Showing posts with label Caedmon Records. Show all posts
Showing posts with label Caedmon Records. Show all posts

Tuesday, May 7, 2019

Spoken Word Mythology and Folklore Recordings

I still have the open-reel tape on which I dubbed this LP, borrowed from the Enfield Public Library, ca. 1974. We didn't yet have a cassette deck in the then-current stereo system.
I genuinely loved the mythology and folklore (as well as fiction/poetry-reading) spoken word (and sometimes music) albums I could find when very young, from such labels mentioned in the not-great but legible OCR'd NY Times article at the link. More of these should be available still than are...from such labels as Caedmon, Spoken Arts, CMS, Folkways, Miller-Brody Productions (which did the Newbery Award Records), and others cited. And certainly read the books by Harold Courlander and others as I found them...this NYT article being from 1977 so that cheerful references to "the Mysterious East" were still "A-OK"...


ARCHIVES | 1977

Spinning Around the World On Recorded Folk Tales


Folk tales have apparently existed ever since there were people to tell them to each other—”tales or stories,” as the dictionary puts it, “handed down by word of mouth, by the common people.” All literature has its roots in these oral origins, and it is surprising in how many guises and in different cultures the same basic situations turn up. Talking tortoises and frogs abound on every continent; Cinderella surfaces in Africa as Umusha Mwaice; the heron and crab who run their race along a Melanesian shore are surely distant relatives of Aesop's hare and tortoise. The foolish folk in the South American story who believe that the moon has drowned in local lake and must be fished out have their counterparts in Ireland's Hudden and Dudden, who leap into Brown Lake to retrieve the reflections of their lost sheep and cattle. The stock of plots is limited. Bruno Bettelheim has said that such stories are best conveyed to children in live readings, or better still recounted spontaneously by parents or patient uncles in their own words. That is not always possible, so the hundreds of, recordings available on tapes and disks would seem to be the next best thing, and the performances are likely to be a good deal more absorbing. Beginning our recorded journey close to home with America's own tall tales, we meet up with Paul Bunyan and his Southern counterpart Tony Beaver spinning hyperbolic yarns of their prodigious feats. The reader is Ennis Rees, the drawl echt Southern (The Song of Paul Bunyan and Tony Beaver, Spoken Arts SA 954). The late Ed Begley is a droll delight as he speaks gruffly and straightfacedly of the weeping Squonk, the enormous Moskittos that buzzed around Bunyan's lumber camp and the square eggs laid by the Gillygaloo bird, in two volumes of tall‐tale animal stories as set down by Adrien Stoutenberg (American Tall‐Tale Animal, Vol. 1 & 2, Caedmon TC 1317/8, cassette CDL 5137/8). J. Frank Dobie's tales of the Southwest get bucolic readings from their author (Southwestern Folk Tales, Spoken Arts SA 722, cassettes SAC 6127/8). Diane Wolkstein, in her level, honest, earnest way, reads California tales, some with Spanish roots, in prose supplied by Monica Sharon (Spoken Arts SA 1107, cassettes SAC Really native American folklore, of course, belongs to American Indians. They are well represented through bird tales recounted around their hogan fires by the Navajos, in legends that transform the sun into a youth at dawn and crimson swan at dusk, in numerous anecdotes about the cleverness of the coyote. Here Caedmon favors real Indian performers‐actor Arthur Junaluska, himself a full‐blooded Cherokee, reading Clah Chee's Navajo Bird Tales (TC 1375, cassette CDL 51375); Swift Eagle, a Pueblo Indian chief, telling the legends of Kuo‐Haya and other stories of his people in The Pueblo Indians (TC 1451, cassette CDL 51327); Jay Silverheels, another Indian actor, dealing authentically with The Fire Plume and other legends of the American Indians (TC 1451, cassette CDL 51451). • On Folkways, an Indian Princess named Nowedonah, born on a Shinnecock Indian reservation in Southampton, Long Island, reads a legend about the island in the days when its name was Paumanok, but the voice is nasal and dubbed‐in piano music doesn't help (The Enchanted Spring, Folkways FC 7753). Spoken Arts fares better with Diane Wolkstein, in tales that deal with an Indian boy's efforts to get hold of a hunting dog, Now the coyote learned his crying song and how he lost out to the rooster as official sunrise‐greeter in Tales of the Hopi Indians from Harold Courlander's collection (SA 1106, cassettes SAC 6121/2).


