Toy Stories

Toy Story I & II
a kate west favorite

Once Upon A Time, Pixar and Walt Disney were good friends. And now they're not. But back when they were, they sure made some beautiful magic together - mainly the two "Toy Story" movies. John Lasseter, head honcho at Pixar, put himself on the map of fame forever with those computer animated films.

Woody (Tom Hanks) is a toy cowboy, in charge of a loyal roomful of toys. His reign is threatened when a brand new toy arrives, Buzz Lightyear (Tim Allen), an astronaut, the updated modern hero replacing outdated cowboys. The magic of these films is in the computer effects, certainly, but more importantly, in the poignant depth of character organically written into the story. Woody learns about leadership when Buzz threatens to take over and this challenge ultimately makes him a better person (or toy) and we all need that nemesis to wake us up a little. Buzz too learns about himself and how to be a part of a real community. The sight gags are hilarious and each character contributes something important and we love them all.

Ditto with "Toy Story 2", a real accomplishment in a sequel. This story adds Jessie, a vintage cowgirl doll, who has yet another lesson in self worth for Woody. He's a collectible and worth money too. It still speaks to childhood and friendship, as well as offering a more sophisticated story for adults, the humor appealing to young and old alike. Yet another triumph for Pixar. And of course, the voice talents of Tom Hanks, Tim Allen, Joan Cusack, John Ratzenberger, Kelsey Grammer, Don Rickles and many more are a divine delight.

Well worth renting, or better yet, adding to your home collection, speaking of collectibles. And the best part is these toys aren't lead-based or made in China.

Toy Story:
Directed by
John Lasseter

Writing Credits
John Lasseter (story)
Pete Docter (story)
Andrew Stanton (story)
Joe Ranft (story)
Joss Whedon (screenplay)
Andrew Stanton (screenplay)
Joel Cohen (screenplay)
Alec Sokolow (screenplay)

Cast
Tom Hanks ... Woody (voice)
Tim Allen ... Buzz Lightyear (voice)
Don Rickles ... Mr. Potato Head (voice)
Jim Varney ... Slinky Dog (voice)
Wallace Shawn ... Rex (voice)
John Ratzenberger ... Hamm (voice)
Annie Potts ... Bo Peep (voice)
John Morris ... Andy (voice)
Erik von Detten ... Sid (voice)
Laurie Metcalf ... Andy's Mom (voice)
R. Lee Ermey ... Sergeant (voice)
Sarah Freeman ... Hannah (voice)

Toy Story 2:
Directed by
John Lasseter
Ash Brannon (co-director)
Lee Unkrich (co-director)

Writing Credits
John Lasseter (story)
Pete Docter (story)
Ash Brannon (story)
Andrew Stanton (story)
Andrew Stanton (screenplay)
Rita Hsiao (screenplay)
Doug Chamberlain (screenplay)
Chris Webb (screenplay)

Cast
Tom Hanks ... Woody (voice)
Tim Allen ... Buzz Lightyear (voice)
Joan Cusack ... Jessie, the Yodeling Cowgirl (voice)
Kelsey Grammer ... Stinky Pete the Prospector (voice)
Don Rickles ... Mr. Potato Head (voice)
Jim Varney ... Slinky Dog (voice)
Wallace Shawn ... Rex the Green Dinosaur (voice)
John Ratzenberger ... Hamm the Piggy Bank (voice)
Annie Potts ... Bo Peep (voice)
Wayne Knight ... Al the Toy Collector (voice)
John Morris ... Andy (voice)
Laurie Metcalf ... Andy's Mom (voice)
Estelle Harris ... Mrs. Potato Head (voice)
Jodi Benson ... Tour Guide Barbie / Barbie on Backpack (voice)
Joe Ranft ... Wheezy the Penguin (voice)
Andrew Stanton ... Evil Emperor Zurg (voice)
R. Lee Ermey ... Army Sarge (voice)
Jonathan Harris ... Geri the Cleaner (voice)
Jeff Pidgeon ... Green Aliens (voice)

The Set:
Toy Story & Toy Story 2 (2 Pack)

More Fun Pixar:

Monsters, Inc. (Two-Disc Collector's Edition)

Finding Nemo (Two-Disc Collector's Edition)

The Incredibles (Two-Disc Collector's Edition)

Most Recent Best:
Ratatouille Read more!

