Monday, December 9, 2013
CONTROVERSIAL FINALE: "BOARDWALK EMPIRE" (2.12) "To the Lost"
The Season Two finale of "BOARDWALK EMPIRE", (2.12) "To the Lost" has been viewed as an end of an era for a good number of the series' viewers and television critics. It marked an event that left some fans satisfied and others in a state of anger and resentment. But one cannot deny that this event – along with a few others – allowed the series to enter a new phase for its third season.
One of the changes that materialized in "To the Lost" turned out to be the marriage between Atlantic City's re-installed political boss, Enoch "Nucky" Thompson and his Irish-born mistress, the widowed Margaret Schroeder. Although both harbored feelings for each other, their marriage obviously seemed like one of convenience. Margaret had received a summons from Federal prosecutor Esther Randolph as a possible witness against Nucky for her husband’s murder back in Season One. By "To the Lost", Margaret had embraced religion as a reaction to her daughter becoming a victim of the polio outbreak. When Nucky learned about her summons, he asked her to marry him in order to prevent her from testifying against him and to avoid serving time in prison. Margaret agreed. But she had also hoped to convince Nucky to do the same – before and after the charges against him were dropped. To her disappointment, Nucky revealed no interest in embracing religion. Worse, he had signed over a piece of valuable property to Margaret, when he feared that the Federal government might confiscate his possessions.
When Margaret learned about the murder of Alderman James Neary – an enemy of Nucky's – she immediately assumed he was behind the crime. As it turned out, she was wrong. Nucky's former protégée, Jimmy Darmody, committed the deed with friend Richard Harrow’s help, in an effort to win the political boss' forgiveness for his betrayal. However, Margaret went ahead and signed over Nucky’s land to the Catholic Church. The ironic aspect of Margaret’s reasoning behind her actions was that she harbored a secret of her own. In the season’s seventh episode, (2.07) "Peg of Old", she had sex with Owen Sleater, Nucky’s new bodyguard. This happened at a time when Nucky was facing an assassination attempt arranged by Jimmy. Margaret eventually found the nerve to confess her infidelity to the local priest and to God. Margaret seemed willing to judge Nucky for his lies – real and imagined. Yet, she failed to find the courage to confess her sin of infidelity to Nucky.
Albert "Chalky" White, the unofficial leader of Atlantic City’s African-American community, had to endure numerous difficulties during Season Two. The Ku Klux Klan attacked his bootleg operation in the season’s premiere episode,(2.01) "21", resulting in the deaths of several of his men. Chalky managed to kill one of the Klansmen during the attack. He ended up being charged with murder. Nucky's attorney managed to get him out of jail on bail, but Chalky still faced a trial. This ended when Jimmy managed to get the State Attorney’s office to drop the murder charges. Jimmy, along with Richard’s help, attacked a Klan gathering at gunpoint, shot two men and demanded the men who had attacked Chalky’s warehouse in "21". After delivering the men to Chalky and the latter’s new right-hand man, former jail cell nemesis Dunn Purnsley, Jimmy asked the former to contact Nucky on his behalf. This arrest would lead to the first of two meetings between Jimmy and Nucky and the former's controversial death that ended Season Two.
Like many other fans of "BOARDWALK EMPIRE", I had made the mistake of assuming that Nucky would eventually forgive Jimmy for his Season Two transgressions. After all, the Jimmy Darmody character was the second lead in the series. After watching "To the Lost", I realize that I had been living in a fantasy. So had Jimmy. The deaths of his wife Angela and father, the Commodore, in (2.11) "Under God's Power She Flourishes" had left him shaken to his core. I suspect this also led him to realize it would be in his best interest to seek forgiveness from Nucky. Jimmy engaged in a campaign to make up for his past transgressions – which included a murder attempt on Nucky. With Richard’s help, he nabbed the Klansmen who was responsible for the attack on Chalky’s bootlegging operation; set up both Alderman Jim Neary and Eli Thompson for election fraud, before faking Neary’s death as a suicide; and claimed that Eli was responsible for introducing the idea of a hit on Nucky. But all of this did not work. It was Richard who pointed out that no matter what Jimmy did, Nucky would never forgive him.
