setting of the story moved to Chicago, and it contains lots of great locales (The Double Door, Lincoln Park, The Biograph Theater), people everywhere live their lives through the filter of pop culture so it could have been reasonably set anywhere.

I do believe though, that if it were a British-made movie it would be Elvis Costello, not Bruce Springsteen, in that pivotal plot point cameo role.

I also should’ve considered that Cusack himself is one of “those guys”.

He took the text seriously and worked hard to keep its heart and content largely intact. Viewing it for the first time on the big screen 10 years ago I was delighted at how faithful it was to its source. Hornby agreed: “At times, it appears to be a film in which John Cusack reads my book” he told the New York Times at the time of the film’s release.

The film got so many things right – the pop culture riffing wasn’t forced, the soundtrack (The Kinks, Stereolab, Bob Dylan, The Beta Band, The Velvet Underground, etc.) was well chosen, and I don’t think any movie has better depicted how it feels to try to get through a day at your workplace when your heart is broken to pieces.

I’ve been in many independent record stores that highly resembled Rob’s shop Championship Vinyl with every surface covered in rock 'n roll posters, promotional stickers, and concert flyers. Between that and Rob’s apartment, there is no end to trying to identify every cool rock signifier in sight – oh, there’s Sonic Youth’s “Goo”! There’s a poster for pre-label Pavement! There’s Brian Eno’s “Before and After Science” on vinyl and then later held up by Rob on CD! This was also pointed out in this blogpost.

In all the times I’ve watched the film over the years its arc never tires me – though the thought of enduring the same stuff in real life does. The boy loses girl, boy goes on a neurotic quest to understand why every relationship he’s had failed while wanting his ex to return arc is so amusing and empowering to watch here as a witty movie, but living through that is Hell. After a more recent break-up than the one I spoke of earlier I drunkenly considered calling my “top 5” exes like Rob does, but thankfully came to my senses with no misguided contact made.

Throughout the film Cusack addresses the camera directly, another move I wasn't sure I'd be keen on, guiding us through his heartache. It's an effective device because there is no other meta gimmickry or self referential winking going on - the words and his performance stand alone.

There are so many great lines, most of which directly from the Hornby novel, that still hit close to home, but after this long they sting in a good way:

“Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?”

“No woman in the history of the world is having better sex than the sex you are having with Ian…in my head.”

“Now, the making of a good compilation tape is a very subtle art. Many dos and don'ts. First of all you're using someone else's poetry to express how you feel. This is a delicate thing.”

That last quote, incidentally, I've gotten as a sound sniplet on many mix-tapes then later CDR comps - an obvious choice but a good one.

At this point I must note Jack Black absolutely steals the movie away from Cusack’s lovelorn lamenting with a full throttle performance that brought him to the attention of many. He owns the screen as the loud mouth rock fan with musical aspirations who shouts down anybody who disagrees with him. The way he aggravates Rob constantly saying such things as: “Rob, I'm telling you this for your own good, that's the worst fuckin' sweater I've ever seen, that's a Cosby sweater!” is among the film’s best running jokes.

As much as I love this film I have some reservations.

In a scene set at the now defunct Chicago club, the Lounge Axe, Rob’s just as musically obsessive employees Dick and Barry (Todd Louiso and Jack Black) fantasize about wanting to date a musician. “I want to live with a musician. They’d write songs at home and ask me what I think of them; maybe include one of our private little jokes in the liner notes.”

Uh, no you wouldn’t. As obsessive as these guys are they would be jealously tortured by the nights when their dream musician would be at a late seemingly never ending recording session or out on the road sleeping in hotel or van with their fellow band mates. I’m just saying, because, yes, I dated a musician. Of course, I realize that their tunnel vision delusion may be a crucial point of social satire.

Rob’s ex girlfriend Laura is played by the still little known Iben Hjejle and while she has some chemistry with Cusack she seems a bit off. Likewise Lisa Bonet as the dream musician Rob beds on the side of his heartbroken agony. But, again, the fact that the women in Rob’s life are miscast may be precisely the point as well.

I would never call this film a “rom com” because the only thing our protagonist is truly romantic about is music. Even as it settles into a happy ending grove with Rob adding Stevie Wonder’s “I Believe (When I Fall In Love It Will Be Forever)” to a mix-tape for Laura, you get the sense that the just reconciled relationship is still doomed. The film essentially plays on an endless loop as real life on again, off again relationships often do.