Clueless

a kate west favorite








Clueless is a delightfully perfect modern adaptation of Jane Austen's "Emma". Alicia Silverstone is Cher (yes, after the pop singer icon), a sweet spacey high schooler who loves to play matchmaker, just like the classic character Emma. Her latest project is Tai (a young Brittany Murphy), whose clueless fashion begs for a makeover and Cher is only too happy to oblige. Besides setting up teachers with each other and gaining some homework-free days for everyone, she spreads joy by being helpful, despite her sometimes-clumsy meddlesome approach. She does mature in the course of the film of course, and learns to be truly unselfish. She is then rewarded with a love of her own. Aw.

Director/Writer Amy Heckerling created a fun flick, and a pretty brilliantly current and accessible way to bring Jane Austen to the masses. The characters are, for the most part, fairly harmless and often charming. The dialogue is upbeat and trendy, yet still holds its own years later upon repeated viewings. Also, it may inspire you to read the original, which is more than our favorite John Hughes movies accomplished. Hopefully.


Directed by:
Amy Heckerling

Written by:
Amy Heckerling

Cast:
Alicia Silverstone ... Cher Horowitz
Stacey Dash ... Dionne
Brittany Murphy ... Tai
Paul Rudd ... Josh
Donald Faison ... Murray
Elisa Donovan ... Amber
Breckin Meyer ... Travis
Jeremy Sisto ... Elton
Dan Hedaya ... Mel Horowitz
Wallace Shawn ... Mr. Wendell Hall
Twink Caplan ... Miss Toby Geist
Justin Walker ... Christian

For whatever reason, "Clueless" is currently unavailable on Amazon, but you can re-read Austen (below).

Austen's Works:
The Complete Novels of Jane Austen (Wordsworth Special Editions) (Special Editions)

My Generation of Teens:
Brat Pack Collection (The Breakfast Club/ Sixteen Candles/ Weird Science) Read more!

Fiddles and Violins

a kate west reflection






Not many people know this, but I used to play the violin. For almost two decades. I started as a child with the Suzuki method (or "Talent Education"), which is like an immersion technique, enabling children to learn by rote. The theory behind it is that if young children can acquire language skills so easily, they can do the same with musical languages and become proficient on a musical instrument. Critics say that brute memorization (also classic preparation for Spelling Bees) isn't really learning, it's just reciting. But I digress.

The real musical challenge came when I moved from Kentucky to California and had to find a new violin instructor. I don't know where my parents found him, but I started with a cranky old Russian master, Aaron Sten (founder of the California Youth Symphony and the Peninsula Symphony Orchestra). He's passed away now (February 27, 1994 at age 77), but back in the day he was a formidably impatient teacher. He taught passion and demanded perfection and gave me incredibly difficult pieces to try, all the while disparaging my previous training. Unfortunately, I wasn't made to be a virtuoso, but at least I learned about discipline, gained a deep respect for classical artistry and started to attend more symphonic concerts. To this day, I don't clap between movements. I also learned how to read music, which helped me in my singing.

So even though I'm sure my mother is still disappointed not to see me in Carnegie Hall, I feel like I experienced something profound and will never forget Mr. Sten. He was a great teacher, even when screaming at me, because it came from a place of true wisdom. Thank you, Maestro. Oh and in case you were wondering, a fiddle is a violin and a violin is a fiddle. The only difference is the location.

"Spontaneous joy in music, in performing or listening, comes naturally to the young, and it is a privilege to feel its spark". - Aaron Sten Read more!

The Diary of Anne Frank

The Diary of Anne Frank
directed by Judith Dresch
review by Janice Riese, Los Altos Town Crier
at the Manhattan Playhouse, East Palo Alto, CA
through December 1992

Manhattan Playhouse in Palo Alto is presenting "The Diary of Anne Frank," the moving story of a Jewish family forced into hiding in Amsterdam during the Nazi occupation. The time frame is from July 1942 through August 1944 with updated scenes in November 1945 opening and closing the play.

Playwrights Frances Goodrich and Albert Hackett have adapted the diary left by Frank into a two-act play that became a Broadway hit in the 1950's.

Director Judith Dresch has transformed the theater into an upstairs loft over Mr. Frank's Herb and Spice store. Here, the four Franks (Father, Mother, Margot and Anne), the Van Daans and their son Peter and a Jewish dentist, Mr. Dussel, are to spend the next two years, crowded together, constantly in fear and with never enough food.

Two Dutch people, Miep Gies (Anita Khalat Bari) and Mr. Kraler (Mark Solomon), are their messengers from the outside world, placing themselves in grave danger if they should ever be caught harboring Jews.