Now that I think about it, I found myself wondering why Jimmy never considered the possibility that Nucky was not the forgiving type . . . until it was too late. Surely he must have remembered Nucky's reaction when he and Al Capone had stolen Arnold Rothstein's whiskey shipment in the series' premiere, (1.01) "Boardwalk Empire". Nucky had been so angry that he fired Jimmy as his driver and demanded that the World War I veteran pay $3,000 as compensation for committing the robbery in his town and without his consent. Jimmy was forced to flee from Atlantic City to Chicago, when a witness to the heist reappeared. And even though Nucky asked Jimmy to return to help him deal with his war against Rothstein, he remained angry over the heist. Now if Nucky was unable to completely forgive Jimmy for the whiskey heist in Season One; his chances of forgiving the younger man for an attempted murder seemed pretty moot. And no one - including myself - seemed to realize this.
I am not condoning Nucky's murder of Jimmy. I believe that what he had done was wrong. But I must admit that I found some of the outraged reactions against the crime rather puzzling. Although some had expressed disappointment over Jimmy's sanction of the murder attempt on Nucky in "Peg of Old", the level of anger toward Jimmy seemed particularly mute in comparison to their anger toward Nucky for his actions in "To the Lost". This same television season also saw the death of lead actor Sean Bean in another HBO series, "GAME OF THRONE". Some had expressed surprise at the turn of events, but not anger.
Some fans might point out that it was Nucky's younger brother and Atlantic City's sheriff, the resentful Eli Thompson, who had initiated the idea of killing Nucky. Jimmy even told Nucky of Eli's participation in the hit. I suspect that Nucky suspected that Jimmy had told the truth. But he had considered two things. One, Eli was his brother. And two, it was Jimmy who gave the final decision to have Nucky killed. In the end, even Eli failed to completely escape Nucky's wrath. Although his life was spared, the political boss forced him to plead guilty to the corruption charges and face at least two years in prison (or less with parole). Something tells me that Eli's career as Sheriff of Atlantic County had ended permanently.
Jimmy had also been wrong to order the hit on Nucky. Yet, the level of anger toward his act was barely minimal. Were these fans upset that Nucky had succeeded, where Jimmy had failed? Or was their anger due to the loss of the younger and good-looking Michael Pitt, who had NOT been the series' lead? Because no one had expressed similar sentiments over the older Bean's departure from "GAME OF THRONES". Was this major outrage over Jimmy's death had more to do with superficial preference than moral outrage? It is beginning to seem so to me.
I had enjoyed Michael Pitt's portrayal of the troubled Jimmy Darmody, during his two-year stint on "BOARDWALK EMPIRE". But unlike many other fans, I cannot accept the views of some that the series had jumped the shark with his character's death. I refuse to claim that the series' quality will remain the same, or get better or worse. I can only make that judgment after Series Three has aired. But the very talented Steve Buscemi remains at the lead as Enoch "Lucky" Thompson. And creator Terence Winter continues to guide the series. The number of changes that marked"To the Lost" and Season Two, were merely hints - and rather large ones at that - of things to come in future seasons.
Sunday, December 8, 2013
Below are images from the historical drama, "12 YEARS A SLAVE". Based upon Solomon Northup's 1853 autobiography, ""Twelve Years a Slave" and directed by Steve McQueen, the movie stars Chiwetel Ejiofor:
"12 YEARS A SLAVE" (2013) Photo Gallery
Friday, December 6, 2013
"THE GREAT GATSBY" (2000) Review
I am amazed at how long I have ignored F. Scott Fitzgerald's 1925 opus, "The Great Gatsby". I saw the 1974 movie adaptation of the novel years ago, but I found it difficult to appreciate the story. It was not until I saw Baz Luhrmann's recent adaptation that my full interest in the story was finally ignited. After watching that particular film, I came across this adaptation that aired on the A&E Channel in 2000.