So, 10 years later the question isn’t does HIGH FIDELITY still hold up, because of course it does. As Rob puts it: “It would be nice to think that since I was 14, times have changed. Relationships have become more sophisticated. Females less cruel. Skins thicker. Instincts more developed.” But he comes to the pretty much the same conclusion that one of his heroes Elvis Costello did: “History repeats the same defeats, the glib replies, the same defeats.”

So the real question that remains is what Rob posits at the beginning of the film: “What came first, the music or the misery?” I would say the music because when the misery came later we had a soundtrack to it already picked out and waiting.

Of course, I may just be saying all of this just because I’m one of “those guys.”

In the decade since HIGH FIDELITY, Cusack has gone through a run of mostly mediocre movies including RUNAWAY JURY, MARTIAN CHILD, GRACE IS GONE, and 2012. It's amusing that in his first truly funny movie in 10 years, HOT TUB TIME MACHINE of course, has him at one point heartbroken and drunk, sitting on the floor writing break-up poetry. Rob Gordon lives on.

The film itself lives on in a couple of odd adaptations. It was turned into a Broadway musical in 2006 by writer David Lindsay-Abaire, lyricist Amanda Green, and composer Tom Kitt. The production closed after only 14 performances and received only lukewarm reviews, but some of the songs are kinda catchy. Can't really comment on the show itself because I haven't seen it but it strikes me that the material may not be translatable to the stage.

The material works better coming from an unexpected platform: the recently released hip hop disc "Don Cusack In High Fidelity" by Donhill, a member of the rap trio Tanya Morgan. The characters and narrative are recast into a satisfying song cycle. Such lively tracks such as "Championship Vinyl", "Laura' Song", and "Love Junkie" instantly prove that this universally relatable material could really be set anywhere.

More later...

Helen Hunt's Directorial Debut & A Few New DVD Reviews

THEN SHE FOUND ME (Dir. Helen Hunt, 2007)

Best known as Paul Reiser’s wisecracking wife on the rom sit-com Mad About You, Helen Hunt has forged a cagey career on the big screen. Despite her Best Actress win for AS GOOD AS IT GETS her other roles have been less than stellar - her sideline spouse part in CAST AWAY could’ve been done by just about any actress and her tone and delivery in Woody Allen’s THE CURSE OF THE JADE SCORPION were so off the mark that I would consider it among the worst acting of the last decade. So, surprise surprise - I wasn’t looking forward to her first-time out as director but lo and behold, I actually ended up being won over. Based on the 1990 novel by Elinor Lipman, it’s being marketed as a comic drama but I’d but the emphasis on drama and as such it's definitely a more genuine work than Noam Murro’s recent SMART PEOPLE - another piece about aging, pregnancy, and over educated middle-class white anquish. And it has a cameo by Mr. “Satanic Verses” himself Salman Rushdie as Hunt’s gynecologist!

Hunt casts herself as a withdrawn elementary school teacher and Matthew Broderick as her pensive husband. Shortly after their marriage he tells her he doesn't “want this life” and moves out after she isn't able to change his mind with some spontaneous kitchen floor sex. Within 9 hours of the break-up, Colin Firth as a befuddled divorced parent is hitting on her in the parking lot of her school but her biological clock is ticking so loudly that it barely registers. Then, if the timing couldn’t be any worse (or better for the sake of the drama) Bette Midler, as a local TV talk show host, shows up out of the blue saying she’s Hunt’s long lost Mother and drops another bombshell: Steve McQueen was her father. Hunt is skeptical of this, and rightly so, but charmed by Midler’s schtick - which is undeniably the funnybone of this film. Wanting to pursue a relationship with Firth is confounded by Hunt finding out she is pregnant with Broderick’s baby. Broderick, in a part that's more pathetic ELECTION-style than FERRIS BUELLER-ish, wants back into Hunt’s life...maybe. Hunt, using long takes and a good sense of lighting, effectively portrays the stressful pulling of her character’s sensibilities in every direction and does it with a nice lack of snarky one-liners and manufactured quirk. THEN SHE FOUND ME shows that Hunt has learned a lot from the film makers and actors she's worked with (James L. Brooks, Robert Altman, Nancy Meyers, Jack Nicholson, et al) and, weirdly enough, makes her a film maker to look out for. Never thought I’d be writing that.

YOUTH WITHOUT YOUTH (Dir. Francis Ford Coppola, 2007)

When Martin Scorsese finally won an Oscar last year the award was presented to him by Steven Spielberg, George Lucas and Francis Ford Coppola. That wasn’t just a group of honored directors walking off the stage afterwards, that was what was once called New Hollywood walking off the stage. The surviving members of the maverick auteur movement that saved the movies in the late 60’s and 70’s were still majorly representin’. Of course we know where Marty’s at with his DeCaprio epics and rock docs, and Spielberg/Lucas, of course, we know what’s going on with them with the #1 movie right now, sure but what of Francis Ford Coppola?