More at this link...







Friday, August 31, 2018

FFR: THE ZOO STORY by Edward Albee, performed by William Daniels and Mark Richman (Spoken Arts Records 1964?); NO EXIT by Jean-Paul Sartre (as translated by Paul Bowles), performed by Donald Pleasance, Anna Massey and Glenda Jackson (Caedmon Records 1968); LUV by Murray Schisgal, performed by Alan Arkin, Anne Jackson and Eli Wallach (Columbia Masterworks 1967?); JUST SO STORIES, Volume II by Rudyard Kipling, read by Sterling Holloway; music by Tutti Camarata (Disneyland Records 1965)

I've noted before on the blog that storytelling albums, such as a Smothers Brothers item I was given as a very young child (Aesop's Fables, the Smothers Brothers Way) and a very few other comedy albums my parents bought (SmoBro, Firesign Theater) helped bend the twig, along with such inputs as an audio dramatization of Dracula I borrowed on cassette from my elementary school library (and my very young brother managed to record over) and a wider range of audio materials I found at the public library from about age 9 onward, have left me a lifelong fan of the audio drama and the well-performed reading. 

So, this week, revisiting some of the items of my past in this regard, which have become kind of remotely accessible when sought after at all...and certainly not on display for loan from public libraries or new purchase as they once were.


The Spoken Arts recording of The Zoo Story was probably the last of these I caught up with, in this week's set, and it was almost certainly not the first encounter I had with William Daniels in those days of the 1970s, but this was before I first saw the film of 1776, or of course his turn in St. Elsewhere or other, later television work...though I suspect I'd already seen him as the officious villain of the likes of The Rockford Files episodes. His name didn't mean much to me, if anything, though, any more than Mark Richman's did, though his voice seemed instantly familiar. Albee I'd heard of, mostly for Who's Afraid, but it was much more fun dealing with this bit of unprovoked parody, where (as you probably know) a somewhat fussy publishing executive is bothered while sitting, eating his lunch on a park bench, by a random stranger with a rather less settled life, and an outlook to match. Richman's bluff, somewhat reflective but arrogant swagger seemed even better-fitted to his role than Daniels's growing vexation...the role didn't allow him his later patented rage against whatever small irritants were bedeviling him. This was all but the Original Cast recording (apparently, the first US production had featured George Maharis in the Richman role, for about a week, before Richman took over), and it was an excellent introduction.

The Caedmon recording of No Exit, on the other hand, was among the first of the adult plays in the LP set format I listened to, given the horror-related theme of the work in question...and the production and performances struck me as excellent, as well as the play compelling (I don't think I was introduced to the concept of lesbianism by the play, but it wasn't too long after I learned the word, I'm sure...might've been as old as ten when I first heard this one). I was mildly aware of Donald Pleasance before the production, in much the way I was mildly aware of Sartre (I had read descriptions of his play, this Monty Python thing had a few jokes about him), but I was very impressed by this set...the recording below is slightly scratched up, but listenable:
No Exit


Now, by the time I tried this recording of Luv, Murray Schisgal's hit black comedy about suicidal and scheming NYC intellectuals in the then-present day (mid '60s), I was already a veteran of a number of plays on vinyl, and this one looked promising, even if doomed triangles (see above) were not a novel concept in my listening; I was already an Alan Arkin fan, from such films as Wait Until Dark, and was broadly aware of Jackson and Wallach...though the broad performances at the beginning of the play as recorded were a bit more offputting than I had hoped (I still haven't seen the little-loved film version, though as a stone Elaine May fan, I'll have to eventually...Nichols directed this version, and May takes the woman's role in the film, though as far as I know neither was involved with thought of the other in either version).  Another YouTube transcription of a scratchy but listenable copy (I have Never loved surface noise and worse damage on vinyl).
Luv, side 1