Directed by Robert Markowitz and adapted by John J. McLaughlin, "THE GREAT GATSBY" is a 90 minute teleplay set in the early years of the Jazz Age. The movie told the story of a mysterious young millionaire named Jay Gatsby, who settles in a large house on the West Egg side (for the newly rich) on prosperous Long Island. Narrated by Gatsby's neighbor; the well-born, yet impoverished Nick Carraway; audiences become aware of the millionaire's desire to woo and win back the heart of Daisy Fay Buchanan, an old love he had first met during World War I, who also happens to be Nick's cousin. However, standing in Gatsby's way is Daisy's wealthy and boorish husband and Nick's former Yale schoolmate, Tom Buchanan; Daisy's own uncertainty about a serious relationship with the lovesick Gatsby and the latter's questionable origin of his fortune. This clash between class and romantic aspirations leads to an emotional clash in a New York City hotel suite and later, tragedy and death.
There are some aspects of "THE GREAT GATSBY" that I found admirable. The best aspect of this television movie proved to be the showdown between Jay Gatsby and Tom Buchanan for the love of one Daisy Fay Buchanan. I thought it was well-acted - especially by Mira Sorvino and Martin Donovan as the Buchanans. And director Robert Markowitz injected with a good deal of intensity. I was also impressed by Markowitz's handling of the tragic hit-and-run of Myrtle Wison, Tom's working-class mistress, near her husband's Valley of Ashes gas station. This is the only version in which a distraught Daisy is briefly distracted by the infamous "Eyes of Dr. T.J. Eckleburg" billboard before she avoids an oncoming car and kills Myrtle, while driving Gatsby's white convertible. I suspect this was an addition created for this movie, not featured in the novel. By allowing the billboard to indirectly lead to Myrtle's death struck me as inspired writing on McLaughlin's part, or inspired direction from Markowitz. Who knows? And it seemed a pity that no one else - Fitzgerald included - never considered it. The Nick Carraway-Jordan Baker romance had never seemed as sexy as it did in this movie. In fact, this is the only adaptation in which their relationship seemed to radiate with any real sexuality.
But despite these virtues, "THE GREAT GATSBY" seemed marred by a great deal of flaws. Perhaps too many flaws. There is so much about this movie that seemed off. One could tell at first glance that this production was lacking in serious cash. I realize that "THE GREAT GATSBY" is supposed to be a television production. But I find it odd that a production financed by both the A&E Cable Network in the United States, and Granada Productions in Great Britain; could look like a poor man's version of Fitzgerald's novel. The costumes designed by Nicoletta Massone left me shaking my head in disbelief. The clothes worn by wealthy characters such as Gatsby, the Buchanans and Jordan Baker seemed more appropriate for middle-class characters of the same era - the early 1920s. In one scene, Tom Buchanan made a snarky comment about Gatsby's wardrobe. Mind you, the latter was not wearing the infamous pink suit (much to my disappointment). But the cream-colored suit with the dark tie, white socks and dark shoes even made wince. Since the Nick Carraway character wore a similar outfit in the same scene, I found myself wondering why Tom did not extend his contempt to his cousin-in-law's wardrobe. Although elegant, the Buchanans' home struck me as more quaint than opulent. The exteriors of Gatsby's home seemed more opulent, but it had an elegant quality that seemed beyond Gatsby's tastes. And the interiors struck me as somewhat drab and middle-class. So much for the ostentation - and somewhat tasteless - mansion owned by the mysterious millionaire. I really enjoyed Carl Davis' score for this movie. But it seemed more appropriate for a neo-noir movie like "L.A. CONFIDENTIAL" or"MULHOLLAND FALLS", instead of a period drama like "THE GREAT GATSBY".