Well, for his first film proper since 1997’s THE RAINMAKER it appears that he’s the modern movie maker equivalent to Sisyphus from Greek mythology. If you don’t know, Sisyphus was a King cursed to have to roll a huge boulder up a steep treacherous hill, only to see it roll all the way back down again and then have to repeat this action til the end of time. So Coppola, yet again at square 1 gives us this curious case - a movie about a 70 year old man struck by lightning that makes him young again and gaves him another chance at love and finishing his previous life’s philosophical work.

Tim Roth, as the old man turned young, has a gravitas and intensity apt for the part but the premise is far from satisfactorily played out. His tortured, and unfortunately tedious, time recovering in his hospital bed as too many headlines tell us the timeframe (World War II) takes away from the story’s momentum. Roth meets Alexandra Maria Lara, (a stunning woman even when speaking in tongues) who also plays his lover from his early life, who is overtaken by the same lightning shining (or whatever it is) and they form a bond which of course becomes something more. The fractured-ness of the film gets a bit tiring - right when I was thinking ‘hey, that last shot didn’t make much sense’ Coppola starts showing shots upside down. There's a lot that’s confusingly mismatched in the material here - I’m seriously unsure what the point was to a lot of it. I got that Coppola was trying make some sort of a new cinematic language (he says something like that on a “making of” featurette on the DVD) out of choppy yet beautful imagery interspersed with trying narrative introspection but come on! There’s very little here that someone who is not a hardcore film buff would care to follow. If APOCALYPSE NOW was a failed film experiment that still turned out to be a great movie, this is a failed film experiment that just ends up a puzzling curio. So come on Sisyphus - it’s time to start rolling that boulder again!

DELIRIOUS (Dir. Tom DiCillo, 2006)

As I wrote before (Buscemi Now? – Dec. 17th, 2007) Director Tom Dicillo doesn’t think his film, which got good reviews, didn’t get a fair shake at the box office. Well having finally seen it upon its recent DVD release I can honestly say he’s right. While no masterpiece it is a better than average independent movie that surely deserved better distribution and surely would’ve gained some audience support. Michael Pitt plays Toby, a homeless 20something New York kid who by chance comes across a plethora of paparazzi waiting for a chance to photograph K’Harma Leeds (Alison Lohman) – the pop star flavor of the day. After that shoot goes awry, Toby makes an unlikely friend in Les the acerbic (Steve Buscemi) who doesn’t consider himself to be paparazzi but a “licensed professional” and declares: “Rule #1: There are players and there are peons – I am a player.” That becomes a running joke as there are many Rule #1’s throughout the film as in “Rule #1: Never let a hooker slip you the tongue.” Les, for all his cynical arrogance prides himself on getting photos of Goldie Hawn eating lunch and Elvis Costello without his hat.

Toby as an unpaid assistant joins Les in his celebrity stalking quests and learns the tricks of the tawdry trade driving around in Les's beat-up station wagon, hauling around gear, and trying to crash into celebrity parties. At one such event Toby gets swept up into K’Harma’s entourage. K’Harma and Toby hit it off back at her hotel while Les is left in the dust. Toby and Les patch things up the next day but then Les blows it by taking photos at K’Harma’s birthday party (of Elvis Costello!) that he weaseled his way into. “Rule #1: Know where you belong” Les says but by this point Toby has tired of his teachings. Gina Gershon plays a sexy saavy sop opera casting director that helps Toby on to the ladder of actor success he longs for while Les (Buscemi in full bug-out mode) toils on the lowest rung. The themes of parasitic tabloidism and the trials of being a celebrity in the spotlight are obvious but it's the chemistry between Buscemi and Pitt that makes this work. Lohman’s diva issues with stardom are fairly transparent and there are some unneeded artsy interludes (such as the one with flower petals falling from the sky) but DiCillo has made a funny appealing film with a heart that beats through the equal measures of grime and glitter. It would make a good double flipside feature with INTERVIEW - Buscemi’s fine film about a serious journalist having to do a piece on a B-movie/TV star (Sienna Miller). In my before mentioned Buscemi Now? post I said that Buscemi pulls off the task of being “extremely creepy yet incredibly lovable at the same time”, the same could be said about DELIRIOUS.

More later...

