Monday, October 17, 2011

Abbott challenge vignette: "Off Season"

Patti Abbott has issued a challenge to the world, for people to write a vignette (she is asking for a thousand words or less) based on or inspired by the visual art of Reginald Marsh, a particular favorite of hers. Much of his work reminds me of what Edward Hopper paintings might look like if they had been rendered by John Groth instead.

The "official" unveiling day for the vignettes is Tuesday, but as that's Overlooked Film and/or Other A/V Day for me (and, I hope, for a number of the vignette writers), I'm posting the vignette I wrote this morning now. I might have another up by Monday night (Patti is hoping to put five dollars toward a gift to the East Harlem Union Settlement Association for every vignette people write and make her aware of. Bankrupting Patti for charity, of course, is the kind of writerly machismo the world is full of, among many other things the world is full of...)

"Coney Island Beach #1" by Reginald Marsh

Off Season

I needed to get away from people, as much as possible...not the easiest thing to do in the city, but an afternoon of relative solitude, not simply ignoring the folks all around, was what I needed. It was late October, overcast and with a stiff wind but not yet too cold. Why not Coney Island?

I expected it to be deserted, or close enough, the last bitter-enders like myself strolling down the beach and looking at the shuttered arcades, perhaps a hamburger stand or three where you could still get an egg cream till they, too, admitted winter was coming, and abandoned the beachfront altogether till next spring. One thing for certain: the shipping lines and the railroads might've been feeling the pinch, in terms of a lack of long-distance travelers in the hard times we were having, but there was no shortage of attractions still out on Coney...even the tattiest sideshow buildings still seemed to have relatively fresh paint on them. I guess a nickel's subway ride out this way, and spending perhaps a quarter or so more on the day's activities, if you could afford it, or just bringing your towel and swimming suit if you couldn't, was what folks could still do. I walked further down the beach, woolgathering, and somehow didn't see the bathers till I was almost in the middle of them.

They crawled over each other, in that cool breeze but nonetheless all wearing their bathing clothes, some more revealing than I would've expected at Coney. They were packed and piled two bodies high in spots, but if they were enjoying themselves, it didn't show too clearly on their faces...given the weather, I'm not too surprised...if I hadn't been walking rather briskly, my overcoat might not've been enough. And they were quiet...not completely so, but it was as low a murmur of conversation as I recall ever witnessing in a crowd that large and so closely packed, who weren't the audience for something. Hell, most audiences were noisier. No one was sneezing or coughing. A surprising number (again, even for Coney) were kissing and otherwise demonstrating a serious affection...but, again, it somehow seemed less passionate than desperate. No one seemed to be inhibited by the children interspersed among the crowd. Surprisingly, or not, there was a full-fledged if small candy store open just up off the beach from the huddled mass; maybe that's what the draw was to this little patch of sand.

As I walked up to the newsstand out front, a kid, maybe ten years old, very pale (cold from swimming?) stood, staring at the rack. I figured he probably wanted a comic book or something, but I followed his gaze and saw he was staring at a copy of St. Nicholas magazine...and not a recent one, but one my parents might've read when they were kids, back before the turn of the century. But it didn't look used or yellowed. The kid just stared at it, almost as if he was afraid to touch it. I figured he was probably broke, and his trunks didn't have a pocket in them anyway...if someone was selling back issues of forty year old magazines for their cover price, I could be a big spender and toss a whole dime on a counter. If it was less, better yet.

"You want that, kid?" The kid slowly turned his gaze from the magazine to me. He didn't say anything, and his slightly hangdog expression didn't change. It didn't start getting creepy till after I asked, "That St. Nick magazine...would you like it?" and he still didn't say anything, or do anything but continue to stare. He didn't crack a smile. But I picked up the magazine and walked through the doorway and to the counter. "How much is this?"