Although I had complimented Markowitz's direction in two sequences, I found most of his direction rather flaccid and uninspiring. There were moments I felt that he was simply going through the motions. And both he and McLaughlin did not do the audience any favors by including flashbacks of Gatsby and Daisy's World War I courtship. Those scenes were not only shot in soft focus, but also nearly put me to sleep. My God, they were boring! The parties held by Gatsby disappointed me, as well. Most of it - with the exception of the party attended by the Buchanans - struck me as mediocre and a ghost of those parties featured in Fitzgerald's novel and the other movie adaptations. And why on earth did McLaughlin's screenplay begin with Gatsby's murder? Was he and Markowitz trying to be different? Unique? It is bad enough that Fitzgerald's prose, in the form of Nick's narration, hinted that Gatsby was no longer around. Why wipe away the mystery altogether by starting the movie with Gatsby's murder? But if there is one thing that nearly tripped up "THE GREAT GATSBY", it had to be its casting.
Due to Granada Productions being a co-producer of the film, it was inevitable that a British actor or actress would be cast. That person turned out to be Toby Stephens, who was given the leading role of Jay Gatsby. Before I continue, I want to say that I have been a fan of Stephens for years, thanks to his outstanding work. Unfortunately, I cannot view Jay Gatsby as one of his best performances. He simply seemed so wrong for the role. Not only did he portray Gatsby with a stiff and unconvincing American accent, but also with a grin that threatened to form a smirk. Aside from a few emotional . . . or semi-emotional moments, I found his portrayal of Gatsby rather cocky. Paul Rudd could have made a decent Nick Carraway, if it were not for the bored expression on his face that occasionally marred his performance. I realize that Nick harbored some contempt toward Gatsby when they first met. But that contempt had disappeared by the time he arranged Gatsby and Daisy's afternoon reunion. Unfortunately, Rudd's Nick maintained that same contempt even throughout the reunion and did not really disappear until the blow up at the Plaza Hotel. What the hell? I wish I could simply blame Rudd, but I cannot. As the director, Markowitz should have realized what was going on and put a stop to it. He failed to do so. Martin Donovan gave an excellent performance as the brutish Tom Buchanan. However, he still proved to be the wrong actor for the role. Donovan's Tom never struck me as an egotistical ex-jock . . . merely an ill-tempered Moaning Minnie with too much money on his hands. Not only did I also have great difficulty in viewing him as a ladies' man, but also Nick's classmate at Yale. Martin Donovan and Paul Rudd are a good deal twelve years apart. And it shows. Jerry Grayson's brief portrayal of gambler/gangster Meyer Wolfsheim did not strike me as memorable. On the other hand, I will never forget William Camp's portrayal of Myrtle's loser husband, George Wilson. I found it incredible bad.
The three actresses in "THE GREAT GATSBY" fared better. Somewhat. I enjoyed Mira Sorvino's performance as the very feminine and flaky Daisy Buchanan. She did an excellent job of recapturing Daisy's warm, flirtatious personality and shallowness. My only problem with Sorvino is that she utilized a Northeastern accent to portray Daisy. And the latter came from the Upper South - Louisville, Kentucky. Thankfully, Francie Swift, who hails from Texas, used a soft Southern accent in her portrayal of Daisy's Louisville friend, golfer Jordan Baker. Mind you, Swift's Jordan did not strike me as a female athlete. But she gave a sly and sexy performance that I found satisfying. In fact, she might be the best Jordan Baker I have seen on screen - despite the Dutch Boy haircut and dull wardrobe. Heather Goldenhersh did a pretty good job of portraying the vulgar and ambitious Myrtle Wilson. I said good . . . not great. The actress portrayed a high, light voice that I would not associate with a character like Myrtle. And I did not find her desperation to escape from a life with the dull George Wilson particularly convincing. But I was impressed by Goldenhersh's one scene in which she conveyed Mrytle's account of her first meeting with Tom.