The Real Napolean Dynamite *

* I would not usually put an asterick denotation in my blogpost headline but I felt this needed qualification - hit it Wikipedia from an entry on the movie of the same name: "The name "NAPOLEAN DYNAMITE" is a pseudonym used by Elvis Costello on the back of the album "Blood and Chocolate" (released 1986). Writer/Director Jared Hess has denied that this was his source for the name, once claiming that rather, the name came from an old Italian man he met in Chicago, and that the Elvis Costello connection is a coincidence."

Coincidence? As if!

So, last night I went to see Elvis Costello (real name Declann McManus) - who is one of my all time favorite performers - backed by the North Carolina Symphony at Regency Park Amphitheater in Cary. Elvis didn't even remember his last time to the area - he pronounced Raleigh - "Rally" (as in his song "Night Rally"). The show is reviewed below but first I thought it would be fun to look at his film work - such as his many onscreen appearances in what I call:

Costello Cameo Cavalcade!

Costello has done many bit parts in films and TV since the late 70's. His first was as Earl Manchester in AMERICATHON - a barely seen 1979 John Ritter comedy. Appearances followed in likewise obscure works like the British one seasoner sitcom Scully, as inept magician Rosco de Ville in the film NO SURRENDER (both by Alan Bleasdale), and rounding his '80's acting oeuvre out was a cameo as Hives the Butler in Alex Cox's (REPO MAN) odd thin-tie punk opus STRAIGHT TO HELL which had a bevy of cult musicians in small parts (Joe Strummer, Courtyney Love, members of the Pogues and Circle Jerks, etc.) These appearances were way under the radar mind you, Costello was heading towards the mainstream in the 90's starting with:

The Larry Sanders Show (HBO, 1992-1998) Garry Shandling's satirical talk-show within-a-show featured just about everybody in the business doing exaggerated versions of themselves and Costello was no exception. He appeared first in an episode in the third season - "People's Choice" (aired: 7/20/94). In one of his long time backing band's (the Attractions) last TV appearances, Costello performs "13 Steps Lead Down" complete with "Radio Radio" coda before storming out of the studio leaving a trashed dressing room behind in reaction to bad back stage treatment.

The next appearance in "Everybody Loves Larry" (aired: 11/13/96) - also titled "Duchovny's Crush - Hank's Lemon" - involves Elvis selling a supposed classic car to Sanders' co-host Hank (Jeffrey Tambor) which turns out to be a lemon - man, I love stating the obvious. While he performs a beautiful solo acoustic "Little Atoms" from "All This Useless Beauty", Hank dons glasses in a weak attempt to mock Costello.

SPICEWORLD (Dir. Bob Spiers, 1997) I've already written about this cameo before in the post "20 Great Modern Movie Cameos" - so I won't go on about it again.

AUSTIN POWERS : THE SPY WHO SHAGGED ME (Dir. Jay Roach, 1999) Because of his vintage brand of swinging pop Burt Bacharach has appeared in all three AUSTIN POWERS movies tinkling the ivories in a downtime romantic setting. Since it coincided with Bacharach's collaboration with Costello "Painted From Memory" - it was expected that Elvis would show up to sing to Burt's accompaniment. Elvis said of the scene: "It's the 1960's, not to give away the plot, but in some sort of magical way we end up in the 1960's doing a song." (Late Night With Conan O'Brien 11/23/98) Austin Powers (Mike Myers) breaks that ole fourth wall by introducing Elvis and Burt as if they were his guests on a talk show and they do a smooth (mimed and lip synched of course) rendition of "I'll Never Fall In Love Again". Austin attempts to woo Felicity Shagwell (Heather Graham) by way of Comical dancing as the song flows.

200 CIGARETTES (Dir. Risa Bramon Garcia, 1999) The soundtrack to this late '90's take on a 1981 New York New Year's Eve is filled with what they used to call New Wave (Blondie, Joe Jackson, Nick Lowe, Ramones, etc.) so of course Elvis would not only be heard with his definitive cover of Nick Lowe's "(What's So Funny 'Bout) Peace, Love and Understanding?" but also appears in a cameo as himself. After a night of mishaps and drunken revelry Janeane Garafolo wakes up to find Elvis's glasses and she realizes she slept with the man in question.

PRISON SONG (Dir. Darnell Martin, 2001) As big an Elvis Costello fan as I am I was not aware of this film until I began this post and am surprised that it has him playing 2 roles - Public Defender/Teacher. Again I'll defer to the mighty Wiki - "The film was originally intended to be a full-fledged musical, but this tested poorly with audiences, so most of the musical numbers - except the most essential to the story - were cut. This helps explain the mysterious appearance of Elvis Costello in two roles in which he does very little."