The pivotal role is, of course, that of Anne, 15 when we first meet her and 17 when she is forced from the safety of the attic by the Nazi soldiers. She writes in her diary every day, and her reading of what she writes carries the action along.

Natalie Skelton is extremely good as Anne, changing from the outspoken, noisy, not too likable child (she was called "quack-quack" in school) to a quieter, more understanding and quite grown-up young lady. Her diction is excellent, her delivery clear and precise. It is Anne who never gives up hope and keeps the rest going in spite of hardship.

Mr. Frank, warm and sensible, is excellently portrayed by Jack Weissman. Annette Boyenga is the sympathetic wife and mother who loves her family (but does not understand Anne, according to Anne). The role of Margot, the quiet one, always doing what her mother tells her, is well-handled by Amber Land.

William F. Morrison is a loud and thoroughly unlikable Mr. Van Daan; Joanne Eagle is good as the vain but frightened Mrs. Van Daan, Ryan Noto's Peter is sullen and withdrawn at first, but he, too, changes with the months, learning to understand and love Anne and to accept himself as a worthy person.

Dresch has done a sensitive job of directing (she is also general "overseer" of the whole production). This is not an easy play to watch as it brings back the horrors of the holocaust, a time of terror and suffering.

Review by Janice Riese, Los Altos Town Crier Read more!

An Anonymous Review

The Diary of Anne Frank
an anonymous review from a theater patron
directed by Judith Dresch
at The Manhattan Playhouse, East Palo Alto, CA
through December 5, 1992

I attended the opening on Friday, 11/13.

Technically, the production was a shambles. The lighting was poor, the flats were flimsy and noise from "backstage" was clumsily audible. The scene changes took forever, leaving a perplexed audience sitting in the dark, hearing nothing but the sound of stagehands moving props. Several times the lights prematurely came up to reveal stagehands still onstage, awkwardly clunking about, then hysterically fleeing the stage as the lights shone on them.

The acting was horrendous. Various castmembers were blatantly struggling to remember their lines. Their speech lacked rhythm, tempo and volume. Movement was clumsy; I didn't know whether to blame the blocking or the actors for their inept actions, which for the most part lacked motivation and energy. There was no authentic interaction between actors; it was as if everyone were acting in separate plays, indulging in a series of monologues. It wasn't clear to me at all what anyone was feeling at each moment. The lines in the script were easily interpreted to mean something, however the action often went against the grain and blemished the text. There was no subtext provided by the actors; they merely followed directions and robotic ally indicated what they were supposed to be feeling. To say that the actors lacked presence in this production is an understatement.

Clearly, there were some rough parts that could be ironed out with more rehearsal. But some of the faults were inexcusable. When I'm sitting in a full house and I notice that most everyone is yawning and anxiously shifting in their seats, I can't help but suspect that I'm not the only one who's bored. I hold Manhattan Playhouse liable for this theatrical dud because they've managed to reduce this wonderful play about a heroic girl and about the hardships and beauty of community during (in spite of) war, into an emotionally barren wax museum. Rather than feeling enriched following the show, all I noticed was that I had $10 less in my wallet.

The only one who truly showed any life was Natalie Skelton (Anne Frank). She was fabulous. But she was so alone onstage. No one else showed any urgency or grief. She alone showed excitement, fear, caring and charm in her winsome portrayal of a girl rapidly growing into a woman ahead of her time. The best moments in the play are when she is alone, reciting her memoirs as she scribbles them into her diary.

Because I've read and seen the play several times, and I know how it turns out in the end, there is a poignancy that radiates throughout the story, no matter how badly it is presented. Natalie added some of her own gusto as well. If there's any reason for seeing this particular production, it's to see her. Natalie knows how to be interesting; she has presence and she lights up the stage. Now, if only she could be joined by a cast of real actors ....

An Anonymous Theater Patron Read more!

Anne Frank story inspires actors at Palo Alto Playhouse

by Paul Freeman, Jewish Bulletin Correspondent

Now, perhaps more than ever, the world needs to hear the story of Anne Frank.

That became increasingly clear to theater director Judith Dresch during a recent trip to Moscow.

"While there, I began reading in the papers about all the uprising of anti-Semitism, of the desecration of the Jewish cemeteries in Germany, of the neo-Nazi groups and of the denial that the Holocaust ever existed," said Dresch, whose relatives in Poland were persecuted by the Nazis during the war.

"We cannot forget the Holocaust," she says. "We cannot forget Hitler. Future generations must keep all of that in front of them, as an example of the worst that can happen, so it will never happen again."

