1408 And A Cry For Quality Cusack

“But you wouldn’t be sleeping with a person. You’d be sleeping with a whole sad single-person culture. It would be like sleeping with Talia Shire in ROCKY if you weren’t Rocky.” *
- Rob Gordon (John Cusack) HIGH FIDELITY (Dir. Stephen Frears, 2000)

* A friend emailed me this quote not long ago and asked "what does this mean?" I honestly have to say I don't know.

I avoided 1408 upon its original run in theaters earlier this year because I suspected that the explanation (or lack of) for the supernatural premise would really piss me off. However I ordered the new release DVD on up from Netflix because my curiosity got the best of me but also because I like John Cusack (see below) and knew he'd at least deliver. So here's my review:

1408 (Dir. Mikael Håfström, 2007)

The premise (based on a short story by Stephen King) is simple - John Cusack gets trapped in a hotel room from Hell. He's tortured by apparitions of the many who were killed or killed themselves there and by images of his own deceased daughter (no, she didn't die in the room).

The angle is that he's an extremely skeptical writer of anti-ghost books - guides to hotels that are believed to be haunted that he stays in to debunk. So naturally when he hears (by way of a cryptic postcard) about a hotel room in the Dolphin Hotel in New York City that nobody has lasted more than an hour in and that has been closed off to the public, he gets his publisher to cut through some legal red tape and book the room.

He first has to listen to a series of lectures from hotel manager Samuel L. Jackson (whose role is essentially an extended cameo) about the history of grisly deaths interspersed with repeated attempts to talk Cusack out of staying in the room. "It's an evil fucking room" Jackson concludes in the grimmest most intense manner he can muster as Cusack cynically and drolly rolls his eyes. This is where the plot description ends and I just bitch about the movie in full.

As for lasting an hour - the first hour of 1408 is pretty good - sharp and genuinely creepy. The second half however is really ludicrous - literally throwing every horror movie cliché at Cusack as he is almost burned, frozen, stabbed by ghosts, drowned, chased by a corpse in a heating duct, and he almost falls to his death hanging from the ledge when he tries to escape to the next room's window which of course disappears.

These are technologically savvy ghosts - they outdo the AMITYVILLE HORROR's screwing with the bedside alarm clock ploy, though they do that too. Yes Siree - these ghosts can manipulate Cusack's lap-top's video messenger screen and broadcast their own satellite cable transmissions on the room's television. They sometimes even tap into surveillance camera and old family camcorder feeds somehow to better scare Cusack. They can also appear in black and white complete with old film scratches or in technicolor depending on when they died craftily enough.

But of course it's not the ghosts but the room itself as the title implies and Jackson said - it's evil and can take control of everything including time, space, bed, bathroom and beyond. How could that be? You can't have a Indian burial ground beneath a rented space in the sky so what gives? Then we have to filter in the estranged wife (Mary McCormack) and dead daughter (Jasmine Jessica Anthony) - who the room and the film use as heartstring pulling psyche-out set-up punches.

It's the kind of movie that boils down to "we've traced the call - it's coming from inside of your brain!" That said, this is an amusing time waster that has a better than the material performance by Cusack who carries pretty much the whole show. Like those movies depicting plane crashes that are banned by airlines, I think this would be a good one to censor from hotel-chain pay-per-view. I doubt I could sleep in a hotel room after watching it - just sayin'.

Postnote : Not that it affects my review but I only saw the unrated version of 1408 which is disc 2 of the Special Ed. DVD. I wasn't aware that there was an alternate ending that is completely different to the theatrical release's. I thought that the unrated version would be everything, you know? As readers of film babble must know I hate when there are alternate endings - cop-outs based on test screening panic for the most part.

A Cry For Quality Cusack

So how long since the last really good John Cusack movie? Uh, let's go back through the bad ones - MUST LOVE DOGS, which was a real dog, was 2005, before it there was RUNAWAY JURY which was beneath the bottom of the bail and IDENTITY (another failed supernatural thriller like 1408) were both 2003, and SERENDIPITY and AMERICAN SWEETHEARTS which both seriously sucked so the last really good John Cusack movie was HIGH FIDELITY (2000). Wow, 7 years!