3rd Rock From The Sun (NBC 1996-2001) The final episode (aired: 5/22/01) of this beyond silly sci-fi sitcom starring John Lithgow had the family of aliens holding a farewell bash. They hire Elvis Costello who still in full crooner mode sings "Fly Me To The Moon". I guess this could confirms a lot of pop pundits belief that Costello is the punk rock Sinatra.

The Simpsons (1989-forever) Of course this would be mentioned here - I mean, have you met me? In the episode "How I Spent My Strummer Vacation" (aired: 11/10/2002) Homer goes to a Rock 'N Roll Fantasy Camp run by Mick Jagger and Keith Richards with Tom Petty, Lenny Kravitz, Brian Setzer and yep, our man McManus as instructors. When Costello tries to discourage the guitar as instrument of choice to the aggressive students, Homer storms his tent calling him "nerdlinger" and knocks off his glasses. Elvis exclaims "my image!"

Frasier (NBC Sitcom 1993-2004) Maybe a contender for the best Costello cameo - the man appears, not as himself for a nice change, as Ben - a coffee house folk guitarist with a heavy Scottish accent. Frasier (Kelsey Grammer) and his brother Niles (David Hyde Pierce) take immediate offence at Ben taking up performer residence at Cafe Nervosa in the episode "Farewell, Nervosa" (aired: 4/22/03). Costello is hilarious as he performs exaggerated amped up versions of "Wild Rover","Tie Me Kangeroo Down", and especially when he announces that he's selling CDs (not his own recordings - mind you) outside during a break in his performance - "10 dollars is still the best price for 'Quadrophenia'!"

DE-LOVELY (Dir. Irwin Winkler, 2004) Credited as "musical performer" Costello appears back in crooner mode on stage at a costume party singing "Let's Misbehave" in this somewhat surreal Cole Porter bio-pic. Though he's given a few close-ups, Costello is mostly seen in long shots or heard in the background as Porter (Kevin Kline) and his wife Linda (Ashley Judd) have a plot-point moment.

TALLADEGA NIGHTS : THE BALLAD OF RICKY BOBBY (Dir. Adam McKay, 2006) From reports he filmed this cameo in one day and it shows - he didn't have any actual lines of dialogue. There were just shots of him having tea with Mos Def at Will Ferrell's title character's rival driver Jean Girard's (Sacha Baron Cohen) mansion. Too many Costello songs to fully note have been in movies over the years but HIGH FIDELITY (Dir. Stephen Frears, 1999) must be singled out because it was named after a Costello song (see also LESS THAN ZERO AND CLUBLAND) and it had "Shipbuilding" featured on its motion picture soundtrack. Now on to the show:

Elvis Costello and the North Carolina Symphony @ Booth Amphitheatre, Cary, North Carolina Sept. 13th, 2007

"Me doing a romantic song is like Steve Buscemi playing the George Clooney role in a movie."
- Elvis Costello introducing "She" 9/13/07

The best concert I've ever seen was Elvis Costello and the Attractions on the "Brutal Youth" tour in Raleigh on June 19th, 1994. I was a casual fan up to that point but witnessing the man's vocal range and attention to melodic detail made me a hardcore fan. Since then I've collected his many discs and absorbed his many styles but always preferred the rocking stuff. Well the prospect of Costello singing with an orchestra might have raised my eyebrows at first but there was still the possibility that the man under any circumstance could still rock.

Rock he did - viciously strumming an acoustic guitar he and longtime Attraction/Imposter cohort pianist Steve Nieve offered up a number of Costello classics ("Accidents Will Happen", "Green Shirt", "Veronica") that pleased the audience but the real focus of the evening was the embellished arrangements of the more challenging genre exercises of his canon. "Watching the Detectives" was given a complete workout with mighty percussion and sax involvement and the obvious but still vital "Alison" had a significant rephrasing and affecting as Hell addition of Smokey Robinson's "Tracks of My Tears" added in its coda.

Costello bantered with the audience in a casual and amusing manner even when mentioning "the war" - he brought that up when introducing his Oscar nominated (for COLD MOUNTAIN) song co-written with Allison Krause "Scarlet Tide" and of course when performing Nick Lowe's immortal "What's So Funny 'Bout Peace Love and Understanding". A song that I stupidly didn't even anticipate - the gorgeous Chet Baker arranged "Shipbuilding" fit the agenda beautifully as well. I know I'm not alone in my rocking preference - when Costello mentioned his album with the Brodsky Quartet - "The Juliet Letters" he got scant applause but a mere reference to his co-writing a song with Paul McCartney got people to roar. The bottom line whatever the genre, arrangement, or setting is - the man can seriously sing. You have to see him perform live to fully appreciate that I believe because the man's pipes can't be contained on a CD or in your iPod's earphones. So yeah, when it comes down to it - the man rocked.