Dresch's experiences in Russia inspired her to mount a new production of "The Diary of Anne Frank" at Palo Alto's Manhattan Playhouse. The show opens tonight.

The play, set in 1942 Nazi-occupied Holland, transforms the Holocaust from numbing statistics into a deeply personal experience. Eight people - two families and a dentist - hide in an attic, trying, against all odds, to escape the concentration camps.

The audience is drawn into the claustrophobic atmosphere, privy to the characters innermost fears, pains and dreams. Humor leavens the proceedings just enough, making the poignant passages even more affecting. What makes the play a classic is its ability to offer an uplifting aura, transcending the tragedy.

Jack Weissman, the Los Altos Hills resident who plays Otto Frank, Anne's father, visited the famous Anne Frank house while visiting Amsterdam; he draws on that experience in his performance. "When I was there, I imagined how I would feel in those circumstances. It was a very emotional thing," he recalls.

"In the final scene of the play, [when] Mr. Frank returns to the place where they had been hidden and reads the diary and thinks about Anne. It's so moving. I'm not a professional actor, but when I read the lines, it makes me want to cry."

Weissman, some of whose relatives in Russia where killed by the Nazis in World War II, believes that audiences are moved by the story even if they have no direct connection to the events.

"You really get lost in this play," he says. "It's so involving. You feel for these people. It has a message that should never be forgotten."

The other Jewish cast member, Mark Solomon of Redwood City - who portrays Mr. Kraler, the Dutchman who hides and feeds the Franks - agrees that the plays impact is wide-ranging.

"It's a story that has meaning perpetually, not just in its own time frame," he says. "It displays hope in time of difficulty. It's an important play not only to the Jewish audience, but for all people. It happens to be about Jews, but it relates to persecution generally."

Anita Khalat Bari of San Jose, a Persian who plays the Dutch secretary Mrs. Miep, is a case in point. "When I saw the movie of 'The Diary of Anne Frank,' I was about 10," she recalls. "It made a great impression on me at that age, the way they had to be indoors so long, never seeing daylight. The way Anne always kept track of everything was remarkable. It inspired me to start writing a diary of my own. Her story has always stayed in my mind."

Similarly, 25-year old Natalie Skelton of Sunnyvale, who plays Anne Frank, feels a particular kinship with the character.

"I feel that I know her, that I've gone through some of the things that she went through, not in terms of the Holocaust or the horrors, but in the way that all adolescent girls share similar experiences," she says. "We go through basically the same things, no matter what the country or what the circumstances. I think that's the reason the play has been so popular for so long."

But for Skelton, the play has a relevance that goes far beyond the coming-of-age theme - particularly for young audiences. "To be persecuted for your religious beliefs is absolutely ludicrous," she says. "The play is so important in this day and age, because of all the hate groups that are around now."

"The Diary of Anne Frank" runs at 8 p.m. Fridays and Saturdays through December 5, 1992 at the non-profit Manhattan Playhouse.

by Paul Freeman, Jewish Bulletin Correspondent Read more!

Magnum Impact

a kate west favorite

From the website
http://electricocean.com/MagnumImpact/index.html:

A group of bank robbers hides out in a mountain cabin after a successful heist but find themselves under heavy fire from an unseen force of attackers in the surrounding forest. The main thrust of the movie (starring Austrian TV actor Armin Felsberger) shows the siege of their stronghold in a series of intense shootouts. The violence is strong, but never too gory. The acting is uneven at times, but the force of the images and the great editing draw you into the situation almost from the first moment. Includes some of the best shootouts ever filmed. Not surprisingly, Director Herbert Primig lists directors like Richard Donner, Sam Peckinpah, and Walter Hill as "people who have influenced me when I was a teenager and never forgot". He is currently at work on a new project titled SUMMER CITY.

Film Credits

Producer:
Herman Jamek
Herbert Primig

Director:
Herbert Primig

Cinematography:
Peter Kleewein

Screenplay:
Guenther Primig
Herbert Primig

Cast:
Armin Felsberger
Birgit Wanek
Klaus Herbst
Dieter Bergner
Guenther Primig
Natalie Skelton (Newscaster)


Previous Primig films: LA CACCIA (THE CHASE), SOLDIERS


Watch the clips online! Read more!

French In Action

French In Action - PBS
a kate west favorite

Professor Pierre Capretz (Yale University) developed a method of French language immersion in his series "French In Action". In this course, you speak no English whatsoever, only listening intently to the Professor in French. You might feel lost at first, but after a few episodes, you realize this is a brilliant way to learn a new language, second only to actually moving to a French-speaking country.

