Listening to You: The Who at the Isle of Wight (1970).

The Scoop:
A critic once said that watching Pete Townshend play the opening notes of "Pinball Wizard" was like watching John Hancock sign his name. But forget a simple autograph -- with this performance, Townshend and his bandmates wrote their manifesto.

The Who made the rounds of all the big rock festivals of the late '60s and early '70s, even turning up elsewhere on film with memorable performances in "Woodstock" and "Monterey Pop." But it's at the Isle of Wight where Townshend, Roger Daltrey, John Entwistle and Keith Moon hit their collective peak. Caught between the epic reach of 1969's "Tommy" and the power of 1971's "Who's Next," the band rips through a muscular set of early material, covers of '50s rockers and a mostly-full rendition of "Tommy."

It is brilliant, powerful, melodic stuff that could be used as a how-to guide on being a rock band.

What's more, producer/director Murray Lerner and his crew do the music justice by capturing the spirit of the performance without imposing themselves on the material. You just get The Who, unfiltered, which is what a good concert film should be.

Best Bit:
"Shakin' All Over" (originally by Johnny Kidd and the Pirates) is a barnburner to begin with, and it gets a fierce treatment here.

Side Note:
Lerner's filmography is kind of thin outside of various Isle of Wight Festival movies, but he did win an Oscar for Best Documentary Feature for "From Mao to Mozart: Isaac Stern in China" (1981).

Companion Viewing:
"Woodstock:" (1969) and "Jimi Hendrix at the Isle of Wight" (1991).

Links:
IMDb.
Isle of Wight Festival.

Take a Look:
"Young Man Blues":


"Substitute":


The finale of "Tommy":

Gymkata (1985).

The Scoop:
Let's just cut to the chase here. This is one of the strangest, silliest movies you'll ever see.

Olympic gymnast Kurt Thomas plays a secret agent who is a specialist in a martial arts discipline that is part gymnastics, part karate. Actually, in the hands of non-actor Thomas, it just winds up being all gymnastics and no karate. But that hardly matters, since the rest of the plot is pure gibberish anyway. There is some sort of a secret mission to a generic Eastern European country where Thomas has to play deathsports with other fighters. Somehow, a princess is involved, too.

Even after all these years, I'm still not sure what this all adds up to, but (spoiler alert!) the good guys win in the end. But that (and cracktastic fight choreography) is really about all you can expect from movies like this. It also happens to be Thomas' only movie role ever. I wonder why?

This one is a bad movie must.

Best Bit:
The scene in which Thomas is chased down an alley by a gang of thugs, only to find a conveniently placed pommel horse, which he uses to defeat his enemies.

Side Note:
This is actually based on a novel, "The Terrible Game" by Dan Tyler Moore. I dare you to read it.

Companion Viewing:
I'm not sure what a good analogue for "Gymkata" would be. Maybe if you smooshed together "Enter the Dragon" (1973) and "Stick It" (2006), then drained out all the quality, that might come close.

Links:
IMDb.
Gymkata.com.
Badmovies.org.
I-Mockery.
A fan page that is pretty awe-inspiring in its own right.

Take a Look:
The trailer. Gymkata!


The infamous pommel horse scene. Thrill as hundreds of angry villagers just stand around waiting to be kicked!

Manhatta (1921).

The Scoop:
The rise of modernism in art brought with it not only the elevation of abstract forms and structure, but also a faith in mechanical progress. The signature media of modernism -- photography, architecture and film -- celebrated modern machinery, the emerging American metropolis and the products of each. A bold new century required a bold new vision supplied by an energetic new generation artists. Among these were Paul Strand and Charles Sheeler.

Strand was a photographer whose pioneering work helped separate photography from the painterly conventions of the 19th century and establish its own aesthetic. While Sheeler was a photographer as well, his best known work came as a painter. But his canvases revealed a strong photographic sensibility at a time when most other painters were caught up in the maelstrom of cubism and, later, abstract expressionism.

Which brings us to "Manhatta," a collaboration between Strand and Sheeler meant to celebrate the modernist vision of New York City, with its new, towering skyscrapers and bustling population. Both artists were experimenting with motion pictures at the time and worked together compile this 10-minute short film, a collection of images of the city -- from the ships in its harbor, to the crowds in its streets, to its majestic skyline. The film is based on Walt Whitman's poem "Mannahatta," and excerpts from that work are used as intertitles.

While there are some impressive individual shots, they don't hang together as a narrative whole, particularly toward the end. And the intertitles just distract from the flow of the imagery. While "Manhatta" does not rank among Strand's or Sheeler's best work, it is a fascinating experiment from two great artists and also offers a great rare look at a much younger NYC.

Best Bit:
That one shot of the Brooklyn Bridge's supports, which is pure Strand.

Side Note:
"Manhatta" was added to the National Film Registry by the Library of Congress in 1995. By that point, the original negative of the film had long since been destroyed and only a single, damaged 35mm print was known to survive That print was used as the source for the digital restoration that's available today.

Companion Viewing:
"Koyaanisqatsi" (1982) -- although I love the fact that IMDb's automated recommendations include "Escape From New York" and Peter Jackson's remake of "King Kong."