Postnote - for a complete setlist of the show go here.

Okay! Thanks for indulging me for my birthday week pop music in the movies postings. Next time out - actual recent movies in theaters and on DVD. Stay tuned.

More later...

20 Great Modern Movie Cameos

Soldier (Fred Smith) : "Well, what did you think of the play?"
Boris (Woody Allen) : "Oh, it was weak. I was never interested. Although the part of the doctor was played with gusto and verve and the girl had a delightful cameo role."
- LOVE AND DEATH (1975)

A cameo is defined as a "brief appearance of a known person in a work of the performing arts. Such a role needs not be filled by an actor: short appearances by film directors, politicians, athletes, and other celebrities are common." (Wikipedia, of course)

As we all know sometimes one of the only good things in a particular film is a juicy unexpected cameo - not that all these were all unexpected, a number were highly publicised or widely rumoured way in advance. So many movies have cameos that it was very hard to pare down the best from all the multiple Ben Stiller, Austin Powers, and Zucker Bros. genre (AIRPLANE!) but I settled for a nice smattering that doesn't deny those films their cameo cred but includes some overlooked surprise walk-on gems as well. I decided to not include the many Hitchcock cameos or any other directors who often appear in their own films but made an exception (#18) when a director appeared in someone else's film. So don't go to the bathroom or blink 'cause you may miss them here goes the cameo countdown :

1. David Letterman – CABIN BOY (1994) Adam Resnick and former Letterman regular Chris Elliot's spotty yet not un-likable silly high seas saga featured the veteran late night host in his one movie role not playing himself as a stuffed- monkey peddler. As "Old Salt in Fishing Village" and credited as Earl Hofert, Letterman seemed to be enjoying himself as he badgered Elliot's fancy lad character - "Boy you're cute - what a sweet little outfit. Is that your little spring outfit? (laughs) you couldn't be cuter!"

2. Orson Welles – THE MUPPET MOVIE (Dir. James Frawley, 1979) THE MUPPET MOVIE and all subsequent Muppet movies have been crammed with cameos (Steve Martin, Richard Pryor, Mel Brooks, John Cleese, Elliot Gould, Cloris Leachman, etc.) but Welles's appearance is a stone cold classic. Why? Because it introduced generation after generation to a true cinematic genius, at a low point in his career it briefly restored a sense of dignified power by casting him as studio head Lew Lord (based on mogul Lew Grade), and because nobody but nobody could give such an elegant reading to the line "prepare the standard 'Rich and Famous' contract for Kermit the Frog and Company." That's why.

3. David Bowie – ZOOLANDER (Dir. Ben Stiller, 2001) All of Ben Stiller's movies have A-list cameos but Bowie is the only one who gets his own freeze frame flashy credit and a snippet of his hit "Let's Dance" to frame his intro when he steps out of the crowd to volunteer his services as judge for the crucial walk-off between Zoolander (Stiller) and his rival Hansel (Owen Wilson). With very little effort Bowie shows everyone in the room and in the audience what real screen presence is all about.

4. The Three Stooges – IT’S A MAD MAD MAD MAD WORLD (Dir. Stanley Kramer, 1963)
Talk about very little effort! The famous slapstick trio only appear for 5 seconds as firemen at an airport. In a movie that may as way be called Cameo City they just stand there in the middle of the choas saying and doing nothing and are funnier and all the more memorable for it. IT'S A MAD MAD... practically invented the modern celebrity cameo - hence it making this so-called modern movies list.

5. Keith Richards – PIRATES OF THE CARRIBEAN : AT WORLD'S END (Dir. Gore Verbinski, 2007) Definitely not a surprise cameo - Richards was supposed to be in PIRATES 2 but had Stones concert commitments so the word was out was beforehand. The joke of course is that because Johnny Depp modeled his Jack Sparrow character on the behavorial nuances of Richards it's apt to have the craggy decadent guitarist show up as Sparrow's father. It's predictable but pleasing how it goes down even if it is the cinematic equivalent of those Saturday Night Live sketches like "Janet Reno Dance Party" or "The Joe Pesci Show" where the real person walks on to stare down their imitator.