HIGH FIDELITY is one of my favorite movies (as the Nick Hornby novel it was based on is one of my favorite books) so because of Cusack's top notch work as heartbroken music snob/geek Rob Gordon (named Rob Fleming in the book) in that film as I read somebody say on The Onion The A.V. Club he gets a free pass. However it looks like the pass is going to expire soon unless he takes some action. It looks like there's possibilities ahead for the upcoming films MARTIAN CHILD (by Menno Meyjes who directed Cusack in MAX - which was decent but unmemorable) and the drama GRACE IS GONE (pictured below) so with hope the 7 year itch will be scratched.

Now I don't want to write one of those "open letter to..." or any smarmy "here's some career tips Mr. Big Star", I mean how moronic would that be for me - a lowly blogger to even slightly think I know what really goes on with choosing scripts and signing on to projects but damnit I wish Cusack would do 2 things:

1. Work with Stephen Frears again - 2 of Cusack's best films (THE GRIFTERS and HIGH FIDELITY) were with Frears directing and it seems like a good time for them to hook up again. Also Cusack was great in Woody Allen's SHADOWS AND FOG and BULLETS OVER BROADWAY so another collaboration with him would be great too. How about this being a plea for Cusack to work with better directors in general? The last seven years smell of behind the camera hackery.

2. Host Saturday Night Live - That's right, Cusack has never hosted SNL despite the fact that his sister Joan Cusack used to be a cast member. In his friend Tim Robbin's excellent mock poli-doc BOB ROBERTS Cusack played an actor doing a SNL-type show called "Cutting Edge". Just credited as "Cutting Edge Host" Cusack had a great anti-corporation/anti-right wing folk-singing senate candidate Bob Roberts (Robbins) rant. It would be a great actor exercise for him to do a string of different characters all live on SNL and I bet it would refresh his comedic facilities.

But like I said who am I to say such things - nobody that's who! As long as Cusack still makes movies with his sister - the very funny above-mentioned Joan Cusack (they've been in 5 movies together and 2 more coming up) and Jeremy Piven (6 films) I'll stop complaining. In fact I bet Joan would made 1408 quite a bit better if she would've appeared as the voice of the hotel phone operator and Piven as the bell hop - man, that would've added a more chilling effect to the proceedings.

So in conclusion - I have to do right by HIGH FIDELITY's Rob Gordon and his obsession with top-5 lists and name:

The Film Babble Blog Top Five John Cusack Movies

1. HIGH FIDELITY (2000) - No surprise there.

2. SAY ANYTHING (1989) - Excellent Cameron Crowe high school relationship movie. Best known for the boom box blaring Peter Gabriel held to the skies by Cusack's immortal Lloyd Dobbler character - no, I'm not going to post that picture. I'll go with the one with the Clash t-shirt on the left.

3. THE GRIFTERS (1990) - A con man (Cusack) and a few con women (Annette Benning, Angelica Houston) and a dark uncompromising comic tone that never lets up make this essential on my blog.

4. BULLETS OVER BROADWAY (1994) - One of Woody Allen's best screenplays with Cusack spot-on as a troubled neurotic playwright in 1920's New York who has to deal with mafiaso control of his project. A pleasure from start to finish.

5. THE SURE THING (1985) - Very underrated Rob Reiner helmed comedy originally billed as a college-kids-on-the-road-sex-farce but it has better intentions and results. It makes the Top 5 because it was the first full-length that cemented the Cusack persona - he's one of the only guys who can get away with a line like: "How would you like to have a sexual experience so intense it could conceivably change your political views?" Great Tim Robbins cameo to boot.

Came close but didn't make the cut : BEING JOHN MALKOVICH (Dir. Spike Jonez, 1999)

That's all for now - next time I'll try not to come anywhere near giving celebrities career advice. I'll leave you with this nice montage of Cusack in the rain which sort of says it all.

More later...

The Real Napolean Dynamite *

* I would not usually put an asterick denotation in my blogpost headline but I felt this needed qualification - hit it Wikipedia from an entry on the movie of the same name: "The name "NAPOLEAN DYNAMITE" is a pseudonym used by Elvis Costello on the back of the album "Blood and Chocolate" (released 1986). Writer/Director Jared Hess has denied that this was his source for the name, once claiming that rather, the name came from an old Italian man he met in Chicago, and that the Elvis Costello connection is a coincidence."

Coincidence? As if!