Links:
IMDb.
Metropolitan Museum of Art.

Take a Look:
The full film, with a modern electronic soundtrack:


...and with a conventional soundtrack, if that's your preference:

Equinox (1970).

The Scoop:
This student film (and believe me, it shows) has gone on to become an underground classic. A group of stupid college students go into the woods and uncover a book of spells that brings about all sorts of supernatural trouble. Sound familiar?

Despite the extreme technical ineptitude, the story is excellent (borrowed liberally by Sam Raimi and put to better use for "The Evil Dead" and "The Evil Dead 2"), the special effects are good and some successful careers were launched here. Most notable among them is special effects supervisor Dennis Muren, who has gone on to win nine Oscars designing the effects for James Cameron's "Terminator 2" (1991) and George Lucas' "Star Wars" movies. Also, the assistant cameraman is future actor Ed Begley, Jr., and one of the stars is Frank Bonner, who later starred in "WKRP in Cincinnati."

Shot in 1967 by writer/director Jack Woods, this sat on the shelf for three years until it was purchased by producer Jack Harris, who reshot some scenes and released it.

There's some primo bad movie shenanigans going on with this one. Check it out.

Best Line:
"Your book! You have to take it!"

Side Note:
The sound effect for the transitions was lifted from "Earth vs. the Flying Saucers." Also, Forrest J. Ackerman turns up in a cameo as the voice on the tape recorder.

Companion Viewing:
The "Evil Dead" trilogy and "The Blair Witch Project" (1999).

Links:
IMDb.
Horror Movie a Day.

Take a Look:
The trailer:


A compilation of stop motion effects from the film:

Bug Buster (1998).

The Scoop:
There's something terrific about goofy, campy sci-fi movies. But what makes them especially fun is their dead earnestness. Maybe the parties involved really believe in the quality of what they are doing, or maybe they know it's all ludicrous but are willing to put in good work for a paycheck. But either way, when talented or even semi-talented people give their all for their material, regardless of its quality, that's when the magic happens.

When a film tries to be intentionally goofy and campy, that's when things start getting a little iffy. The folks at Troma -- both in their own productions and in the outside productions they choose to distribute -- do a good job of walking that thin line, but a lot of others do not.

Producer/director Lorenzo Doumani's "Bug Buster" is one of them.

The plot is pretty familiar territory -- big bugs threaten a small town and it is up to the local teens (including the luscious Katherine Heigl and Meredith Salenger) and a world-famous exterminator (Randy Quaid) to stop them. While there are some good moments, the film is mostly too self-conciously silly for its own good, despite the able cast.

Lord knows why Quaid lowered himself to be in this thing. The same can't be said, on the other hand, for "Star Trek" alumni James Doohan and George Takei, Bernie Koppell of "The Love Boat" (who has a sex scene -- eeew!) and MTV's Downtown Julie Brown, who no longer had any careers to speak of anyway.

And as if that all weren't enough, there's also an aging country band that sings a song called "I Itch."

*facepalm*

Best Line:
"I don't want to go to the hospital! People die there!"

Side Note:
Filmed in the lovely mountain resort town of Big Bear, California.

Companion Viewing:
"Earth vs. the Spider" (1958), which handles the premise with the old school earnestness it deserves, and "The Lost Skeleton of Cadavra" (2001), which does intentional camp right.

Links:
IMDb.
House of 1,000 Courses.

Take a Look:
The trailer:

Gen. George S. Merlin's exterminator TV ad:

The Tale of Despereaux (2008).

The Scoop:
"The Tale of Despereaux" is filled with the kind of high-minded earnestness that you just don't see much in children's entertainment anymore -- and for good reason.

The story, from Kate DiCamillo's book, concerns a brave, bookish mouse who doesn't fit in with the other mice; a kind-hearted sailing rat who gets stuck in a dungeon with his conniving brethren; a palace servant girl who will do anything to be princess; a grimy jailer who pines for the infant daughter he had to give up years ago; a king who withdraws from the world after his wife's death; a princess who wishes the joy would return to her world; a genius chef who draws inspiration from a magical vegetable spirt; and a kingdom that really, REALLY loves its soup.

The voice cast features a ton of recognizable names, including Matthew Broderick (as Despereaux the mouse), Dustin Hoffman, Sigourney Weaver, Emma Watson, Kevin Kline, Tracey Ullman, Stanley Tucci, Robbie Coltrane, William H. Macy, Frank Langella, Christopher Lloyd and Bronson Pinchot.

Whew.

As you might guess, the plot gets a little convoluted. Four main storylines eventually get resolved together at the end, But not without a few liberties to cram it all into less than 100 minutes. Many of the plot turns seem arbitrary rather than organic, and the climax depends an out-of-character change of heart by Roscuro the rat that (of course) turns out to be only temporary.

On the other hand, the animation and production design are particularly lavish and painterly, and that, along with the sight of talking rodents and some mild swashbuckling adventure, should be enough to satisfy many kids. But the rest of the family would be better served by something with a little more humor and bit, like the work of Pixar or even some of the Dreamworks animated features.