Luv, side 2

Luv, side 3

Luv, side 4























And while such labels as Spoken Arts, Caedmon, Argo and to a lesser extent more generalized labels such as CBS and RCA (or the little jazz label Prestige) would do spoken word recordings of often high caliber, one item that was actually purchased for my younger brother when he was only a year or so past recording over library tapes caught my ear, from the slightly improbable source of Disneyland Records...but Sterling Holloway's recording of Rudyard Kipling's fables was work that could and can stand alongside the fine work in folklore and youth-accessible literature the other spoken-word labels were offering...and the music, usually not missed in the other labels' recordings, was often not too shabby in at least such recordings as this. I don't think my parents ever got around to finding Vol. I for Eric, and I'm not sure I sought it out, but I did enjoy hearing this one with him.
"How the Rhinoceros Got His Skin"


For more purely literary contributions this week (except usually from Gerard Saylor, if he's contributing), please see Patti Abbott's blog.

Friday, September 15, 2017

FFB: some entry points: THE COMPLETE [sic] HUMOROUS SKETCHES AND TALES OF MARK TWAIN edited by Charles Neider (Doubleday 1961); STORIES OF MARK TWAIN, recorded by Walter Brennan and Brandon de Wilde (Caedmon Records 1956); OFFICIAL GUIDE TO THE FANTASTICS/FANTASTIC LITERATURE by Michael Resnick (House of Collectibles 1976)

The HarperAudio omnibus re-issue. Possibly packaged first by 
Caedmon before they were bought out by HarperCollins.







































Well, this week was going to be devoted to the last long fictions published by Joanna Russ and Michael Shaara, but reading about the frustrations of their later careers ended up squeezing out the rereading of the novellas in question...next week, perhaps, while I host FFB while the Abbott family gets ready for the run up, we can hope, to picking up a few Anthony Awards at Bouchercon in Toronto.

I first encountered Mark Twain in very adulterated form, I think...Sid and Marty Krofft offered a typically surreal serialized sequel to Twain's four notable Sawyer/Finn stories as a part of The Banana Splits tv series...and perhaps one or another of the televised film or tv adaptations of the actual Twain stories. But not long after I started reading anthologies, I started reading Twain, and one of the first big fat adult books I tackled was Charles Neider's remarkably foolishly titled Complete Humorous Sketches and Tales (R. Kent Rasmussen notes in his review of the Library of America volumes of Twain's short work, and their predecessors such as Neider's volumes including the sketch and story collection Mark Twain: Life as I Find It, also published in 1961: 'One wonders, incidentally, if Neider recognized the strangeness of calling his Humorous Sketches anthology "complete" while simultaneously issuing another volume [Life as I Find It] which contained sketches that the "Complete Sketches" lacked.'). Nonetheless, even given a similarly ponderous introduction, it was quite the Book of Gold:

Table of Contents: 
  • Curing a cold 
  • Aurelia's unfortunate young man 
  • Info. for the million 
  • Killing of Julius Caesar "Localized" 
  • Lucretia Smith's soldier 
  • George Washington's boyhood 
  • Advice to little girls 
  • "After" Jenkins 
  • Answers to correspondents 
  • Mr. Bloke's Item 
  • From California almanac 
  • Scriptural panoramist 
  • Among the spirits 
  • Sketch of George Washington 
  • Complaint about correspondents 
  • Re. chambermaids 
  • Honored as a curiosity 
  • About insurances 
  • Literature in the dry diggings 
  • Origin of illustrious men 
  • The recent resignation 
  • Washington's negro body-servant 
  • Information wanted 
  • My late senatorial secretaryship 
  • Playbill 
  • Back from "Yurrup" 
  • Benton house 
  • Fine old man 
  • Guying the guides 
  • Mental photographs 
  • Beecher's farm 
  • Turkish bath 
  • George Fisher 
  • Article 
  • History repeats itself 
  • John Chinaman in New York 
  • Judge's "Spirited Woman" 
  • Late Benjamin Franklin 
  • Map of Paris 
  • My bloody massacre 
  • Mysterious visit 
  • Note on "Petrified man" 
  • Post-mortem poetry 
  • Riley-Newspaper correspondent 
  • Running for Governor 
  • To raise poultry 
  • Undertaker's chat 
  • Widow's protest 
  • Inspirations of "Two-year-olds" 
  • About barbers 
  • Burlesque biography.
  • Danger of lying in bed 
  • Fashion item 
  • Interview with Artemus Ward 
  • My first literary venture 
  • New Beecher Church 
  • King William III 
  • "Blanketing" the Admiral 
  • Deception 
  • Genuine Mexican Plug 
  • Great landslide case 
  • How the author was sold in Newark 
  • 110 tin whistles 
  • Lionizing murderers 
  • Markiss, King of Liars 
  • Mr. Arkansas 
  • Nevada Nabobs 
  • What Hank said to
  • Horace Greeley 
  • When the buffalo climbed a tree 
  • Curious pleasure excursion 
  • Rogers 
  • Speech 
  • Poems by Twain & Moore 
  • Encounter with an Interviewer 
  • Johnny Greer 
  • Jumping frog 
  • Office bore 
  • "Party cries" in Ireland 
  • Petition re. copyright 
  • Siamese twins 
  • Speech at the Scottish banquet 
  • Speech on accident insurance 
  • Facts re. recent carnival of crime in Connecticut 
  • Letter 
  • Punch, brothers, punch 
  • Notes of an idle excursion 
  • Speech on the weather 
  • Whittier birthday speech.
  • About magnanimous-incident literature 
  • O'Shah 
  • Great revolution in Pitcairn 
  • Speech: the babies 
  • American in Europe 
  • American party 
  • Ascending the Riffelberg 
  • Awful German language 
  • Great French duel 
  • King's encore 
  • Laborious ant 
  • My long crawl in the dark - Nicodemus Dodge 
  • Skeleton for a Black Forest novel 
  • Telephonic conversation 
  • 2 works of art 
  • Why Germans wear spectacles 
  • Young Cholley Adams 
  • Plymouth Rock & the Pilgrims 
  • Re. the American language 
  • Legend of Sagenfeld in Germany 
  • On the decay of the art of lying 
  • Paris notes.
  • Art of inhumation 
  • Keelboat talk & manners 
  • Intro. "The new guide of the conversation in Portuguese & English" 
  • Petition to the Queen of England 
  • Majestic literary fossil 
  • About all kinds of ships 
  • Cure for the blues 
  • Enemy conquered ... 
  • Traveling with a Reformer 
  • Private history of the "Jumping Frog" 
  • Fenimore Cooper's literary offenses 
  • Hell of a hotel at Maryborough 
  • Indian crow 
  • At the appetite cure 
  • Austrian Edison keeping school again 
  • From "London Times" of 1904 
  • My first lie... 
  • My boyhood dreams 
  • Amended obituaries 
  • Does the race of man love a Lord? 
  • Instructions in art 
  • Italian with grammar 
  • Italian without a master 
  • Petrified man 
  • Dutch Nick massacre.
Some of the most famous items before this book was assembled were unsurprisingly among those which have stuck with me the longest, such as "Punch, Brothers, Punch" (my introduction to the notion of "buff" as a color), "Fenimore Cooper's Literary Offenses", "Carnival of Crime in Connecticut" (where my family and I lived at the time) and of course the Jumping Frog, but no few others were more than fitfully amusing, even when they more thoroughly sent me scrambling to fill in data points (aside from what aide Neider provided in his notes). This one I borrowed (several times to get through it) from the Enfield library and not long after, at a yard sale, I picked up a battered copy of Neider's earlier The Complete Stories of Mark Twain (similarly misleading a title) and made my more leisurely way through that volume, as a fine complement to my reading the Sawyer/Finn/Jim stories and the single novels in the Signet Classic editions I gathered while still in elementary school...finishing most of his work in the summer before my 7th Grade matriculation into a new school in Londonderry, NH. The Enfield Central Library also had no few spoken word LPs for members to dig into, and one Caedmon item featured Brandon de Wilde narrating a couple/few chapters of The Adventures of Huckleberry Finn on the flipside of Walter Brennan reading "Jumping Frog" and "Jim Baker's Bluejay Yarn"--this was one of the many I dubbed on cassette or open-reel tape and listened to repeatedly over the years...
One of the few times the HarperAudio package
is better than the Caedmon.




































Here's Brennan reading "The Celebrated Jumping Frog"...which was released, despite the assertion of the WFMU blogger who posts the audio file, by Caedmon Records in 1956, the year before Brennan began his run with The Real McCoys television series.