So, last night I went to see Elvis Costello (real name Declann McManus) - who is one of my all time favorite performers - backed by the North Carolina Symphony at Regency Park Amphitheater in Cary. Elvis didn't even remember his last time to the area - he pronounced Raleigh - "Rally" (as in his song "Night Rally"). The show is reviewed below but first I thought it would be fun to look at his film work - such as his many onscreen appearances in what I call:

Costello Cameo Cavalcade!

Costello has done many bit parts in films and TV since the late 70's. His first was as Earl Manchester in AMERICATHON - a barely seen 1979 John Ritter comedy. Appearances followed in likewise obscure works like the British one seasoner sitcom Scully, as inept magician Rosco de Ville in the film NO SURRENDER (both by Alan Bleasdale), and rounding his '80's acting oeuvre out was a cameo as Hives the Butler in Alex Cox's (REPO MAN) odd thin-tie punk opus STRAIGHT TO HELL which had a bevy of cult musicians in small parts (Joe Strummer, Courtyney Love, members of the Pogues and Circle Jerks, etc.) These appearances were way under the radar mind you, Costello was heading towards the mainstream in the 90's starting with:

The Larry Sanders Show (HBO, 1992-1998) Garry Shandling's satirical talk-show within-a-show featured just about everybody in the business doing exaggerated versions of themselves and Costello was no exception. He appeared first in an episode in the third season - "People's Choice" (aired: 7/20/94). In one of his long time backing band's (the Attractions) last TV appearances, Costello performs "13 Steps Lead Down" complete with "Radio Radio" coda before storming out of the studio leaving a trashed dressing room behind in reaction to bad back stage treatment.

The next appearance in "Everybody Loves Larry" (aired: 11/13/96) - also titled "Duchovny's Crush - Hank's Lemon" - involves Elvis selling a supposed classic car to Sanders' co-host Hank (Jeffrey Tambor) which turns out to be a lemon - man, I love stating the obvious. While he performs a beautiful solo acoustic "Little Atoms" from "All This Useless Beauty", Hank dons glasses in a weak attempt to mock Costello.

SPICEWORLD (Dir. Bob Spiers, 1997) I've already written about this cameo before in the post "20 Great Modern Movie Cameos" - so I won't go on about it again.

AUSTIN POWERS : THE SPY WHO SHAGGED ME (Dir. Jay Roach, 1999) Because of his vintage brand of swinging pop Burt Bacharach has appeared in all three AUSTIN POWERS movies tinkling the ivories in a downtime romantic setting. Since it coincided with Bacharach's collaboration with Costello "Painted From Memory" - it was expected that Elvis would show up to sing to Burt's accompaniment. Elvis said of the scene: "It's the 1960's, not to give away the plot, but in some sort of magical way we end up in the 1960's doing a song." (Late Night With Conan O'Brien 11/23/98) Austin Powers (Mike Myers) breaks that ole fourth wall by introducing Elvis and Burt as if they were his guests on a talk show and they do a smooth (mimed and lip synched of course) rendition of "I'll Never Fall In Love Again". Austin attempts to woo Felicity Shagwell (Heather Graham) by way of Comical dancing as the song flows.

200 CIGARETTES (Dir. Risa Bramon Garcia, 1999) The soundtrack to this late '90's take on a 1981 New York New Year's Eve is filled with what they used to call New Wave (Blondie, Joe Jackson, Nick Lowe, Ramones, etc.) so of course Elvis would not only be heard with his definitive cover of Nick Lowe's "(What's So Funny 'Bout) Peace, Love and Understanding?" but also appears in a cameo as himself. After a night of mishaps and drunken revelry Janeane Garafolo wakes up to find Elvis's glasses and she realizes she slept with the man in question.

PRISON SONG (Dir. Darnell Martin, 2001) As big an Elvis Costello fan as I am I was not aware of this film until I began this post and am surprised that it has him playing 2 roles - Public Defender/Teacher. Again I'll defer to the mighty Wiki - "The film was originally intended to be a full-fledged musical, but this tested poorly with audiences, so most of the musical numbers - except the most essential to the story - were cut. This helps explain the mysterious appearance of Elvis Costello in two roles in which he does very little."

3rd Rock From The Sun (NBC 1996-2001) The final episode (aired: 5/22/01) of this beyond silly sci-fi sitcom starring John Lithgow had the family of aliens holding a farewell bash. They hire Elvis Costello who still in full crooner mode sings "Fly Me To The Moon". I guess this could confirms a lot of pop pundits belief that Costello is the punk rock Sinatra.

