RAMBO: FIRST BLOOD PART II - Home
PEARLIE MAE’S WORDS OF WISDOM
Two 1950s record albums by Pearl Bailey illustrate her popularity as a vocalist.
For Hicksflicks.com, Friday, Nov. 15, 2019
EDITOR’S NOTE: This brief column offers some insight into how celebrities grant interviews to the media to publicize a new movie, book, music album, whatever. Especially to smaller outlets in smaller markets, which the Deseret News certainly was (and is). Pearl Bailey passed in 1990 at the age of 72 but my interview with her a couple of years earlier was a memorable one for me and after it was published I wrote this ‘Hicks on Flicks’ column, which ran March 27, 1988, under the headline, ’15 minutes on the phone with Pearl is a lesson in life.”
One of the true pleasures of this job is being able occasionally to speak with artists you’ve admired for years, and that happened to me last week when I did a brief telephone interview with Pearl Bailey.
I’ve loved Pearl Bailey since my childhood and it was a particular thrill to be able to talk to her as she gave out a series of interviews for the re-issue of the Disney animated film “The Fox and the Hound” which features her voice.
The publicist informed me that I was to keep the interview to 15 minutes sharp, which I did. But Bailey was someone I could have talked with for hours.
It’s not always like that, of course. There have been interviews with other celebrities that seemed long after five minutes.
And part of that is due to the nature of celebrity interviews. Whenever they have a new movie, TV show, record or book to promote, celebrities have to do so many interviews back to back — whether by phone, satellite or in person — that it must become extremely tiring.
Pearl Bailey and the animated character she voices in 'The Fox and the Hound' (1981).
After a dozen or so sessions, talking about themselves constantly, especially with the realization that no one is going to ask a question that hasn’t been asked 12 times already, it’s understandable that they might become bored or restless or even a bit testy.
Still, it’s the real professionals who can pull it off well — making you seem like you’re the first interview of the day — though you may be No. 29.
So it’s better to be among the first three or four interviews than the last five or six.
In the case of Bailey, she did 45 15-minute phoners over Tuesday and Wednesday, speaking from her hotel room in Chicago. She was so bouncy and fresh, however — seemingly enjoying herself so thoroughly — that it’s hard to imagine her becoming bored by it. In fact, it’s hard to imagine Pearl Bailey ever becoming bored at all.
Few celebrities have the ability to seem friendly, homey and genuine all at once. But that’s because few know how to just be themselves.
There are no airs about Pearl Bailey. She is just herself. As she puts it. “What you see is what you get.”
Pearl Bailey co-starred in 'Porgy and Bess' (1959) and 'Carmen Jones' (1954).
And how does she manage to seem just as fresh for No. 44 as she does for No. 2?
I have to do it and I might just as well do it to best of my ability,” Bailey said. “And that’s what life is, honey.”
It’s even fewer celebrities who give you a lesson in life in so short a conversation.
As she hung up Bailey said, “We’ll meet again.”
Well, maybe. But if not, 15 minutes with Pearlie Mae can keep a smile on your face for a long time.
THE NEED FOR SPEED
For Hicksflicks.com, Friday, Nov. 15, 2019
A true story, an elderly thriller and a remake lead off this weekend’s new movies in theaters. It’s the serious vs. the silly; welcome to fall flicks
“Ford v Ferrari” (PG-13). Auto designer Carroll Shelby (Matt Damon) is hired by Henry Ford II (Tracy Letts) to build a racecar to challenge Ferrari at Les Mans, the world’s oldest sports-car endurance race. Shelby recruits driver Ken Miles (Christian Bale), a wild card but the one guy he believes can beat Ferrari. True story directed by James Mangold (“Logan,” “Walk the Line”). With Josh Lucas and Jon Bernthal.
“The Good Liar” (R). An aging career con artist (Ian McKellen) sets his sights on someone he’s met online, a recently widowed millionairess (Helen Mirren), and he means to take all her money. But in time it becomes clears that things are not what they seem. A twisty thriller from director Bill Condon (“Dreamgirls,” “Beauty and the Beast”).
“Charlie’s Angels” (PG-13). Sabina (Kristen Stewart), Elena (Naomi Scott) and Jane (Ella Balinska) are investigators for the Townsend Agency who take down bad guys all across the globe. An action-filled reboot of the TV series and 2000s movies, written and directed by Elizabeth Banks (“Pitch Perfect,” “The Hunger Games”), who also co-stars (as Bosley). With Djimon Hounsou, Sam Claflin and Patrick Stewart.
“The Report” (R). The true story of an idealistic CIA staffer (Adam Driver) who is assigned to lead an investigation of the Detention and Interrogation program created in the aftermath of the 9/11 attacks. But what he finds leads to a cover-up as the CIA tries to bury his report. With Annette Bening, Jon Hamm, Tim Blake Nelson, Maura Tierney and Corey Stoll.