The counterman was no more talkative than the kid. I was holding a dime, and he nodded at me, and held his hand out for it, so I dropped it in his palm. He rang up 10c on the old register, but as I turned to leave, he hadn't dropped the coin in the drawer, just seemed to be inspecting it, turning it as if he hadn't seen its like before. Stepping back outside, I handed the magazine to the kid, who nodded once without thanking me or saying anything else, and took it and walked back down the beach, occasionally lifting his eyes from the magazine's pages to look back at me. I decided that these might be at least in part a community of deaf-mutes, or something similar, though the newsstand, now that I looked at it closely, was the damnedest thing...current issues of some of the pulps and Mechanix Illustrated and Ken cheek by jowl with issues of the old McClure's, and The Dial and something called The Black Cat which turned out to be a non-pulp story magazine.

I walked back down the beach, and sat down at the outskirts of the small crowd, deciding that I didn't need so much time alone right now, if it meant figuring out what was going on. I couldn't quite make out the rare conversations going on among the assembled, quiet ones, everyone murmuring or lightly whispering. Again, many were embracing, kissing, some actually petting, I was slightly amused and appalled to note. And the swimming clothes of the folks seemed to be an odd mix, as if from different eras and perhaps from different places, though that wasn't too uncommon at the beach...I hadn't noted before that a few were actually naked, though they mostly were obscured from sight by the outer members of the pack. Some of them, however, were clearly copulating. Perhaps even more surprising, some throughout the crowd were just as clearly not, though those folks seemed to be the ones most likely to be completely engaged in those quiet, intense conversations. It was an overcast day, but it wasn't so dark that it wasn't strange that it took so long for me to finally note that this was an obviously racially and ethnically mixed crowd...was this some sort of naturist cult, some sort of Communist orgy?

I sat alone, not quite ignored by the people nearest me, for what seemed like a half hour...the sky darkened a bit, as the sun moved behind me, as I sat facing the crowd, and the ocean. Relatively few of them swam. A woman, naked, was among those, and she was easy to watch, I'll admit. Olive complexion and dark hair that was, I could tell even as wet as it was as she walked up the beach toward me, shot through with some premature gray.

She sat down next to me, already mostly dry. "You're not one of us." She said it flatly.

"No, I'd have to say I'm probably not. Who are you, and why are you all huddled up like this...for warmth?" I attempted a joke, but it wasn't all that unlikely, I'd decided, given their garb and activities. The aquatic ones, as few as they were, seemed almost insane.

"It's not the kind of warmth you mean," she said. "Where we're from, one doesn't have too many opportunities for...gentle or intimate interaction."

"So you're all making up for lost time?" My half-jokes weren't getting any reaction from her. "Where are you from?"

"You don't know it yet. With luck, you'll never know it." I tried to let that sink in. "We'll be gone soon. A few of us at a time get a day, a day in a very long stretch of time, to go somewhere such as this American beach, and talk and have other sorts of conversations, and then we go back. Where we can't have much conversation at all, where the experience we have here and now serves mostly as contrast...and reminder...of what we have given up, what is taken from us..."

She didn't continue. "So..." I began, not sure how to ask or even what to ask next. "You try to make the most of this day? Everyone seems so strangely muted, for such a...party."

"It's where we go back to, and what's waiting for us. That weighs heavily on all of us. Particularly when we consider the children." Two had silently run by, not quite joylessly.

"So...can you tell me where you'll be going back to?" I didn't know if I was at least risking offense to this beautiful creature. I was not above dallying with a cult member, if it came to that, but in the event she offered, I would probably have to decline, since I had no prophylactic...and no desire to contract a social disease, which I suspected those in her little community might share rather frequently. Maybe the candy store--

"We're past caring about such things," she said, with what almost sounded like a hint of amusement...and as I puzzled about how she seemed to be answering my thoughts rather than my question, she continued, "as we are past caring about any Earthly matter."

I certainly didn't know what to make of that, other than to feel my cultish suspicions were clearly correct, when I saw that she had turned to look directly into my eyes, and had begun reaching gently for my face with her right hand. I didn't flinch, even as she said, "Goodbye, Daniel." I hadn't told her my name, I realized just as I felt the faintest brush of her fingertips on my temple, and then suddenly all was darkness.