Charles Mayer and Valérie Allain play Robert, an American, and Mireille, a French girl, who meet and date, in French, of course. Mireille has an entire family you'll get to know, including a rambunctious younger sister Marie-Laure (Virginie Contesse) and an eccentric Aunt Georgette (Colette Ripert). Each scene is repeated for conjugation and memorization with appropriate pauses for you to repeat it back to the screen. It is real French life, the way real people interact, rather than rote textbook exercises. It is charmingly effective and you'll find yourself wondering what will happen next, waiting eagerly for Professor Capretz to welcome you with "Bonjour! Nous allons apprendre le francais!"* And before you know it, you'll actually pick up some real French.

www.learner.org

*"Good Morning! We are all going to learn French!"


Cast:
Charles Mayer ... Robert
Valérie Allain ... Mireille

Julie Arnold ... Cécile
Antonio Cauchois ... Tonton Guillaume
Virginie Contesse ... Marie-Laure
Franck de la Personne ... Hubert (as Franck Lapersonne)
Marguerite Foulon ... Madame Courtois
André Haber ... Monsieur Courtois
Jean-François Kopf ... Jean-Denis
Chrystelle Labaude ... Concierge
Riton Liebman ... Jean-Pierre Bourdon
Amélie Pick ... Annick
Rosine Proust ... Madame Belleau
Colette Ripert ... Tante Georgette (as Colette Ripert-Clément)
Fabienne Tricottet ... Colette
Serge Vincent ... Monsieur Belleau
Michael Wiseman ... Obnoxious French student


Get the book to study along:
French in Action : A Beginning Course in Language and Culture : The Capretz Method: Textbook Read more!

The Passion of Joan of Arc

The Passion of Joan of Arc
(La Passion de Jeanne d'Arc)
a kate west favorite






"The Passion of Joan of Arc" is a beautiful version of the story of Joan of Arc, the French martyr captured by the English and later made a saint. The key word in the title definitely being passion. Maria Falconetti is a soulful and intense Joan. Although the film is silent (just try it, you'll like it), she conveys a wealth of emotion in Director Carl Dreyer's close ups.

Truly a cinematic and prolific genius, Dreyer knows quite well how to show stark feelings and human agony in a profound way. Originally filmed in 1928 ,what makes this edition all the more special is that in 1994, Richard Einhorn composed a soundtrack for the film ("Voices of Light"), a choral masterpiece blending classical and modern elements, turning the work into a true epic.

This is one of the most amazing films in cinematic history, not only for its artistry, but as a truly moving depiction of the life of an historical icon. It is a must see for film students and general public alike.


Director:
Carl Theodor Dreyer
Writers:
Joseph Delteil
Carl Theodor Dreyer

1994 Composer:
Richard Einhorn (Voices of Light)
Release Date:
21 April 1928 (Denmark)

Jeanne D'Arc (1412-1431)

Maria Falconetti ... Jeanne d'Arc (Renè Jean Falconetti)
Évêque Pierre Cauchon ... Bishop Pierre Cauchon (as Eugène Silvain)
Antonin Artaud ... Jean Massieu
Andrè Berley ... Jean d'Estivet


The 1985 Criterion Edition:
The Passion of Joan of Arc - Criterion Collection

Voices of Light:
Richard Einhorn: Voices Of Light Read more!

Pee-wee and Poltergeist

Pee-wee's Big Adventure
and Poltergeist
a kate west reflection





The 1980's were the cinematic frivolous response to the heavy hitting 70's power movies. And my generation loved them. In particular, my brother and I loved "Pee-wee's Big Adventure" and "Poltergeist". To this date, we can pretty much quote every line. To view them again as an adult is to trip down nostalgia lane and find that they still stand the test of time.

Tim Burton is now an established Gothic director and his "Pee-wee" film is as far away from that style as you can get, but still holds fascination. It is a well-made version of the manic Pee-wee world, created from the "Pee'wee's Playhouse" television show and as a character from the reputable Groundlings Theatre main show.

Basically, Pee-wee is a child in a grownup's body, living in a world as a child might see it, with scary bad people trying to steal his bicycle, the one possession he holds most dear. The colorful universe he exists in delights the viewer and all those quotable lines ("I know you are, but what am I?" "I love that story!" "I like you Dottie, LIKE!") are embedded in our collective consciousness forever, for better or for worse. Objectively, it's a fine cinematic achievement and kudos to Burton for capturing that voice so well.