And here's Brennan reading "Jim Baker's Bluejay Yarn" (from A Tramp Abroad, not "Tramps Abroad") and there's a weird little second-long glitch in this YT post recording that isn't present in this slightly scratchy WFMU post taken from a copy of the lp.





One development that came along with the relocation to New Hampshire was the discovery of how many interesting fiction magazines were still being published in 1978, and I gathered most of those I could find at a store in Derry called Book Corner, which also had a small alcove of remainders in the back, one of which was stray copy or so of this item (with one title on the cover and another on the title page), by a writer I hadn't previously encountered, before he was most likely to sign himself Mike Resnick, providing us with a price guide full of warnings that prices in this field were widely variable and extremely dependent on condition...but which, along with such other purchases as Brian Ash's The Visual Encyclopedia of Science Fiction, gave a vivid sense of the history of these fascinating magazines and their stablemates and fallen fellow-travelers over the years. Resnick also missed a trick or two, noting without explication that the great expense of the citation for The Ship That Sailed to Mars by William Timlin was no typo...no mention of the gorgeous artwork in the one published edition then extant being part of the allure. But it was useful and fun for a catalog,,,and I, not long after picking this book up for 50c, started collecting older back issues with a grab-bag from dealer and small-press publisher Gerry de la Ree at not Too much more per good-to-reading-copy items.

For somewhat less capsule, and perhaps less nostalgic, reviews of this week's books and more, please see Patti Abbott's blog.

Some illustration from The Ship That Sailed to Mars:

Saturday, July 16, 2016

A Theodore Sturgeon Discography







Honorable Mentions:
In comments, below, SteveHL draws our attention to a streaming archive of the first episode of NBC Radio's Anthology, a 1954-55 series about poetry, which features a good interview with Sturgeon (and Helen Hayes reading Julia Ward Howe, among other bits and pieces). 

The flipside of this Radiola release is the Beyond Tomorrow (CBS Radio, 1950) adaptation of Sturgeon's "Incident at Switchpath"



Wednesday, May 15, 2013

AH, WILDERNESS! by Eugene O'Neill: the Caedmon Records recording of the Theater Recording Society performance (1970)



Four, I think, LPs...you stacked them on a spindle and four discs had sides 1-4, then you flipped the stack for sides 5-8.  A long afternoon with my father's 1960s Koss headphones, on my parents' spindled turntable...

Courtesy eOneill.com:

Director: Theodore Mann

Originally staged at Ford's Theatre, Washington, DC, October 12, 1969

Nat Miller - Larry Gates
Essie - Geraldine Fitzgerald
Arthur - Alex Wipf
Richard - Tony Schwab
Mildred - Lucy Saroyan
Tommy - Frank Coleman, IV
Sid Davis - Stefan Gierasch
Lily Miller - Laurinda Barrett

 David McComber - Hansford Rowe
  Muriel McComber - Brenda Currin
  Wint Selby - William Dolive
  Belle - Peggy Pope
  Nora - Camilla Ritchey
  Bartender - Robert Legionaire
  Salesman - Henry Calvert

Tuesday, January 18, 2011

Tuesday's Overlooked Films (And/Or Other A/V Items), Round 1

Jeannine Kaspar in Paper Covers Rock.

Welcome to a revival of the shortlived Forgotten Films roundelay a few of us were engaged with a few years back...now more or less formally expanded to include television and other audio/visual artifacts...and what a wealth of artifacts and formats and delivery systems we have, and sometimes no longer have.

I hope to have a weekly example or so of my own, and as many citations of examples of the insufficiently appreciated as others wish to share, every Tuesday. I will post links to their blogs (and specifically to their relevant posts) when possible, and will post any contribution that blogless folks wish to make on my blog, if they like...very much in the mold of the ongoing Friday's Forgotten Books, hosted by Patti Abbott, and the monthly (last Wednesday) Forgotten Music, hosted by Scott Parker.

The following folks have a post up today:
Bill Crider: Condemned
Eric Peterson: Boiling Point
Evan Lewis: Metropolis
James Reasoner: SOS Coast Guard
Jerry House: Loose Shoes
Juri Nummelin: The Murder Maze
K.A. Laity: Straight to Hell
Randy Johnson: Cop Hater
Scott Parker: π
Todd Mason: The Limits of Control; Paper Covers Rock; The Exiles

and, honorarily:
Dan Stumpf: The Night of the Eagle and other adaptations of Fritz Leiber's Conjure Wife
Pearce Duncan: on the directorial career of Orson Welles
...but the more the merrier (and these links will be refined at first opportunity.