I came to not more than a few minutes later, to judge by the sunlight, still fighting its way through the overcast. I sat up to find myself alone on the beach, with no trace even in the sand of the huddle of cheerless souls, or of the woman I'd been speaking with. Looking behind me, there was no sign that the small candy store had ever been there. I saw my own footprints.

You can imagine that that wasn't an experience I've been able to forget. I wasn't any more surprised than you might expect to see a photo of the woman, quite randomly, some fifteen years later, as I flipped through a true-crime magazine in a barber shop while waiting. Maria Calveri, who with her lover had killed her thuggish husband in his sleep, with the hope of collecting on his insurance. She and her lover had been hanged in 1925.

Perhaps I was fortunate in not also meeting him that day, in 1936.

(Copyright 2011 by Todd Mason)

Friday, October 14, 2011

FFB: 5001 NIGHTS AT THE MOVIES Pauline Kael (Holt, Rinehart & Winston 1984)


As the primary film reviewer for most of William Shawn's ever more self-indulgent reign as editor of The New Yorker, Pauline Kael's column in that magazine was always a bit of a mixed bag, and that's reflected in the 1984 edition (the expanded first paperback edition of the 1982 Holt hardcover)(the image here is of a later edition of the paperback) of her capsule review collection (as taken from the "front of the book" "Goings On About Town" section of the magazine's issues). She was better-educated in the other arts than, say, Siskel and Ebert, and grossly moreso than the likes of Gene Shalit and Rex Reed, to judge by their output, among the most famous film reviewers of their day (and she was one of the few with a level of comparable name-recognition), and had a trenchant wit at times; she also displays a snobbery toward whole fields of film that seems less marked by ignorance (given, for example, how often she returned to horror film as a subject of both these capsules and her longer reviews) than by a desire to comport with the snobbery of the perceived audience, which I'd say is even more pathetic. Driven as the contents of this book were, in part, by what the revival and more eclectic houses would offer in NYC, this volume has in some ways a wider and more engaging remit than the similar Ebert or even the Scheuer or Maltin tv-oriented volumes, ranging back through time but also outward to more foreign films and documentaries...even as some of her worst writing is snide dismissal of films such as Cat People (1942)--while praising aspects of this film, particularly, backhandedly. Some of her other worst is still-just celebration of the likes of High School (1968), bad in large part because it was cramped by her format, while her quick analysis of the strengths (at least for some of its audience) and weaknesses (all-around) of Billy Jack and similar films is rather good...better than the others are likely to come up with, even with similar short takes, if they were even to take on the likes of the cinema verite documentary or some of the more obscure foreign films represented here. Laboring under fixed ideas, some rather eccentric to be kind (her review of How the West Was Won is largely a forum for her resentment of this, of all films', insult to US history and notions of manifest destiny), she was never a critic for the ages, but by the too-often weak standards of film reviewing, she was certainly in the upper middle rank, even if overcredited as a paragon; she was neither Dorothy Parker nor James Agee, of course, but wasn't actually comparable, either, even if also by no means dismissable (both points her colleague John Simon was quick to make in reviewing her collected criticism).

For more of this week's books, please see Patti Abbott's blog.

Tuesday, October 11, 2011

Tuesday's Overlooked Films and/or Other A/V: more links


I suspect some more links will be popping up...and, as always, thanks to everyone who has contributed and to those of you reading (and please let me know in comments if you'd like to add your blogpost entries to our exercise here).

Bill Crider: Barbarella (trailer)

Brian Arnold: Ghost Story (1981)

Dan Stumpf: The Mystery of the Hooded Horseman

Evan Lewis: Satan Met a Lady

Iba Dawson: The Hitch-Hiker (1953)

Ivan G. Shreve: The Fugitive and other recent dvd sets

James Reasoner: The Edge of Night

Jerry House: The Intruder (1960)(aka Shame aka I Hate Your Guts!)