The Simpsons (1989-forever) Of course this would be mentioned here - I mean, have you met me? In the episode "How I Spent My Strummer Vacation" (aired: 11/10/2002) Homer goes to a Rock 'N Roll Fantasy Camp run by Mick Jagger and Keith Richards with Tom Petty, Lenny Kravitz, Brian Setzer and yep, our man McManus as instructors. When Costello tries to discourage the guitar as instrument of choice to the aggressive students, Homer storms his tent calling him "nerdlinger" and knocks off his glasses. Elvis exclaims "my image!"

Frasier (NBC Sitcom 1993-2004) Maybe a contender for the best Costello cameo - the man appears, not as himself for a nice change, as Ben - a coffee house folk guitarist with a heavy Scottish accent. Frasier (Kelsey Grammer) and his brother Niles (David Hyde Pierce) take immediate offence at Ben taking up performer residence at Cafe Nervosa in the episode "Farewell, Nervosa" (aired: 4/22/03). Costello is hilarious as he performs exaggerated amped up versions of "Wild Rover","Tie Me Kangeroo Down", and especially when he announces that he's selling CDs (not his own recordings - mind you) outside during a break in his performance - "10 dollars is still the best price for 'Quadrophenia'!"

DE-LOVELY (Dir. Irwin Winkler, 2004) Credited as "musical performer" Costello appears back in crooner mode on stage at a costume party singing "Let's Misbehave" in this somewhat surreal Cole Porter bio-pic. Though he's given a few close-ups, Costello is mostly seen in long shots or heard in the background as Porter (Kevin Kline) and his wife Linda (Ashley Judd) have a plot-point moment.

TALLADEGA NIGHTS : THE BALLAD OF RICKY BOBBY (Dir. Adam McKay, 2006) From reports he filmed this cameo in one day and it shows - he didn't have any actual lines of dialogue. There were just shots of him having tea with Mos Def at Will Ferrell's title character's rival driver Jean Girard's (Sacha Baron Cohen) mansion. Too many Costello songs to fully note have been in movies over the years but HIGH FIDELITY (Dir. Stephen Frears, 1999) must be singled out because it was named after a Costello song (see also LESS THAN ZERO AND CLUBLAND) and it had "Shipbuilding" featured on its motion picture soundtrack. Now on to the show:

Elvis Costello and the North Carolina Symphony @ Booth Amphitheatre, Cary, North Carolina Sept. 13th, 2007

"Me doing a romantic song is like Steve Buscemi playing the George Clooney role in a movie."
- Elvis Costello introducing "She" 9/13/07

The best concert I've ever seen was Elvis Costello and the Attractions on the "Brutal Youth" tour in Raleigh on June 19th, 1994. I was a casual fan up to that point but witnessing the man's vocal range and attention to melodic detail made me a hardcore fan. Since then I've collected his many discs and absorbed his many styles but always preferred the rocking stuff. Well the prospect of Costello singing with an orchestra might have raised my eyebrows at first but there was still the possibility that the man under any circumstance could still rock.

Rock he did - viciously strumming an acoustic guitar he and longtime Attraction/Imposter cohort pianist Steve Nieve offered up a number of Costello classics ("Accidents Will Happen", "Green Shirt", "Veronica") that pleased the audience but the real focus of the evening was the embellished arrangements of the more challenging genre exercises of his canon. "Watching the Detectives" was given a complete workout with mighty percussion and sax involvement and the obvious but still vital "Alison" had a significant rephrasing and affecting as Hell addition of Smokey Robinson's "Tracks of My Tears" added in its coda.

Costello bantered with the audience in a casual and amusing manner even when mentioning "the war" - he brought that up when introducing his Oscar nominated (for COLD MOUNTAIN) song co-written with Allison Krause "Scarlet Tide" and of course when performing Nick Lowe's immortal "What's So Funny 'Bout Peace Love and Understanding". A song that I stupidly didn't even anticipate - the gorgeous Chet Baker arranged "Shipbuilding" fit the agenda beautifully as well. I know I'm not alone in my rocking preference - when Costello mentioned his album with the Brodsky Quartet - "The Juliet Letters" he got scant applause but a mere reference to his co-writing a song with Paul McCartney got people to roar. The bottom line whatever the genre, arrangement, or setting is - the man can seriously sing. You have to see him perform live to fully appreciate that I believe because the man's pipes can't be contained on a CD or in your iPod's earphones. So yeah, when it comes down to it - the man rocked.