Now, the range of audio/visual materials for which we don't have easy access any longer is pretty large, and beyond even the lost films and television and radio, whose original prints or recordings were discarded or allowed to deteriorate, when any recording was made at all. While the Internet Archive is just one (and perhaps the most impressive) of the sites on the web that can help ferret out any number of materials hart to get at in any former otherwise (comparable in its excellence and in its necessary incompleteness to the likes of Project Gutenberg), there's so much still only accessible in orphaned formats (up to and including the 33 RPM LP and 16 RPM talking book vinyl discs)...among the supposed facts that used to boggle my young mind was the number of early recordings in the Library of Congress, and presumably collected elsewhere as well, with, as the Guinness Book put it, "no known matrix." I suspect at least a few engineers are working on those...

For another example of Stuff You Probably Don't See Much Of Any Longer: ViewMaster. Now, there's a thriving collectors market, aided like most such by eBay and its competitors over the years, but the new ViewMaster offers for sale the last time I was around a VM display were very sorry, indeed...which I suspect indicated the worsening fortunes of the retail outlet almost as much as the downgraded state of VM in a video and console-game age, with animated 3D still problematic but available. But the beauty of at least some the nature and science packs (VM typically sold its slide discs in three-packs), and the mild (or not so mild) joy of some of the entertainment packs, at least if one was capable of enjoying that kind of photography, was hard to deny (I did throughly enjoy the clay artistry of some of the Peanuts cartoon adaptations). And, of course, that sort of stereo photography wasn't just useful for the entertainment and instruction of children: my only college roommate was a studio art and pre-med major, and as such brought home discs of autopsy photos...a corpse missing a mandible was among the most disturbing images I'd seen to that time. And in dead, nearly palpable color.




The 1970s and the decade before were probably the ViewMaster's heyday, and that of other slide-based toys (I certainly had others, less impressive than VM), and the widespread availability of William Castle's organization's silent 8mm film highlights reels from horror and adventure films, and from his travelog short subjects. And, also, there was no lack of investment, on the part of several small spoken-word record labels, such as Caedmon, Spoken Arts and Argo, in not only readings by authors of poetry and prose, and actors, but also full-cast audio staging of plays; Caedmon particularly would arrange them on three- and four-LP sets so that one could put them on a stacker, and disc one would have side one, then disc two would drop with side two, and on a three disc set one would flip over the stack after side three on disc three and eventually finish with side six on disc one. Tough on the records, but very easy on the listener with the tall spindle on their turntable. Spoken Arts's full-play recording I remember best was their staging of Edward Albee's The Zoo Story, but it'd be hard to recall all the plays I heard through Caedmon Records; they included O'Neill's Long Day's Journey into Night, Mourning Becomes Electra, and an excellent Ah, Wilderness!; Williams's The Glass Menagerie; my favorite of Miller's plays, Incident at Vichy; Sartre's No Exit; Cocteau's The Infernal Machine; the Peter Weiss/Peter Brook Marat/Sade; and many more, including Shakespeare and Sophocles...only the American Film Theater complete soundtracks, such as of Ionesco's Rhinoceros with Gene Wilder and Zero Mostel, were likely to disappoint, in part due to the rushed nature of the productions and in part due to the fact that they were soundtracks to filmed plays that might, in many cases, depend even more than the Caedmon-staged productions on their visuals rather than dialog and sound effects. HarperCollins, who now own the Caedmon catalog, have done a remarkably poor job of getting it back out on the market.