John Charles: El Rostro del asesino (aka Hand of the Assassin); Konga

John F. Norris: Supernatural (1933)

Kate Laity: Caravaggio






Lee Goldberg: Escapade (1978);
"Remaindered"

Michael Shonk: Philip Marlowe (1959-1960)

Patti Abbott: Where the Sidewalk Ends

Paul Brazill: The Debt (aka Dlug) (1999); The Collector (aka Komornik) (2005)

Randy Johnson: Hell Below

Ron Scheer: The Westerner (1940)

Scott Cupp: The Warrior's Way

Stacia Jones: Beserk (1967)

Stan Burns: Lady on a Train

Steve Lewis: Campbell's Kingdom





Todd Mason: Five US Jazz Performance TV Series (see below)

Walter Albert: A Festival of Charley Chase Shorts

Yvette Banek: The World of Henry Orient

Related matters:

Dan Stumpf: Dr. No

George Kelley: Shakespeare in Love

Iba Dawson: Bullitt

Stephen Gallagher: Chimera for Sale...

Steve Lewis: The First Annual Mystery*File Top Ten 'Tec Poll, May 1980

Five US Jazz Performance TV Series I can recommend:

Stars of Jazz was a fairly straightforward performance series, hosted by pianist and composer Bobby Troup, and originating as a local series on KABC in Los Angeles in 1956, was on ABC nationally in 1958. Troup could be a bit awkward in his hosting duties, but the performances tend to triumph...those which are still audible, at least...as with this episode featuring the Pete Jolly Trio and, for 1956, Billie Holiday in fine voice (and on to hawk her autobiography Lady Sings the Blues), in the second half of the episode (it seems at least one Holliday song might be missing as presented between the two clips).


Jazz Casual was Rolling Stone co-founder Ralph Gleason's similar, San Francisco-based series, appearing on NET, the National Educational Television service (the predecessor to PBS), sporadically from 1961-1968; lack of commercial interruption made for that much more time for the music, even as Gleason, a fairly opinionated fellow, might argue with his guests at times (famously with Mel Torme, whom Gleason was reading out of jazz...so why have him on?). Jazz Casual was extensively reissued on DVD over the last decade, often with misleading claims it was the first US series devoted to jazz performance.


Jazz Scene, USA was a commercially syndicated series in 1962-63, hosted by Oscar Brown, Jr. and produced by Steve Allen's company. As with the previous entries, brief interviews and performance, though Brown was a bit more comfortable in interlocutor mode (and would return to such duties in 1980 for PBS with From Jumpstreet)


from From Jumpstreet:


Sunday Night, which for its second season became Night Music, was produced 1988-90 by the Saturday Night Live unit and offered to NBC's owned and operated stations, and syndicated to any game station in other markets. I've highlighted video from this eclectic series before, but they were usually quite happy to have jazz players mixed in with the blues, rock, classical and world-music performers they hoped to feature with every episode...and to wrap up with everyone playing together, whenever possible.




Pianist Ramsey Lewis hosted an hour concert on PBS entitled Legends of Jazz: The Jazz Masters in 2005, but while PBS didn't pick up the resulting 13-part series, Legends of Jazz with Ramsey Lewis, in 2006, the public-broadcasting syndicator American Public Television picked up that ball and ran:




There have been other series, ranging from Omnibus to Playboy After Dark to such dramatic series as Frank's Place which have been excellent showcases, as well, as well as any number of one-off episodes of various series and one-time-only documentaries and concerts...