Postnote - for a complete setlist of the show go here.

Okay! Thanks for indulging me for my birthday week pop music in the movies postings. Next time out - actual recent movies in theaters and on DVD. Stay tuned.

More later...

20 Great Modern Movie Cameos

Soldier (Fred Smith): "Well, what did you think of the play?"
Boris (Woody Allen): "Oh, it was weak. I was never interested. Although the part of the doctor was played with gusto and verve and the girl had a delightful cameo role." (LOVE AND DEATH, 1975) 

A cameo is defined as a "brief appearance of a known person in a work of the performing arts. Such a role needs not be filled by an actor: short appearances by film directors, politicians, athletes, and other celebrities are common" (Wikipedia, of course). 



As we all know sometimes one of the only good things in a particular film is a juicy unexpected cameo - not that all these were all unexpected, a number were highly publicised or widely rumoured way in advance. So many movies have cameos that it was very hard to pare down the best from all the multiple Ben Stiller, Austin Powers, and Zucker Bros. genre, but I settled for a nice smattering that doesn't deny those films their cameo cred but includes some overlooked surprise walk-on gems as well.



I decided to not include the many Hitchcock cameos or any other directors who often appear in their own films but made an exception (#18) when a director appeared in someone else's film. 



So don't go to the bathroom or blink 'cause you may miss them here goes the cameo countdown:

1. David Letterman in CABIN BOY (Dir. Adam Resnick, 1994) Director Resnick and former Letterman regular Chris Elliot's spotty yet not un-likable silly high seas saga featured the veteran late night host in his one movie role not playing himself as a stuffed- monkey peddler. As "Old Salt in Fishing Village" and credited as Earl Hofert, Letterman seemed to be enjoying himself as he badgered Elliot's fancy lad character - "Boy you're cute - what a sweet little outfit. Is that your little spring outfit? (laughs) you couldn't be cuter!"






2. Orson Welles in THE MUPPET MOVIE (Dir. James Frawley, 1979)



THE MUPPET MOVIE and all subsequent Muppet movies have been crammed with cameos (Steve Martin, Richard Pryor, Mel Brooks, John Cleese, Elliot Gould, Cloris Leachman, etc.) but Welles's appearance is a stone cold classic. Why? Because it introduced generation after generation to a true cinematic genius, at a low point in his career it briefly restored a sense of dignified power by casting him as studio head Lew Lord (based on mogul Lew Grade), and because nobody but nobody could give such an elegant reading to the line "prepare the standard 'Rich and Famous' contract for Kermit the Frog and Company." That's why.

3. David Bowie in ZOOLANDER

(Dir. Ben Stiller, 2001) All of Ben Stiller's movies have A-list cameos but Bowie is the only one who gets his own freeze frame flashy credit and a snippet of his hit "Let's Dance" to frame his intro when he steps out of the crowd to volunteer his services as judge for the crucial walk-off between Zoolander (Stiller) and his rival Hansel (Owen Wilson). With very little effort Bowie shows everyone in the room and in the audience what real screen presence is all about.



4. The Three Stooges in IT’S A MAD MAD MAD MAD WORLD (Dir. Stanley Kramer, 1963)




Talk about very little effort! The famous slapstick trio only appear for 5 seconds as firemen at an airport. In a movie that may as way be called Cameo City they just stand there in the middle of the choas saying and doing nothing and are funnier and all the more memorable for it. IT'S A MAD MAD... practically invented the modern celebrity cameo - hence it making this so-called modern movies list.

5. Keith Richards in PIRATES OF THE CARRIBEAN: AT WORLD'S END (Dir. Gore Verbinski, 2007) 

Definitely not a surprise cameo - Richards was supposed to be in PIRATES 2 but had Stones concert commitments so the word was out was beforehand. The joke of course is that because Johnny Depp modeled his Jack Sparrow character on the behavorial nuances of Richards it's apt to have the craggy decadent guitarist show up as Sparrow's father. It's predictable but pleasing how it goes down even if it is the cinematic equivalent of those Saturday Night Live sketches like "Janet Reno Dance Party" or "The Joe Pesci Show" where the real person walks on to stare down their imitator.