6. Martin Sheen – HOT SHOTS! PART DEUX (Dir. Jim Abrahams, 1992) In what may be the funniest cameo on this list Charlie Sheen takes a break from the Rambo-styled action to write his tortured memoirs complete with intense voice-over to parody his role in PLATOON. Suddenly another intense voice-over overlaps and we see his father Martin Sheen in army duds obviously parodying his role in APOCALYPSE NOW. As their riverboats pass they point at each other and say in unison - "I loved you in WALL STREET!"

7. Roger Moore – CURSE OF THE PINK PANTHER (Dir. Blake Edwards, 1983) Now this may be the most ridiculous cameo here. Get this - Roger Moore (sorry, Sir Roger Moore) plays Inspector Clouseau after plastic surgery at the end of the second Panther movie made after Peter Sellers death. It doesn't matter that it doesn't fit at all into the continuity of the series - even at its best there have been character and narrative inconsistencies throughout - it's still a highlight. Moore does a passable Sellers impression and appears to be having a ball. For the first time in the almost 2 hours of this tedious unneccessary sequel we are too.

8. Shirley MacLaine – DEFENDING YOUR LIFE (Dir. Albert Brooks, 1991) When recently deceased yuppie Brooks has to go on trial for his existence it's only fitting that Shirley MacLaine would show up to spoof her reincarnation-obsessed image, isn't it? She nails it as the tour guide at the Afterlife Pavilion that Brooks and his date Meryl Streep attend.

9. Ethel Merman – AIRPLANE! (Dirs. Jim Abrahams, David Zucker, 1980) When seeing this movie as a kid and naturally thinking every single thing in it was a joke it was even funnier when a friend pointed out "that really was Ethel Merman". In a wartime hospital room flashback Ted Striker (Robert Hays) comments about one of his fellow wounded - "Lieutenant Hurwitz - severe shell-shock. Thinks he's Ethel Merman." Cut to : Merman bursting out of bed singing - "You'll be swell, you'll be great. Gonna have the whole world on a plate. Startin' here, startin' now. Honey, everything's comin' up roses..." As she (he?) is sedated by staff Striker remarks "war is Hell."

10. Rodney Dangerfield – NATURAL BORN KILLERS (Dir. Oliver Stone, 1994) Presented as a flashback the surreal sitcom satire "I Love Mallory" serves as a commentary on the murderer's memories being corrupted by too much TV but it's really a showcase for the most savage acting Dangerfield has ever done. As Mallory's (Juliette Lewis) abusive incestuous and just plain gruesome father Dangerfield steals the movie while repulsing us and there's an innocuous laugh track punctuating every line. The most perfectly unpleasant cameo here for sure.

11. Bruce Springsteen – HIGH FIDELITY (Dir. Stephen Frears, 2000) Like Keith Richards, Springsteen had never acted in a movie so it's pretty cool that the Boss would appear in a day dream of protagonist Rob Gordon (John Cusack). Plucking some notes on the gee-tar he inspires Rob to hunt down his ex-girlfriends. "Give that big final good luck and goodbye to your all time top-five and just move on down the road" Springsteen advises. Sigh - just like one of his songs.

12. Elvis Costello – SPICE WORLD (Dir. Bob Spiers, 1997) As a bartender and credited as 'Himself' Costello plays a nice tongue-in-cheek note as the Girls talk about their possible flash-in-the-pan prospects. It should also be mentioned that Costello also made cool cameo appearances in AMERICATHON, STRAIGHT TO HELL, 200 CIGARETTES, TALLADEGA NIGHTS, and AUSTIN POWERS : THE SPY WHO SHAGGED ME.

13. Gene Hackman – YOUNG FRANKENSTEIN (Dir. Mel Brooks, 1974) Great uncredited cameo in which Hackman plays a bearded blind man named Harold who gets a prayed for visit by Frankenstein's monster (Peter Boyle). Harold serves the monster soup, wine, and cigars but fails to teach him that "fire is good" prompting a sudden exit. Harold exclaims - "Wait! Where are you going....I was gonna make espresso!"

14. Marshall McLuhan – ANNIE HALL (Dir. Woody Allen, 1977) The best example of one upmanship in a cameo that I can think of. At a theater in Manhattan (where else?) Alvy Singer (Woody Allen) is annoyed by the loud mouth pretensious rantings of the pseudo intellectual (Russell Horton) behind him and Annie Hall (Diane Keaton) in line. Alvy argues with the guy - "...and the funny thing is - Marshall McLuhan, you don't know anything about Marshall McLuhan." The guy responds "really? I happen to teach a class at Columbia called 'TV, media and culture' so I think my insights into Mr. McLuhan have a great deal of validity." Alvy then says "I happen to have Mr. McLuhan right here" and presents him from offscreen. McLuhan eyes the guy and says "I've heard what you were saying. You know nothing of my work..." Alvy looks at the camera and says "boy, if life were only like this!"

