Easily one of the best television shows ever created, Californication is the witty, sophisticated and sublimely silly tale of Hank Moody, tortured genius writer, his muse and on-off lover Karen and their daughter Becca. BUT... if you're in any way offended by bad language, nudity, sexual references, drugs, blasphemy and so on, it's probably best you don't watch it. If, however, you have a sense of humour, it's a must-see and the witticisms of protagonist Hank Moody will entertain you greatly.
It would be hard to imagine anyone other than David Duchovny playing Moody, so effectively has he perfected the role. I never 'got' Duchovny as Fox Mulder (The X Files), but he seems to have taken to Hank Moody like the proverbial duck to water. Supported by an excellent cast whose comic timing is above reproach, I dare you to watch an episode without laughing.
Unfortunately though, due to Australia's puritanical leanings, Californication was pushed into later and later timeslots before disappearing from our screens altogether, which means you have to wait until the DVD release to catch up on Hank's debauchery. The fact that scores of 'righteous' Christians sat up watching the show, pencils at the ready, to write down every infraction of morality is an irony that escaped no one but themselves. As always, if you don't like it, don't watch it... but then, as a non-Christian I fail to understand the need to moralise and bully others.
But, I digress.
There are definite real world applications for Hank Moody's irreverent wit - such as the episode where he goes to see his agent Charlie Runkle (played by the gifted Evan Handler). The receptionist tries to bar his entrance to which Moody replies "Would you look at the time? The big hand says 'fuck' and the little hand says 'off' - good job there's not a second hand!" and barges in. How many times have you wanted a witty comeback for someone blocking your way?
Hank isn't the only character with wisdom to impart. Pamela Adlon's character Marcy Runkle, has a few pearls of her own. I used one recently with a friend who was a bit down: "You either cry like a bitch or smack a bitch... so smack a bitch!"
The best part of Hank though, is the fact that as flawed as he is, he remains lovable, genuine and honest. There is something engaging about a person - even a television character - who wears their problems so openly.
Saturday, January 12, 2013
Sunday, December 23, 2012
The Wretched
Better known by it's French title "Les Miserables" is Victor Hugo's acclaimed novel depicting the lives of the poor in nineteenth century France, culminating in the June Rebellion of 1832. Later fashioned in to a musical and now a film, the tale of petty criminal turned philanthropist Jean Valjean, Fantine and her illegitimate daughter Cosette is beloved of many.
Like many purists, having seen "Les Miz" - as it is affectionately known - on stage and knowing the score almost by heart, I was awaiting the film version with a mixture of eagerness and trepidation. Director Tom Hooper had fashioned a formidable cast headed by Australia's own Hugh Jackman, whose stage cred includes a Tony Award for his performance in 'A Boy From Oz' (the story of Peter Allen) but still, I had my doubts.
Due to be released in Australian cinemas on Boxing Day, I was on tenterhooks. So when my local cinema advertised advance screenings the week before Christmas, I jumped at the chance. Whatever doubts I had were erased within minutes. The movie version of "Les Miserables" is a perfect example of how magic can be fashioned through the confluence of attention to detail, skilled acting, directing, costuming, makeup, music and foley. There was not one person in the cast or crew who let the team down. Like its stage production cousin, "Les Miz" the movie had me engaged, weeping, cheering, singing along... and possibly the most gratifying part and one I truly wished the cast and crew could have witnessed - an entire audience of filmgoers applauding at the closing credits.
The movie's homage to the past certainly wasn't missed either - Anne Hathaway, playing Fantine in the movie, is the daughter of Kate McCauley who played Fantine on stage in the Broadway debut. Frances Rufelle, who played Eponine on stage was cast as one of the prostitutes and most notably, Colm Wilkinson - the Broadway Valjean - made an appearance as the Bishop of Digne.
What makes this version of "Les Miz" significant though, is the way in which it was shot. Ordinarily, the score to movie musicals is prerecorded, the actors in a sound booth and later miming their part with the vocals expertly overdubbed by the crew. Flaunting this tradition, the producers decided to record all the vocals live, the actors aided by discreet earpieces that the music was fed through. This enabled them to tailor their acting and give real expression to their vocals; this is particularly apparent in Valjean's Soliloquy where you get a real sense of his torment and guilt.
Standout performances abound; predictably, Jackman's rendition of "Bring Him Home" and Hathaway's "I Dreamed A Dream" were exceptional - but keep an ear out for Eddie Redmayne. Cast in the role of rebellious student Marius, his rich vibrato is pure pleasure and a privilege to listen to. Also one to watch - now and in the future - is the young actor Daniel Huttlestone. His skilled rendering of the street urchin Gavroche was flawless; providing he doesn't succumb to child actor oblivion, he'll be a formidable talent one day!