6. Martin Sheen in HOT SHOTS! PART DEUX (Dir. Jim Abrahams, 1992) In what may be the funniest cameo on this list Charlie Sheen takes a break from the Rambo-styled action to write his tortured memoirs complete with intense voice-over to parody his role in PLATOON. Suddenly another intense voice-over overlaps and we see his father Martin Sheen in army duds obviously parodying his role in APOCALYPSE NOW. As their riverboats pass they point at each other and say in unison - "I loved you in WALL STREET!" 



7. Roger Moore in CURSE OF THE PINK PANTHER

(Dir. Blake Edwards, 1983)

Now, this may be the most ridiculous cameo here. Get this - Roger Moore (sorry, Sir Roger Moore) plays Inspector Clouseau after plastic surgery at the end of the second Panther movie made after Peter Sellers death. It doesn't matter that it doesn't fit at all into the continuity of the series - even at its best there have been character and narrative inconsistencies throughout - it's still a highlight. Moore does a passable Sellers impression and appears to be having a ball. For the first time in the almost 2 hours of this tedious unnecessary sequel we are too.

8. Shirley MacLaine in DEFENDING YOUR LIFE (Dir. Albert Brooks, 1991) When recently deceased yuppie Brooks has to go on trial for his existence it's only fitting that Shirley MacLaine would show up to spoof her reincarnation-obsessed image, isn't it? She nails it as the tour guide at the Afterlife Pavilion that Brooks and his date Meryl Streep attend.

9. Ethel Merman in AIRPLANE!

(Dirs. Jim Abrahams, David Zucker, 1980) 



When seeing this movie as a kid and naturally thinking every single thing in it was a joke it was even funnier when a friend pointed out "that really was Ethel Merman". In a wartime hospital room flashback Ted Striker (Robert Hays) comments about one of his fellow wounded - "Lieutenant Hurwitz - severe shell-shock. Thinks he's Ethel Merman." Cut to : Merman bursting out of bed singing - "You'll be swell, you'll be great. Gonna have the whole world on a plate. Startin' here, startin' now. Honey, everything's comin' up roses..." As she (he?) is sedated by staff Striker remarks "war is Hell."




10. Rodney Dangerfield in NATURAL BORN KILLERS (Dir. Oliver Stone, 1994)

Presented as a flashback the surreal sitcom satire "I Love Mallory" serves as a commentary on the murderer's memories being corrupted by too much TV, but it's really a showcase for the most savage acting Dangerfield has ever done. As Mallory's (Juliette Lewis) abusive incestuous and just plain gruesome father Dangerfield steals the movie while repulsing us and there's an innocuous laugh track punctuating every line. The most perfectly unpleasant cameo here for sure.



11. Bruce Springsteen in HIGH FIDELITY (Dir. Stephen Frears, 2000) 

Like Keith Richards, Springsteen had never acted in a movie so it's pretty cool that the Boss would appear in a day dream of protagonist Rob Gordon (John Cusack). Plucking some notes on the gee-tar he inspires Rob to hunt down his ex-girlfriends. "Give that big final good luck and goodbye to your all time top-five and just move on down the road" Springsteen advises. Sigh - just like one of his songs.



12. Elvis Costello in SPICE WORLD (Dir. Bob Spiers, 1997) 

As a bartender and credited as 'Himself' Costello plays a nice tongue-in-cheek note as the Girls talk about their possible flash-in-the-pan prospects. It should also be mentioned that Costello also made cool cameo appearances in AMERICATHON, STRAIGHT TO HELL, 200 CIGARETTES, TALLADEGA NIGHTS, and AUSTIN POWERS: THE SPY WHO SHAGGED ME.




13. Gene Hackman in YOUNG FRANKENSTEIN (Dir. Mel Brooks, 1974) Great uncredited cameo in which Hackman plays a bearded blind man named Harold who gets a prayed for visit by Frankenstein's monster (Peter Boyle). Harold serves the monster soup, wine, and cigars but fails to teach him that "fire is good" prompting a sudden exit. Harold exclaims - "Wait! Where are you going....I was gonna make espresso!"



14. Marshall McLuhan in ANNIE HALL (Dir. Woody Allen, 1977)


The best example of one upmanship in a cameo that I can think of. At a theater in Manhattan (where else?) Alvy Singer (Woody Allen) is annoyed by the loud mouth pretensious rantings of the pseudo intellectual (Russell Horton) behind him and Annie Hall (Diane Keaton) in line. Alvy argues with the guy - "...and the funny thing is - Marshall McLuhan, you don't know anything about Marshall McLuhan." The guy responds "really? I happen to teach a class at Columbia called 'TV, media and culture' so I think my insights into Mr. McLuhan have a great deal of validity." Alvy then says "I happen to have Mr. McLuhan right here" and presents him from offscreen. McLuhan eyes the guy and says "I've heard what you were saying. You know nothing of my work..." Alvy looks at the camera and says "boy, if life were only like this!"