“Radioflash” (Not Rated). After a nuclear strike causes an EMP (electromagnetic pulse) that cuts off power, water and communication for the entire western United States, a teenage girl (Brighton Sharbino), who revels in virtual-reality survival games, and her father (Dominic Monaghan) begin a desperate journey in this apocalyptic thriller. With Will Patton and Fionnula Flanagan. Filmed in Idaho, Washington and Montana.
“The Warrior Queen of Jhansi” (R). The story of Rani (Hindi for “Queen”) of Jhansi (Devika Bhise), a freedom fighter in 1850s India who became known as the “Joan of Arc of the East” for leading her people into battle against the British Empire is given epic cinematic treatment in this historical biography. With Rupert Everett, Derek Jacobi, Jodhi May and Nathaniel Parker.
“Fantastic Fungi” (Not Rated). Brie Larson narrates this documentary about the medicinal world of fungi, of which there are a million-and-a-half species, 20,000 of which produce mushrooms. And mycologists interviewed here feel they could be useful in saving the planet. (Exclusively at the Tower Theater.)
“No Safe Spaces” (PG-13). This documentary has comic podcaster Adam Carolla and conservative radio talk-show host Dennis Prager traveling the country to interview experts on what they consider an attack in the public forum on free speech.
NEW YORK STORIES
For Hicksflicks.com, Friday, Nov. 15, 2019
EDITOR’S NOTE: Martin Scorsese, Francis Ford Coppola and Woody Allen walk into a bar. … Just kidding. But the mismatched trio did collaborate on an anthology film some 31 years ago, and it’s just catching up with Blu-ray, courtesty of Kino Lorber. My review was published on March 10, 1989.
“New York Stories” is actually a triple-feature packed into a two-hour movie. But unlike most anthology films, such as “Woman Times Seven” or “Plaza Suite” or “Twilight Zone — The Movie,” the only binding link here is that all three stories take place in Manhattan and all are essentially light comedies with elements of romance.
And since each film is its own significant work, each one really deserves its own review. Hence, three reviews in the order the films appear in “New York Stories”:
Nick Nolte, Rosanna Arquette; Martin Scorsese's 'Life Lessons'
—"Life Lessons" is Martin Scorsese's contribution, a stylized tour de force of razzle-dazzle directorial technique, with a wonderful performance by Nick Nolte as an eccentric SoHo artist who paints oversized canvases to loud heavy metal, using a trash can lid as a palette.
Rosanna Arquette is appealing, if a bit shrill, as his live-in assistant, an aspiring painter herself, who is insecure and flighty and who routinely rejects Nolte's advances and declarations of love.
The story is ostensibly about Nolte's pursuit of Arquette, who has fallen for a loutish performance artist, and of Arquette's continual rebuffs. But it’s really about Nolte's artistic passions, which seem to thrive on personal pain.
Scorsese has developed an incredible 45-minute treatise on the creative mind and its self-destructive side, and Nolte has never been better as the embodiment of both.
Despite the presence of Scorsese's fascinating style, it never intrudes upon the story, giving the entire film a feeling of effortlessness. And it is the one short film in this trio that probably could have sustained feature length.
Don Novello, Heather McComb; Francis Ford Coppola's 'Life Without Zoe'
—"Life Without Zoe" is from Francis Ford Coppola, the least of the three films here, and the shortest (33 minutes), a slight, rambling tale about a poor little rich girl who lives in the Sherry Netherlands Hotel and whose parents (Talia Shire, Giancarlo Giannini) are never home.
So young Zoe (Heather McComb) is alone much of the time, helped with daily chores by the butler (Don Novello, better known as “Saturday Night Live’s” Father Guido Sarducci, in a funny, scene-stealing performance).
The problem with this story is that it goes nowhere. There is the beginning of a plot device, as Zoe rescues a priceless earring during a robbery and discovers her father may have had an indiscretion, but that also goes nowhere.
Despite charming performers and some nice moments, this is a flat, lifeless effort and rather a disappointment after Scorcese's triumph.
Mae Questel, left, Mia Farrow, Woody Allen, 'Oedipus Wrecks'
—"Oedipus Wrecks" more than makes up for "Zoe's" failure, however, and Woody Allen fans will be happy to know this is a comedy and Allen himself stars.
Allen is a 50-year-old Jewish lawyer with a domineering mother — the ultimate stereotypical Jewish Mother. But you don't have to be Jewish to identify with his angst at being a successful adult attorney and still being told by his mother that he doesn't know how to run his life.