Like many purists, having seen "Les Miz" - as it is affectionately known - on stage and knowing the score almost by heart, I was awaiting the film version with a mixture of eagerness and trepidation. Director Tom Hooper had fashioned a formidable cast headed by Australia's own Hugh Jackman, whose stage cred includes a Tony Award for his performance in 'A Boy From Oz' (the story of Peter Allen) but still, I had my doubts.
Due to be released in Australian cinemas on Boxing Day, I was on tenterhooks. So when my local cinema advertised advance screenings the week before Christmas, I jumped at the chance. Whatever doubts I had were erased within minutes. The movie version of "Les Miserables" is a perfect example of how magic can be fashioned through the confluence of attention to detail, skilled acting, directing, costuming, makeup, music and foley. There was not one person in the cast or crew who let the team down. Like its stage production cousin, "Les Miz" the movie had me engaged, weeping, cheering, singing along... and possibly the most gratifying part and one I truly wished the cast and crew could have witnessed - an entire audience of filmgoers applauding at the closing credits.
The movie's homage to the past certainly wasn't missed either - Anne Hathaway, playing Fantine in the movie, is the daughter of Kate McCauley who played Fantine on stage in the Broadway debut. Frances Rufelle, who played Eponine on stage was cast as one of the prostitutes and most notably, Colm Wilkinson - the Broadway Valjean - made an appearance as the Bishop of Digne.
What makes this version of "Les Miz" significant though, is the way in which it was shot. Ordinarily, the score to movie musicals is prerecorded, the actors in a sound booth and later miming their part with the vocals expertly overdubbed by the crew. Flaunting this tradition, the producers decided to record all the vocals live, the actors aided by discreet earpieces that the music was fed through. This enabled them to tailor their acting and give real expression to their vocals; this is particularly apparent in Valjean's Soliloquy where you get a real sense of his torment and guilt.
Standout performances abound; predictably, Jackman's rendition of "Bring Him Home" and Hathaway's "I Dreamed A Dream" were exceptional - but keep an ear out for Eddie Redmayne. Cast in the role of rebellious student Marius, his rich vibrato is pure pleasure and a privilege to listen to. Also one to watch - now and in the future - is the young actor Daniel Huttlestone. His skilled rendering of the street urchin Gavroche was flawless; providing he doesn't succumb to child actor oblivion, he'll be a formidable talent one day!
Wednesday, December 19, 2012
Crazy People
It would be hard to start a pop culture blog without mentioning one of my favourite movies of all time. "Crazy People" is an irreverant, light hearted and comical look at the farce that is the advertising industry. Released in 1990, it stars Dudley Moore, Darryl Hannah and Paul Reiser (remember him from the television series 'Mad About You'?) it is as relevant today as it was back then. I'd even go so far as to call it the precursor to "The Gruen Transfer" on ABC (Australia).
It centres around advertising copywriter Emory (Moore) who, following a bitter divorce, goes "insane". Frustrated by his job where he feels he is being compelled to lie to people, he decides to start creating "honest" advertising copy... and that's where the fun starts. I don't think I've been able to look at a Volvo since without remembering Emory's tagline: Buy Volvos, they're boxy but they're good. Or Jaguar: For men who'd like handjobs from beautiful women they hardly know.
The best part of the film, though, is how the public react to the "honest" ads... they love them! The movie becomes a commentary on not only the duplicity of the advertising industry but also the effect that that duplicity has on consumers. An interesting thought - do consumers really need to be lied to? Are we cognisant of this duplicity and do we require it of advertisers? Its like... when I ask my boyfriend if I look good in this dress, I don't want his honest opinion, I just want him to say yes, I look good in this dress. It's not a question so much as it is a desire for him to reinforce my own perception. So... by extension, is that what consumers need from advertisers, or would we still buy products that were honestly promoted? Comment!
It centres around advertising copywriter Emory (Moore) who, following a bitter divorce, goes "insane". Frustrated by his job where he feels he is being compelled to lie to people, he decides to start creating "honest" advertising copy... and that's where the fun starts. I don't think I've been able to look at a Volvo since without remembering Emory's tagline: Buy Volvos, they're boxy but they're good. Or Jaguar: For men who'd like handjobs from beautiful women they hardly know.
The best part of the film, though, is how the public react to the "honest" ads... they love them! The movie becomes a commentary on not only the duplicity of the advertising industry but also the effect that that duplicity has on consumers. An interesting thought - do consumers really need to be lied to? Are we cognisant of this duplicity and do we require it of advertisers? Its like... when I ask my boyfriend if I look good in this dress, I don't want his honest opinion, I just want him to say yes, I look good in this dress. It's not a question so much as it is a desire for him to reinforce my own perception. So... by extension, is that what consumers need from advertisers, or would we still buy products that were honestly promoted? Comment!
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