15. Kurt Vonnegut – BACK TO SCHOOL (Dir. Alan Metter, 1986) Overage college student Rodney Dangerfield enlists Kurt Vonnegut to write his term paper on - yep, Kurt Vonnegut. Vonnegut shows up at Dangerfield's door and has only one line which is just introducing himself but for our purposes that's all he has to do. When Dangerfield's paper gets an F (teacher Sally Kellerman : "whoever did write it doesn't know the first thing about Kurt Vonnegut") he curses the famous author over the phone and adds "next time I'll call Robert Ludlum!"

16. Jim Garrison - JFK
(Dir. Oliver Stone, 1991) The definition of an ironic cameo. New Orleans District Attorney and controversial conspiracy theorist Garrison (who is portrayed by Kevin Costner in the film) does his only acting ever * as his chief rival Chief Justice Earl Warren. As the entire movie is an elaborate rebutal to the Warren Report's conclusions on the assassination and largely based on Garrison's book (On The Trail Of The Assassins) this is pretty juicy indeed.

* wait! I'm wrong - he did a cameo in THE BIG EASY (1987). My bad.

17. Stan Lee – MALLRATS (Dir. Kevin Smith, 1996) The Spiderman creator and Marvel Comics main-man has done cameos in many comics adapted or related movies (SPIDERMAN, THE HULK, X-MEN, FANTASTIC FOUR, etc.) but this one set the standard for the Stan Lee cameo. He plays himself so he's treated as a God by comic book collector geek Brodie (Jason Lee) and as such he rises above the base level humour even when saying lines like "he seems to be really hung up on super heroes' sex organs."

18. Martin Scorsese – THE MUSE (Dir. Albert Brooks, 1999)
In a movie in which TITANIC director James Cameron also cameos and a number of Hollywood folk play themselves Marty sure has a nice bit - blabbing to struggling screenwriter Brooks - "I want to do a remake of RAGING BULL with a really thin guy. Not just thin, but REALLY thin. Thin and angry, thin and angry, thin and angry. Can you see it?"

19. Spike Milligan – MONTY PYTHON’S LIFE OF BRIAN (Dir. Terry Jones, 1979) Like the 3 Stooges this is a blink and you miss it cameo. While filming in Tunisia the Pythons found Milligan vacationing and got him to do a scene. For those of you readers who don't know Milligan - he was a huge influence on Python as a member of the Goon Show (which also featured Peter Sellers) and various other radio and TV programs. When the crowd following the reluctant Messiah Brian (Graham Chapman) flocks off into the hills, Milligan's character, named Spike in the credits, walks off shot not following them. He never was one to follow the latest trends.

20. Frank Sinatra – CANNONBALL RUN II (Dir. Hal Needham, 1984) Without a doubt the worst movie on the list but one that made it because it's the Chairman of the Board we're talking about here! I'm highly amused at this cameo 'cause it's so cheap and cheesy how it's done.

Roger Ebert described it best in his original '84 review :

"There isn't a single shot showing Sinatra and Reynolds at the same time. Also, there's something funny about Sinatra's voice: He doesn't seem to be quite matching the tone of the things said to him. That's the final tip-off: Sinatra did his entire scene by sitting down at a desk and reading his lines into the camera, and then, on another day, Reynolds and the others looked into the camera and pretended to be looking at him. The over-the-shoulder shots are of a double. This is the movie equivalent to phoning it in."

- Roger Ebert (Chicago Sun Times Jan. 1, 1984)

You nailed it Roger! Only Frank could get away with that action! At least they got him to pose for the publicity still above.

Have a favorite cameo you thought should have made the list? Bob Saget in HALF BAKED? Howard Cosell in BANANAS? Alice Cooper in WAYNE'S WORLD? Tom Cruise, Gwenyth Paltrow, or Danny Devito in AUSIIN POWERS IN GOLDMEMBER? Bruce Willis, Julia Roberts, or Burt Reynolds in THE PLAYER * ? Tom Petty in THE POSTMAN?

* THE PLAYER was left off the list despite (or maybe because) it being almost completely constructed around cameos by countless celebrities but for the record my favorite cameo in it is Buck Henry as himself pitching "THE GRADUATE PART II" to Tim Robbin's slimy studio exec character.

Send your cameo ommisions to :

boopbloop7@gmail.com

More later...