So Allen secretly wishes his mother would "disappear," and one day he gets his wish in a rather unexpected manner. The result of that occurrence is also unexpected.
To reveal what happens in this comic fantasy, essentially an extended Jewish Mother joke, would spoil the fun, but suffice to say there are some hilarious sight gags and one-liners, and an ending that is both ironic and perfectly satisfying.
This is essentially a one-joke film, and Allen, who initiated this anthology project, rightly knew it needed to be a short, not a feature. The result, 40 minutes in length, perfectly suits the material.
Mia Farrow has a rather small part without much to do here, but Mae Questel as Allen's mother and Julie Kavner as a looney psychic are thoroughly delightful. And the best news, of course, is that Allen is back in rare form.
"New York Stories" is rated PG, for profanity and implied sex in the first and third films.
Hi. I'm Chris Hicks.
But if you're looking for Chris Hicks the Australian rugby player or the American recording-industry executive or the Major League Baseball player or the author of "Think" or the singer-songwriter or the former basketball player, you're in the wrong place.
I'm Chris Hicks the movie guy from Salt Lake City. If that's who you're looking for, welcome to my website as I enter the 21st century … a little late (May 2013).
This site is all about movies, well mostly, and it's also about me, I guess, but I'll try to keep my ego in check.
My goal, my hope, is that you will be able to browse the pages here and be alerted to or reminded of some great movie you've never heard of or forgotten about. In other words, something that might enhance your movie-watching experience, whether it's by Alfred Hitchcock or Joss Whedon, or stars Audrey Hepburn or Jennifer Lawrence or someone you never heard of. And I've also tried to make it fun.
The bulk of stories and reviews here are gleaned (with permission) from my 40 years of writing about film for the Deseret News, a daily newspaper in Salt Lake City, with side trips here and there to other entertainment forms.
I'm no longer writing for the D-News so this is mostly archival stuff, primarily from the Deseret News but also from my 13 years with KSL Television and Radio, as well as other sundry freelance things I occasionaly come across in my deteriorating hard-copy files.
Hope you enjoy my little site. If you do, tell your friends. If you don't, just say you couldn't find it.
WHEN HARRY MET SALLY ...
For Hicksflicks.com, Friday, Nov. 15, 2019
EDITOR’S NOTE: This fondly remembered romantic comedy is the quintessential cinematic examination of the age-old question, ‘Can men and women ever just be friends?’ You can see it in select local theaters, courtesy of Fathom Events and Turner Classic Movies, on Sunday, Dec. 1, at 4 p.m., and Tuesday, Dec. 3, at 7 p.m. My review was published July 21, 1989, in the Deseret News.
Director Rob Reiner, who, with screenwriter Nora Ephron also wrote much of "When Harry Met Sally … ” (though he gets no screen credit for that), seems to pride himself on doing films that are very different from each other.
First there was the hilarious spoof of rock documentaries, "This Is Spinal Tap!," followed by the teen comedy "The Sure Thing," the preadolescence drama "Stand By Me" and his biggest hit, the fantasy-comedy "The Princess Bride."
Now comes Reiner's "When Harry Met Sally … ” — which could be called his Woody Allen movie. Or more correctly, a Woody Allen movie without the angst. Unfortunately, it's also a Woody Allen movie without the complexity of character. But most moviegoers won't mind.
Despite a certain superficiality, "When Harry Met Sally … ” is an adult romantic comedy in a time when we don't get very many, and it has one thing going for it that gives it an enormous boost — it's very funny.
Meg Ryan, Billy Crystal, 'When Harry met Sally ... ’ (1989)
Billy Crystal is "Harry" and Meg Ryan is "Sally," who meet as college graduates driving together to New York City (shades of "The Sure Thing"). It's hate-at-first-sight, as Harry, an opinionated snob, spouts off theories about men and women, as well as his own penchant for promiscuity, then tries to get Sally to go to bed with him. She declines and they part ways.
Several years later they bump into each other on an airplane but this meeting isn't much more successful than the first, and besides, Sally's in love and Harry's about to be married.
Several more years pass and they meet again. This time both are licking their wounds from failed relationships, but they have matured and somehow hit it off to become friends. Just friends.
We know, of course, that they will eventually acknowledge their love for each other, and recognize that romance and friendship should go hand in hand rather than be mutually exclusive, and in the end there is a nice endorsement of both — and of marriage as well.
But the bulk of the film is made up of comic set pieces that are at once very funny and helpful to the narrative. Some, like this movie's most notorious moment during a restaurant scene, get big laughs, but in retrospect don't seem very realistic. Others are both amusing and insightful.
"Harry/Sally" is well cast, with special kudos to the stars — Meg Ryan is a complete delight, with some wonderful little character nuances that make her role utterly real, and Billy Crystal controls his penchant for doing shtick, which has marred some of his other film appearances, and uses to advantage his natural tendency to be a bit overbearing in creating a character who is occasionally obnoxious but not without charm.