The late beloved Phil Hartman (also of the Groundlings, as well as Saturday Night Live) has a fun little cameo, as do many other notable celebs. That fact that the entire storyline revolves around Pee-wee's adventures in searching for his bike is yet another indication of the brilliant simplicity of the film. Plus it's just plain great fun.

Tobe Hooper supposedly directed the modern ghost classic "Poltergeist" but we all know that Producer Steven Spielberg had a heavy hand in it's execution as evidenced by many a suspenseful scene. The quintessential closeup of horror-stricken faces and the old-fashioned special effects may seem dated but again, are so powerfully engrained in our memories that we love them anyway.

The Freeling household needs to be purged of poltergeists when daughter Carol Anne (the late Heather O'Rourke) is missing. Apparently, she's still in the house, just in another dimension. Aided by supernatural experts, played by Zelda Rubinstein and the late Beatrice Straight, frantic mother Diane (JoBeth Williams) is finally able to get her baby back, after battling many dead things. It may seem tame by today's standards, but back then it was pretty scary stuff, especially little brother Robbie's (Oliver Robins) fight with a demented clown doll (shiver!)

Just be wary of those eerie words, "They're here!"

Pee-wee
Directed by:
Tim Burton

Writing Credits:
Phil Hartman
Paul Reubens
Michael Varhol

Cast:
Paul Reubens ... Pee-wee Herman
Elizabeth Daily ... Dottie
Mark Holton ... Francis
Diane Salinger ... Simone
Judd Omen ... Mickey
Irving Hellman ... Mr. Crowtray
Monte Landis ... Mario
Damon Martin ... Chip
David Glasser ... BMX Kid
Gregory Brown ... BMX Kid
Mark Everett ... BMX Kid
Daryl Keith Roach ... Chuck (as Daryl Roach)
Bill Cable ... Policeman #1
Peter Looney ... Policeman #2
Starletta DuPois ... Sgt. Hunter
Professor Toru Tanaka ... Butler
Ed Herlihy ... Mr. Buxton
Ralph Seymour ... Francis' Accomplice
Lou Cutell ... Amazing Larry
Raymond Martino ... Gang Member
Erica Yohn ... Madam Ruby
Bill W. Richmond ... Highway Patrolman
Alice Nunn ... Large Marge
Ed Griffith ... Trucker
Simmy Bow ... Man in Diner
Jon Harris ... Andy
Carmen Filpi ... Hobo Jack
Jan Hooks ... Tina
John Moody ... Bus Clerk
John O'Neill ... Cowboy #1
Alex Sharp ... Cowboy #2
Chester Grimes ... Biker #1
Luis Contreras ... Biker #2
Lonnie Parkinson ... Biker #3
Howard Hirdler ... Biker #4
Cassandra Peterson ... Biker Mama
Jason Hervey ... Kevin Morton
Bob McClurg ... Studio Guard
John Paragon ... Movie Lot Actor
Susan Barnes ... Movie Lot Actress
Zachary Hoffman ... Director
Lynne Marie Stewart ... Mother Superior
George Sasaki ... Japanese Director
Richard Brose ... Tarzan
Drew Seward ... Kid #1
Brett Fellman ... Kid #2
Bob Drew ... Fireman
John Gilgreen ... Policeman at Pet Shop
Noreen Hennessey ... Reporter (as Noreen Hennessy)
Phil Hartman ... Reporter
Michael Varhol ... Photographer
David Rothenberg ... Hobo
Patrick Cranshaw ... Hobo (as Pat Cranshaw)
Sunshine Parker ... Hobo
Gilles Savard ... Pierre
James Brolin ... Himself - as 'PeeWee'
Morgan Fairchild ... Herself - as 'Dottie'
Tony Bill ... Terry Hawthorne
Dee Snider ... Twisted Sister / Dee Snider (as Twisted Sister)
Milton Berle ... Himself (uncredited)


Poltergeist Cast

• Craig T. Nelson, Steven "Steve" Freeling
  
• JoBeth Williams, Diane Freeling
  
• Oliver Robins, Robert "Robbie" Freeling
  
• Heather O'Rourke, Carol Anne Freeling
• Dominique Dunne, Dana Freeling
  
• Zelda Rubinstein, Tangina Barrons, Clairvoyant
• Beatrice Straight, Dr. Lesh
  
• Richard Lawson, Ryan
  
• Martin Casella, Dr. Marty Casey
  

Watch It:
Pee-wee's Big Adventure (Widescreen)

My Other Obsession:
Poltergeist (25th Anniversary Edition)

www.groundlings.com Read more!