Best Bit:
The absurdity of Boldo the vegetable man leading the charge into the dungeon.

Side Note:
The design for Boldo is based on the work of 16th century painter Giuseppe Arcimboldo.

Companion Viewing:
"Angelina Ballerina."

Links:
IMDb.
Official Site.
Kate DiCamillo's novel.

Take a Look:
The trailer:

The Happening (1967).

The Scoop:
Four of the cleanest beatniks/hippies you'll ever see (Michael Parks, Robert Walker Jr., George Maharis and Faye Dunaway) accidentally get talked into kidnapping Miami mobster Roc Delmonico (Anthony Quinn) then have to figure out what to do with him. When he finds out that no one wants to pay his ransom -- not his wife (Martha Hyer), not his business partner (Milton Berle and his bad mustache), not his mob boss (Oscar Homolka) -- Delmonico decides to take matters into his own hands.

The film starts out promisingly enough as the sort of campy unintentional comedy that was so prevelant at the time as the major studios tried (but failed) to understand and cater to the burgeoning counterculture movement. But it quickly devolves from there into a typically "wacky" (and unfunny) mainstream '60s comedy.

That's not to say there aren't a few bright spots after that first half hour. Quinn gives his all for the trite material like the old pro he is, and there are a few genuinely funny gags here and there.

And, of course, there's Dunaway at her most enchanting. "The Happening" was just her second film (following her debut in Otto Preminger's "Hurry Sundown" by just a month), and she would follow it up with her twin breakout roles in "Bonnie and Clyde" and "The Thomas Crown Affair."

But none of this is enough to save what is ultimately a snoozefest that works neither as a campy bad movie nor an unironic good movie. The film just falls flat in between, which might be the worst fate of all.

Best Line:
"Call the cops? That's socialism! Can't anyone do anything for themselves anymore?"

Side Note:
Composer Frank De Vol, who wrote both the score and the swinging Supremes songs on the soundtrack, had a second career as a television character actor, guest starring in a wide range of shows, such as "My Favorite Martian," "Get Smart," "Bonanza," "The Jeffersons" and "Silver Spoons."

Companion Viewing:
"It's a Mad, Mad, Mad, Mad World" (1963).

Links:
IMDb.

Take a Look:
The trailer:


The whole film in installments on the YouTube plan, beginning here:

200 Motels (1971).

The Scoop:
Part rock opera, part tour exposé, part vanity project, part absurdist theater, part experiemental music video -- Frank Zappa's "200 Motels" can be a tough nut to crack.

Zappa and the early-1970s version of his band, the Mothers of Invention, had an ongoing fascination with the life of a touring rock band. This fascination found its way into their music, and their shows became increasingly elaborate musical theater pieces full of songs, skits and jokes centered around sex, drugs and other outrageous behavior. It was all based on things they had done themselves, or on the stories that made the rounds among other groups. This exploration of the lifestyle finally culminated in "200 Motels."

Beneath all the madness and surrealism of the film, there is a plot of sorts -- Zappa (played by Ringo Starr) and the Mothers (who all play themselves) roll into the generic American town of Centerville looking for a good time. There, they cross paths with a pair of groupies (Janet Ferguson and Lucy Offerall), the devil (Theodore Bikel), a nun (Keith Moon) and a host of other strange characters.

Many of the situations come right from the Mothers' tour experiences, and much of the dialogue is based on transcripts of conversations captured by Zappa and his cassette recorder during downtime on the road. The result is surprisingly genuine, despited the intentionally stilted delivery of the troupe of non-actors and Zappa's notorious ironic detachment from his material.

Musically, the work here comes from one of Zappa's most fertile periods, and it finds following two different creative strands. With the Mothers, he creates some straight-ahead, powerful blues rock that would not sound out of place alongside the Allman Brothers, Zeppelin or even Sabbath. These songs are interspersed with FZ's more experimental compositions, performed by the Royal Philharmonic Orchestra. These pieces represent a turning point in his avant garde career, both looking back to the studio-bound "sound sculptures" of his early albums and also foreshadowing the orchestral work he would do in earnest a decade later.

For Zappa neophytes, "200 Motels" (both the film and the soundtrack album) is probably not the best introduction to the man's work. But for fans it is essential and rewards close, repeated viewings.

Best Line:
"The fuckin' devil's got an English accent. I seen him three weeks ago on TV. So you know, you can just take this big needle here and hang it in your ass as far as I'm concerned!"

Side Note:
Offerall and Pamela Miller (who plays the Interviewer) were members of the GTO's (Girls Together Outrageously), a groupie collective/performance art troupe/singing group whose music was produced by Zappa. Miller would go on to become Pamela Des Barres, author of the infamous memoir "I'm With the Band."

Companion Viewing:
"Head" (1968).

Links:
IMDb.
Understanding 200 Motels.

Take a Look:
The trailer:


Welcome to Centerville (a real nice place to raise your kids up)!


Jimmy Carl Black (the Indian of the group) performs "Lonesome Cowboy Burt":