Monday, October 10, 2011

Bangles: SWEETHEART OF THE SUN (Waterfront/Fontana Records 2011)

The Bangles, now formally down to the three founding members, have produced the album the Bangs (as they were known in 1982, before deciding not to be confused with other bands called the Bangs) might've offered...a relatively lean, intentionally nostalgic harkening back to the direct influences, when they were part of the LA neo-garage/psychedelic rock movement that would eventually be tagged the Paisley Underground, and less of the ever-fuller sound of their 1982 Faulty Products EP The Bangles (re-released by Faulty owner Miles Copeland's better-established IRS Records, who perhaps hoped to have another Go-Go's in their stable, without having to create one out of whole cloth as they would a few years later with the failed American Girls), and their first full-length album, All Over the Place (CBS, 1984), the latter also the first recording after bassist Annette Zilinskas left to be replaced by ex-Runaway (Ms.) Michael Steele. The crunchy guitar-driven power-pop of the brilliant first CBS album was largely supplanted by a more "radio-friendly" sound for the next two CBS albums, their commercial breakthrough Different Light (1986) and their final CBS offer, Everything (1988), which also followed such odd developments as Prince (Rogers Nelson) offering his womanfriend, rhythm guitarist Susanna Hoffs, a song (credited to "Christopher") for the second album, and a CBS-TV series from Scholastic Productions, the dire children-oriented sitcom Charles in Charge (beginning Fall 1984), having an original opening theme that was almost a note-for-note plagiarism of the melody of the Bangles' early 1984 recording "Dover Beach" (albeit performed much less engagingly). CBS machinations among other pressures caused the band to break up after that third LP; they went on to various projects, with lead guitarist Vicki Peterson even touring with the reunited Go-Go's to spell the pregnant Charlotte Caffey. When the Bangles reformed, first to do a single, "Get the Girl," for an Austin Powers film soundtrack (Hoffs's husband was the director of The Spy Who Shagged Me [1999]), then eventually to record a reunion album, Doll Revolution (2002), which, rather as with fellow Angelenas the Go-Go's and their full-length reunion album God Bless the Go-Go's (2001), demonstrated the band members' dealing with concerns of women now in their forties, and yet not tired nor simply nostalgically reaching back to their old sound...in fact, as the concert video The Bangles: Return to Bangleonia: Live in Concert (recorded 2000; released 2007) suggests, their long-term love of such bands as the Byrds extended to taking on an almost country-rock sound in this later work, particularly in the performance of such new songs as "Ride the Ride" and "Nickel Romeo."

Despite the presence of lush power-pop guy and long-term Hoffs collaborator Matthew Sweet as co-producer and occasional instrumentalist here, the tracks are relatively lean, the eleven original songs (and one cover, of the Nazz's "Open My Eyes" for an infusion of the Who via Todd Rundgren) are interesting in the small countermelodic figures that pop up in several spots and other songcraft elements of their fellow Paisleys and their mutual inspirations (see Where the Action Is for a partial accounting of them); the vocal harmonies are as deft as you might expect, and the instrumentals are as crisp as one could ask for...so, if the band as it existed in 1981 had thirty years of professional experience behind it, this is pretty much what they might've sounded like:







A fragment of the studio version of "Open My Eyes":


A live version from a year back (and you have to doubleclick for full screen, or open in its own window, to see Debbi Peterson as she counts off and sings co-lead):


And, to illustrate my point, here's "Dover Beach" (1984):


And, with apologies, the original version of the Charles in Charge opening theme:

Friday, October 7, 2011

FFB: FEMINIST IN THE DARK by Kathi Maio; HARLAN ELLISON'S WATCHING by Harlan Ellison; (ElectricStory posts) Movie Reviews by Lucius Shepard


The Magazine of Fantasy and Science Fiction hasn't solely been the most reliable of periodicals for good to brilliant fantastic fiction over its 62 years so far, but has also been a notable source of good nonfiction about the literature (its best decade for literary criticism has been the 1970s so far, which saw regular or occasional columns from Avram Davidson, James Blish, Joanna Russ, Algis Budrys, Barry Malzberg, Fritz Leiber, Harlan Ellison, Gahan Wilson, John Clute, Ron Goulart, George Zebrowski and others, though Davidson's service in this capacity during the latter half of his 1960s editorship was a delight as well, as was Anthony Boucher's similar double duty in the first decade of the magazine, and the fuller list of reviewers, including such later contributors as Elizabeth Hand, James Sallis and Douglas Winter and such earlier as Damon Knight, Judith Merril and Alfred Bester, is that much more impressive)...a source of good writing about science (Isaac Asimov's 399 monthly essays, and columns by Gregory Benford, Bruce Sterling, Pat Murphy and Paul Doherty, and Theodore Thomas)...and reviews of films and related dramatic forms by Charles Beaumont (oddly uncollected), William Morrison (who covered live theater), Samuel Delany (beginning with 2001, and also uncollected), Baird Searles (whose book Films of Science Fiction and Fantasy, which I've yet to see, presumably benefited from his decade of a/v reviews for the magazine), and then the three critics whose collected reviews we briefly deal with here: Ellison, Kathi Maio, and Lucius Shepard.