All That Jazz

All That Jazz
a kate west favorite




(Roy Scheider)

"All That Jazz" has been compared to Federico Fellini's semi-auto-biographical "8 1/2". It may seem egotistical to portray yourself on the big screen and certainly Bob Fosse didn't have any self-esteem issues. At least not in how he projected himself to the outside world. True geniuses are often given a lot of leeway. A wildly talented and famous choreographer, Fosse made a huge impact on every person he came into contact with. That couldn't have been the most pleasant of experiences, as he was always more brutally honest than tactfully kind (he wanted what he wanted), but it probably changed lives.

The movie itself is brilliant, ego and all. From the precisely coordinated and edited opening sequence of dance scenes to all the elaborate musical numbers, it is quite the Broadway and Hollywood coupling. Fairly true to life, Fosse did have a heart attack while directing "Chicago" for Broadway and did suspect the producers and insurers were trying to double cross him. He did have an ex-wife (Gwen Verdon) who was over-the-hill by show standards and he did have many, many women, including Ann Reinking, who basically plays herself in the film. Story is he actually made her audition over and over for the part, too, sadist that he could be. He also made the movie "Lenny" around the same time he did the Broadway show, riding his editing staff for perfection. Dustin Hoffman got the Lenny Bruce role in real life and Fosse graciously gave Cliff Gorman the pretend role in the film, as he did the stage role. (Lenny Bruce was a famously controversial comedian who shocked audiences by supposedly promoting stereotypes, while actually demystifying "bad" words.)

For all Fosse's apparent viciousness though, he understood real style and beauty and could be very tender when he felt so moved. A complex man. The plot of the movie concerns Joe Gideon (Roy Scheider), famous Broadway choreographer, directing a controversial new show in danger of losing financing when he collapses from a heart attack. Jessica Lange plays the Angel of Death, who flirts shamelessly with him throughout the movie, the only female capable of seducing him for a change. Interspersed with flashbacks, dream sequences, fantasy projections, reflections and present day perilous relationships, the Joe Gideon character is revealed to be a carbon copy of Fosse himself. He directs the film himself, with one impressive scene after another, including the moments before his coronary, when everything seems to stand still and voices fade away until you can only hear the closest isolated moments. Very effective.

Of course the dance numbers are all stunning, including the rehearsals where we learn that in order to sleep with the boss you better be a hell of a dancer. Every moment thoughtfully coordinated, it is a fascinating look into the mind of a master. While he does portray himself as rather a bastard, he is still glamorized and beloved by everyone, especially in the final spectacular "Bye, Bye, Life" scene with the perfect Ben Vereen. Roy Scheider (who virtually embodied the man himself) said that during the final shots of the movie, he goaded Fosse into trying the end experience himself and to his surprise and delight, Fosse found that everyone forgave him as readily as they did his alter ego.

Perhaps only a tortured soul is capable of creating such passion and art. And Fosse did indeed give us many riches, from his legendary signature bowler hat dance style to his multi-award winning Broadway shows and Hollywood movies ("Chicago", "Cabaret", "Sweet Charity" and "Damn Yankees" to name but a few). He made a star out of Liza Minelli and seared his mark on the world forever. "All That Jazz" is the culmination of everything that he was and you could not ask for a better legacy. And of course it has a kick ass soundtrack.

Directed by:
Bob Fosse
Writing Credits:
Robert Alan Aurthur
Bob Fosse

Cast:
Roy Scheider ... Joe Gideon (Bob Fosse)
Jessica Lange ... Angelique
Leland Palmer ... Audrey Parism (Gwen Verdon)
Ann Reinking ... Kate Jagger (Ann Reinking)
Cliff Gorman ... Davis Newman
Ben Vereen ... O'Connor Flood
Erzsebet Foldi ... Michelle Gideon (Nicole Fosse)
Michael Tolan ... Dr. Ballinger
Max Wright ... Joshua Penn
William LeMassena ... Jonesy Hecht
Irene Kane ... Leslie Perry (as Chris Chase)
Deborah Geffner ... Victoria Porter
Kathryn Doby ... Kathryn
Anthony Holland ... Paul Dann
Robert Hitt ... Ted Christopher
David Margulies ... Larry Goldie
Sue Paul ... Stacy
Keith Gordon ... Young Joe Gideon
Frankie Man ... Comic in strip club
Alan Heim ... Eddie
John Lithgow ... Lucas Sergeant
Cliff Gorman .... Davis Newman (Dustin Hoffman as Lenny Bruce)

See It:
All That Jazz Read more!