Carrie Fisher and Bruno Kirby, as their respective best friends, are also excellent. Fisher is carving out a nice post-"Star Wars" niche for herself with "best friend" character roles, and she's good at it. Will she evolve into the Eve Arden of the ’90s?
As for the Woody Allen comparisons — fans will see them easily, from the stark black-and-white credits that open the film to the "interview"-testimonials to the old tunes in the background to the ending that parallels "Manhattan."
Call it Rob Reiner's "Annie Hall." But it's funny in its own right and should appeal to a broad audience looking for something other than the slam-bang special effects dominating theater screens at the moment.
"When Harry Met Sally. … ” is rated R for profanity, though there isn't really a lot, and vulgarity as the characters talk frankly about sex.
RAMBO: FIRST BLOOD PART II
For Hicksflicks.com, Friday, June 14, 2019
EDITOR’S NOTE: ‘First Blood,’ in which Sylvester Stallone introduced his one-man army Rambo character, was a surprise hit in 1982, ranking No. 13 for the year in box-office dollars. So a follow-up was inevitable, and three years later ‘Rambo: First Blood Part II’ was an even bigger hit — No. 2 for the year, behind ‘Back to the Future’ and ahead of ‘Rocky IV.’ Yes, Stallone was riding high. Now, each of the first three ‘Rambo’ movies has earned a new 4K release from Lionsgate Home Entertainment, so here’s my review of the second film in the franchise, ‘Rambo: First Blood, Part II,’ which was originally published in the Deseret News on May 29, 1985.
Sylvester Stallone, he of the droopy eyelids, the Schwarzenegger biceps and the crooked sneer/smile — depending on whether he’s playing Rocky or Rambo — is back as the latter in “Rambo: First Blood, Part II.”
Here’s a movie that knows its audience. You want action? You want violence? You want a fast pace? You want a bigger-than-life hero who overcomes all — and I mean all — odds? You want a plot that panders to our need to hate the government for what it did to us in Vietnam?
And it undeniably delivers with style and excitement, which is more than you can say for Chuck Norris’ lethargic “Missing In Action,” which had a nearly identical plot (as did “Uncommon Valor” before “MIA”).
As a result, on a purely visceral level, “Rambo” is kind of fun. Whaddaya want, brains too?
The film begins with Rambo in prison after his “First Blood” escapades, during which he literally destroyed a small Colorado town, single-handedly of course, after being mistreated by local authorities.
Sylvester Stallone, 'Rambo: First Blood, Part II'
He is visited by his old commanding officer (Richard Crenna) who tells him the government needs him for a secret mission — to go back to an old POW camp in Vietnam and photograph any survivors who might still be there.
Rambo looks the commander in the eye and says, “Sir, do we get to win this time?”
And we’re off, transplanting the jungles of Colorado (in the first film) for the jungles of Vietnam (subbed here by Mexico).
Of course, Rambo doesn’t just take pictures. He’s not going to photograph those guys — he’s going to rescue them. All by himself. And what a rescue. He single-handedly blows away literally hundreds of Vietnamese and Russian soldiers with everything from arrow bombs to heavy helicopter gunnery held in one hand.
In fact, the body count on this film has to be one of the highest in history — including World War II documentaries.
Stallone co-wrote the “Rambo” script — which probably means he re-wrote it to suit his own talents. And it has the Stallone stamp all over it. We see close-ups of his glistening, gleaming biceps in the hot jungle sun; we see close-ups of the sneer as he warns the double-crossing diplomat that he’s coming to get him; we see close-ups of his mud-laden body as he jumps out of nowhere to attack a bad guy. But we don’t hear much in the way of dialogue.
The biggest mistake the original “First Blood” made was to have Stallone babble on with an incomprehensible monologue at the end, something to do with how badly Vietnam veterans have been treated. The sequel has the same preachy ending, but here it is reduced to two or three grunts. Wise move.
And that pretty well points the difference between this film and the other MIA “rescue” films. “Rambo” is streamlined, sleek and to the point. Rambo don’t take no guff from nobody — and the film is structured in the same manner.
That doesn’t mean “Rambo” makes any more sense or is any less ridiculous than other films of this ilk. When Stallone mumbles, “I’ve always believed the mind is the best weapon,” the audience has to laugh.
And “Rambo” is no more sensitive to the real MIA issue, either. It’s just a better action film. And that’s enough for a moderate recommendation.
“Rambo” is rated R for violence — and there’s mayhem aplenty (more bodies than any film since “The Terminator,” and that’s saying something). There is also some sex, brief partial nudity and profanity.