The in-print edition:

Harlan Ellison probably needs little introduction to most people who've found their way to this blog entry; hyperbolic when he wants to be, always ready to shake an audience of readers or auditors up as much as he can, he can be gauche, self-celebratory (not without reason), and sometimes a bit too facile in his irritability; he is also almost invariably incisive, well-informed, energetic and more frequently than his detractors usually admit striving to be evenhanded in his approach to his subjects, rarely sparing himself when he feels he has fallen short any more than he spares others. He's had exactly one cinematic filmscript actually produced, the famously awkward adaptation of Richard Sale's novel The Oscar, where the producers also took screenwriter credit and presumably added nothing good to film where Tony Bennett first demonstrated that he is an anti-actor...one of the least equipped actors imaginable, not even a bad actor, just incapable. (Being a brilliant and perennially popular singer and, no kidding, a very impressive painter is enough talent for anyone.) And he's had a love/hate relation with television, where he's had dozens of script produced, helped launch or rescue several series, and employed his derisive pseudonym "Cordwainer Bird" when tv producers and others messed over his scripts...and won at least four script of the year awards from the Writers Guild of America West, the largely Hollywood-oriented segment of that guild. And, as this collection demonstrates, at least since high school, he's been publishing film criticism, as contributor and often columnist for the publications ranging from Cinema to Future Life, as well as famously as television critic most sustainedly for the Los Angeles Free Press, work collected in The Glass Teat and The Other Glass Teat. So...he has the skills, the credentials, the background and the flair...what kind of critic is he? Kinetic, occasionally a bit self-contradictory (he can handle violence in films, but not in aggressively stupid films such as the original version of The Omen), and pellucid...you'll rarely come away from an Ellison critique wondering just how he felt about the item under discussion. The edition of Harlan Ellison's Watching I have is the Underwood-Miller pictured at the top of the page; there's a reprint in print, with about half as many pages (and microprint?) that is presumably unabridged, which I haven't seen.

Kathi Maio came to F&SF at Ellison's recommendation; her background in fantastic fiction and drama has been far more casual than that of most reviewers who have worked for the magazine, but she's an insightful and amusing writer, and brings both an openness to the fantastic and a commonsense approach to her reviewing, which she has done as a columnist for the leftist magazine Sojourners before taking the F&SF gig as well; Feminist in the Dark is a collection of her columns from the other magazine, featuring takes on slightly fantasticated or surreal films such as I Hear the Mermaids Singing as well as utterly naturalistic kitchen sinkers as Wish You Were Here and the no-nonsense brothel drama Working Girls; her takes on the films in question is by no means doctrinaire, even if it has drawn some criticism for seeing a little too much good in deeply flawed films that have interesting feminist aspects to them...however, this might be where her critiques are most valuable.

Lucius Shepard, a fiction writer of considerable talent and interesting background, has rarely been faulted for overpraising the works he's assayed for his columns for the magazine, and presented at ElectricStory.com (contrary to the banner at the ES page, you can simply click on some of the critique titles to read them without registering)...if anything, he, with far less direct experience in dramatic work than Beaumont, Searles (who worked in theater and in radio drama and documentaries), or Ellison, is often seen as excessively harsh on his subjects...I'd say that he's rigorous in his assessments of the faulty logic and sloppy storytelling that is usually given a pass if the visuals are pretty or spiffy enough, and while can be perhaps overly dismissive, he's very rarely what I'd call actually wrong about much of anything...just a bit put off by what particularly big-budget filmmakers think they should be able to get away with. His praise for good work, particularly that with very modest budgets, is unstinting, though not obsequious. And his damnation can be very funny, indeed, in a manner that most of the folks tapped for Rotten Tomatoes might well study to their benefit. (I have yet to see Shepard's collection of film review and other essays Weapons of Mass Seduction.)