The Partidge Family

The Partridge Family
a kate west favorite





The Partridge Family is such a childhood classic for those of us who frolicked youthfully in the seventies. And still kind of hip. A single mom who led her five children to become pop musicians. They really had one over on the Brady Bunch in the cool factor. David Cassidy had no idea his real life Step Mother Shirley Jones would be playing his TV Mom until he was committed to the project. And they all had such great rapport with each other on screen. Now that's quality family time.

Shirley Partridge (Shirley Jones) has to find a way to support her kids and since they're all musically endowed, they pick up a manager, Ruben Kincaid (Dave Madden), paint a school bus psychedelic colors and hit the road, whenever they don't have to go to school, that is. They get fans and a following and every week something funny happens, usually followed by a lesson for everyone involved. Danny Partridge (Los Angeles DJ Danny Banaduce) is the smart aleck red-headed financially savvy one on guitar, Keith (David Cassidy) is the heartbreaker lead singer and his sister Laurie (Susan Dey) is the feminist sweet one on keyboard. We don't hear much from Tracy (Suzanne Crough) or Chris (alternatively played by Jeremy Gelbwaks and Brian Forster), the youngest, quietest pair of family singers, on tambourine and drums respectively. Mom does piano. And it all seems to work. Plus we get topical lessons, still applicable today like equality for women and conserving energy (should we be worried that all those issues are still unresolved in over three decades?)

We loved this show. And looking back on it, it still strikes a chord, so to speak, especially when listening to Keith's still sexy "I Think I Love You".

Created by
Bernard Slade


Starring
Shirley Jones
David Cassidy
Danny Bonaduce
Susan Dey
Suzanne Crough
Jeremy Gelbwaks (1970-1971)
Brian Forster (1971-1974)
Dave Madden

The Series:
The Partridge Family - The Complete First Season

The Songs:
Come on Get Happy! The Very Best of the Partridge Family Read more!

Day For Night

Day For Night (Nuit Américaine)
a kate west favorite







The Award winning "Day for Night"* is the renowned director François Truffaut's love homage to film making. It is filmed as if it is a documentary, demonstrating everything that goes into creating a professional movie. In painstaking detail, Truffaut cajoles and soothes his leading actors, stroking egos and culling true performances.

Jacqueline Bisset is the ingenue, delicate as any fragile movie star and in need of as much attention. Of special note is Truffaut's sympathetic work with older film diva Valentina Cortese. She can't remember her lines among other troubles and the gentle way he helps her along is rather poignant. The film they are all supposedly working on is "Je Vous Presente, Pamela (Meet Pamela)" a melodrama chronicling a young man (Jean-Pierre Léaud) in love. He introduces his current love (Bisset) to his parents only to lose her to his father (Jean-Pierre Aumont).

Off-screen, reality is as dramatic as on-screen. Real life wives lament actor morality, as everyone inevitably sleeps around. Stars get hysterical, the crew is overworked, the director (played by Truffaut himself) wears an earpiece which isolates him from the chaos, enabling him to stay profoundly creative, as evidenced by the many cinematic books he devours on great film directors. We also witness flashbacks to him as a child stealing photos from a movie theater, his first true love.

It is a wonderful and true depiction of the work that goes into the crazy business called show. Warmly touching, sans cynicism, we are treated to a very private look into the volatile lives of passionate actors and while the characters are fictional, they represent actual cinematic beings. And who doesn't want to know more about them? Well worth seeing, especially for film fanatics and for those of you not so familiar, this may inspire you to learn more about it. And don't mind the subtitles - they're good for you.

Cast:
Jacqueline Bisset (Julie)
Valentina Cortese (Severine)
Dani (Liliane)
Alexandra Stewart (Stacey)
Jean-Pierre Aumont (Alexandre)
Jean Champion (Bertrand)
Jean-Pierre Léaud (Alphonse)
François Truffaut (Ferrand)
Nike Arrighi (Odile)
Nathalie Baye (Joelle)
David Markham (Dr. Nelson)
Bernard Menez (Bernard)
Gaston Joly (Lajoie)
Zenaide Rossi (Madame Lajoie)


Director:
François Truffaut
Writers:
Jean-Louis Richard
Suzanne Schiffman
Release Date: September 7, 1973


*Day for night, also known as nuit américaine ("American night"), is the name of a cinematographic technique to simulate a night scene.

The DVD:
Day for Night Read more!