"THE GREAT GATSBY" had a few virtues - including some well done performances from the movie's three leading ladies and two exceptional sequences. But the flaws overwhelmed the virtues - including lackluster direction from Robert Markowitz and the producers' miscasting of Toby Stephens in the leading role. I have seen at least three versions of F. Scott Fitzgerald's 1925 novel. I hate to say it, but this 2000 television movie has to be the least impressive I have seen.
Thursday, December 5, 2013
Below is an article the popular Thanksgiving dessert, Pumpkin Pie.
As many Americans know, Pumpkin Pie is a sweet dessert, traditionally eaten during the fall and early winter seasons. They are especially popular during the Halloween, Thanksgiving and Christmas holidays in the United States and Canada. Many view the pumpkin as a symbol of harvest time. The pie consists of a custard made from an actual pumpkin, canned custard or packaged pie filling made from the plant. The pie's color usually range from orange to brown and is baked in a single pie shell, rarely with a top crust. Pumpkin pie is generally flavored with nutmeg, cinnamon, cloves, and ginger.
The pumpkin is a native of the North American continent. The oldest evidence of its existence were pumpkin-related seeds that dated between 7000 and 5500 BCE, has been found in Mexico. Despite the discovery of its seeds in Mexico, the pumpkin was first exported to France in the 16th century. From there, it was introduced to Tudor England. The English quickly accepted the flesh of the "pompion" as a pie filler. Following its introduction to England, pumpkin pie recipes could be found in 17th century English cookbooks such as Hannah Woolley's 1675 book, "The Gentlewoman's Companion".
English immigrants such as the Pilgrims eventually introduced the pumpkin pie to the New England region. Recipes for the pie did not appear in American cookbooks until the early 19th century. During this same period, the dessert finally became a common addition to the Thanksgiving dinner. Meanwhile, the English method of cooking the pumpkin took a different course. The English pumpkin pie was prepared by stuffing the actual pumpkin with apples, spices and sugar, before baking it whole. The dessert, which more or less remained traditional in the United States, inspired songs and poems. Nineteenth century activist Lydia Maria Child referenced the pumpkin pie in her 1844 song, "Over the River and Through the Wood". And in 1850, John Greenleaf Whittier wrote a poem called "The Pumpkin".
Below is a recipe for a fresh pumpkin pie from the Full Circle website (which was adapted from a recipe found onwww.rwood.com:
Your favorite pie crust dough, enough for one 9-inch shell.
1 pie pumpkin
1 1/2 cups organic cream
1/2 cup unrefined cane sugar
1/2 tsp sea salt
1 tsp ground cinnamon
1/2 tsp ground ginger
1/2 tsp freshly grated nutmeg
1/8 tsp ground cloves
Preheat the oven to 350°F. Cut the pumpkin in half, remove the seeds, place the pumpkin halves in a pan, shell side up, and bake for 1 hour or until the pumpkin is tender, exudes liquid and the shell starts to sag.
Pour off accumulated liquid, scrape the pulp from the shell and purée it with a potato masher or in a blender. Measure 2 cups of the purée and set it aside. Reserve any additional pumpkin for another use.
Place your pie dough on a lightly floured surface and, starting from the center out, roll the dough to about 2 inches larger than the size of the pan. Loosen the pastry, fold it in half, lift it and unfold it into the pan. Press it into place, trim off the excess dough and crimp the edges.
Increase the temperature of the oven to 425°F. In a large mixing bowl lightly beat the eggs. Add the purée and the remaining ingredients and stir to blend. Pour the mixture into the dough-lined pan.
Bake for 15 minutes and then reduce the heat to 350°F and bake an additional 45 minutes or until a knife inserted comes out clean. Allow to cool slightly before serving.
Tuesday, December 3, 2013
Below are images from "THOR: THE DARK WORLD", the sequel to Marvel Comics' 2011 movie "THOR". Directed by Alan Taylor, the movie stars Chris Hemsworth, Natalie Portman and Anthony Hopkins:
"THOR: THE DARK WORLD" (2013) Photo Gallery