For more of today's books, please see Patti Abbott's blog.

Tuesday, October 4, 2011

Tuesday's Overlooked Films and/or Other A/V

There very well might be further additions as the day goes on...thanks to all contributors and readers of this weekly list, and its linked entries.


Bill Crider: Shane

Brian Arnold: Countdown to Hallowe'en; Dark Night of the Scarecrow

Eric Peterson: Dudes

Evan Lewis: The Falcon Takes Over

Ivan Shreve, et al: The Dick Van Dyke Show

Iba Dawson: An Affair of Love (aka Une liaison pornographique)

James Reasoner: Hooded Angels

John Charles: Supernatural (1933)

Kate Laity: Curse of the Werewolf

Michael Shonk: Danger Mouse

Patti Abbott: Safe (1995)

Pearce Duncan: Howling 2: Your Sister is a Werewolf

Randy Johnson: The Lone Wolf (1954-55)

Scott Cupp: Kong Island

Stacia Jones: The Phantom Creeps

Steve Lewis: West 11

Todd Mason: Don't Tempt Me (aka Sin noticias de Dios) see below

Walter Albert: The Duchess of Buffalo

Yvette Banek: The Dick Van Dyke Show; Athena (1954)

Related matters:

George Kelley: The Hour; Prohibition




Sin noticias de Dios (imported by First Look as Don't Tempt Me)
The whole film on YT, with some short commercials, annoyingly. (And now it seems the video has been "made private," so the easiest access I've found is Amazon Prime streaming.)

In the States, at least, any film with both Penelope Cruz and Victoria Abril is going to remind most viewers of Pedro Almodovar first, but this film, written and directed by Agustín Díaz Yanes, is more in the tradition of the fantasy films of Jean Cocteau and others, who posit a bureaucratic give and take between Life and Death, Heaven and Hell...not as good a film as Cocteau's works in this mode, nor as thoroughly worked-out (but also not as sentimental) as such older films as It's a Wonderful Life, A Matter of Life and Death/Stairway to Heaven or Here Comes Mr. Jordan, this is still an amusing and mildly satirical film, involving the afterlife communities competing for the soul of a boorish boxer. Both are acutely interested in his soul particularly on one hand because of the waning support Heaven finds for itself, and in Hell because the soul's capture will further an attempt by upstart forces in Hell to take over...so, two agents, formerly human not quite angel Victoria Abril and not quite demon Penelope Cruz, are sent forth to sway the boxer to their sides...Abril's character dropped into his life as his supposedly returned, formerly estranged wife, and Cruz as a cousin he hasn't seen in decades. Among their adventures are the supermarket jobs they take (no funding comes with the undercover work), and the interactions they have with two corrupt cops, male and female (the latter particularly hostile to Cruz's character), among other thugs working for a bookie the boxer owes considerable money.

As noted, not everything is as well-worked out as it might be...loose ends are mostly tied up by the finish, but the compelling need for this coarse soul, as amusing as it is on its face, is never completely justified...the telling nature of the rebellion in Hell (and the fact that it's largely spearheaded by officious Brits--the soundtrack is mostly in Spanish, with some English--as opposed to the Spaniards, including old-guard Hellion Gael García Bernal, who make up the majority of the cast...not that the living Spaniards, such as those who own and manage the supermarket or the aforementioned cops, establish much of a case for the nobility of the Iberians), and other sly bits mixed in throughout (including pleasant nightclub numbers for Abril to sing; Cruz gets a bit of a dance number to compensate), help make this worthwhile viewing. If you could forgive the lapses in, say, Stranger than Fiction...