And all that (nostalgia) doesn't even take into account all the nationally-broadcast radio drama one could find in the US in the 1970s, I'd guess at least twice as much as in the '60s, when matters had dwindled to the last two CBS series, Suspense and Yours Truly, Johnny Dollar ending in 1962, Bob and Ray continuing largely as a part of NBC's weekend Monitor umbrella, and some Pacifica Radio productions. While few series were consistently good among the new series from CBS and the new NPR, Pacifica (which shared the Firesign Theater with "underground"/free-form commercial rock stations at the turn of the '70s) and such projects as the ZBS production and syndication unit, there certainly was a ferment, ranging from such long-running series as the CBS Radio Mystery Theater and Earplay (and Christian radio's Unshackled) to a new series of full-length Bob & Ray shows and The National Lampoon Radio Hour, Rod Serling's Zero Hour through The Sears Radio Theater to The Fourth Tower of Inverness...and such British and Canadian imports as The Lord of the Rings, The Hitchhiker's Guide to the Galaxy, (1980's) Nightfall and such kids' fare as The General Mills Adventure Theater and the NPR Star Wars adaptations.

Tilda Swinton and Isaach De Bankolé in The Limits of Control

But most of the contributions to this weekly list are likely to be cinematic and television (and perhaps increasingly web) presentations, and I've got some of those to briefly discuss, too (believe it or not, given all the above). I haven't been exploring too many of the really obscure corners of these arts, recently, but I'd like to draw your attention to at least The Limits of Control (2009), a typically beautifully-shot, extremely deliberate, funny and not altogether vague Jim Jarmusch film, which involves characters involved in a conspiracy that borders on the edge of crime and espionage, and has a weight and thoughtfulness that can easily be taken, by the likes of Rotten Tomatoes reviewers, for excruciating pointless pretense. I'd disagree, of course...I think the point is pretty clearly spelled out in the title, for all the characters and for the larger forces around them. If you want more traditional thrills amidst an attempt to add some weight and humanistic wit to spy drama, you might want to check out the similarly good A Few Days in September (briefly mentioned in yesterday's reprinted list) with Juliette Binoche as a spy-master thrust into trying to keep the young-adult children of one her ex-colleagues alive long enough for him to reunite with them, or the slightly more clownish, but still impressive Fay Grim, the sequel to Henry Fool I half-liked upon first viewing, and liked much better upon the second viewing...again, Parker Posey's Grim is forced into a ridiculously complicated situation while simply attempting to see her spy husband again, and does her damnedest to try to make sure as few as possible of the people around her get killed while she attempts this.

Paper Covers Rock (2008) is a pretty grim film, even in comparison to Limits, featuring Jeannine Kaspar as a woman attempting to pull her life back together, after falling into a trough of suicidal depression and being hospitalized for it; we join her, and see all the interpersonal and other obstacles she has to face, and good and not so good people close to her, sometimes supportive and too often insufficiently-so, and how her behavior can trigger them as well as vice verse. Very well-acted and absorbing, and worth the time.

More alienated than actually downbeat, the characters in The Exiles (1961) are from various Native American nations, mostly first-generation escapees from the reservations, who are mostly not doing so well in lives spent in and around the now-vanished Los Angeles largely-native-ghetto Bunker Hill. Made with almost no money with a mostly amateur cast, and meant as a document of the players' actual lives or at least those of their peers, it has post-filming-recorded sound, and a lack of throughline-plot that would presumably enervate those who find The Limits of Control pointless, as it follows the adventures, such as they are, of relatively young adults through the course of a night in the city. Nonetheless, the utter lack of slickness helps the film, in part in the same way that many better no-budget films have a certain fascination for the viewer, as you can see how the desired effect was almost achieved, or achieved in spite of the handicap; the amateur cast isn't put through the kind of ridiculous paces that one finds in such films as Kids, but instead seem to be doing their best to represent the Way We Live in that Today. This film might even be the least obscure of the three I'm highlighting here, as a "lost" film, from its completion by newly graduated USC Film School student Kent MacKenzie in '61 till a revival, with much attendant publicity, in 2008. And, personally, it was very striking that the women in the film looked a whole lot like my aunts, who are, oddly enough, like my mother in being Italian/Cherokee/Irish, but my mother the most Milanese-looking by far among her gen, and the rest of the family much more strongly Cherokee in features, when not also complexion.


I saw these films in those utterly obscure venues, respectively cable channels Showtime, IFC, and TCM...cable does have its uses, still (quite aside from upgrading the budget and showcase of the likes of Children's Hospital). I look forward to what others have to suggest for us, today and in the weeks to come...and please feel free to join in (and please let me know, in comments or via email, that you've done so! Thanks).