15. Kurt Vonnegut in BACK TO SCHOOL (Dir. Alan Metter, 1986) Overage college student Rodney Dangerfield enlists Kurt Vonnegut to write his term paper on - yep, Kurt Vonnegut. Vonnegut shows up at Dangerfield's door and has only one line which is just introducing himself but for our purposes that's all he has to do. When Dangerfield's paper gets an F (teacher Sally Kellerman : "whoever did write it doesn't know the first thing about Kurt Vonnegut") he curses the famous author over the phone and adds "next time I'll call Robert Ludlum!"





16. Jim Garrison in JFK (Dir. Oliver Stone, 1991) The definition of an ironic cameo. New Orleans District Attorney and controversial conspiracy theorist Garrison (who is portrayed by Kevin Costner in the film) does his only acting ever * as his chief rival Chief Justice Earl Warren. As the entire movie is an elaborate rebutal to the Warren Report's conclusions on the assassination and largely based on Garrison's book (On The Trail Of The Assassins) this is pretty juicy indeed. 



* Wait! I'm wrong - he did a cameo in THE BIG EASY (1987). My bad.



17. Stan Lee in MALLRATS (Dir. Kevin Smith, 1996) The Spiderman creator and Marvel Comics main-man has done cameos in many comics adapted or related movies (SPIDERMAN, THE HULK, X-MEN, FANTASTIC FOUR, etc.) but this one set the standard for the Stan Lee cameo. He plays himself so he's treated as a God by comic book collector geek Brodie (Jason Lee) and as such he rises above the base level humour even when saying lines like "he seems to be really hung up on super heroes' sex organs." 



18. Martin Scorsese – THE MUSE (Dir. Albert Brooks, 1999)
In a movie in which TITANIC director James Cameron also cameos and a number of Hollywood folk play themselves Marty sure has a nice bit - blabbing to struggling screenwriter Brooks - "I want to do a remake of RAGING BULL with a really thin guy. Not just thin, but REALLY thin. Thin and angry, thin and angry, thin and angry. Can you see it?" 



19. Spike Milligan in MONTY PYTHON’S LIFE OF BRIAN (Dir. Terry Jones, 1979) Like the 3 Stooges this is a blink and you miss it cameo. While filming in Tunisia the Pythons found Milligan vacationing and got him to do a scene. For those of you readers who don't know Milligan - he was a huge influence on Python as a member of the Goon Show (which also featured Peter Sellers) and various other radio and TV programs. When the crowd following the reluctant Messiah Brian (Graham Chapman) flocks off into the hills, Milligan's character, named Spike in the credits, walks off shot not following them. He never was one to follow the latest trends.



20. Frank Sinatra in CANNONBALL RUN II (Dir. Hal Needham, 1984) 

Without a doubt the worst movie on the list but one that made it because it's the Chairman of the Board we're talking about here! I'm highly amused at this cameo 'cause it's so cheap and cheesy how it's done.

Roger Ebert described it best in his original '84 review:

"There isn't a single shot showing Sinatra and Reynolds at the same time. Also, there's something funny about Sinatra's voice: He doesn't seem to be quite matching the tone of the things said to him.



That's the final tip-off: Sinatra did his entire scene by sitting down at a desk and reading his lines into the camera, and then, on another day, Reynolds and the others looked into the camera and pretended to be looking at him. The over-the-shoulder shots are of a double. This is the movie equivalent to phoning it in."

- Roger Ebert (Chicago Sun Times Jan. 1, 1984)

Have a favorite cameo you thought should have made the list? Bob Saget in HALF BAKED? Howard Cosell in BANANAS? Alice Cooper in WAYNE'S WORLD? Tom Cruise, Gwenyth Paltrow, or Danny Devito in AUSIIN POWERS IN GOLDMEMBER? Bruce Willis, Julia Roberts, or Burt Reynolds in THE PLAYER * ? Tom Petty in THE POSTMAN?

* 



Robert Altman's THE PLAYER was left off the list despite (or maybe because) it being almost completely constructed around cameos by countless celebrities but for the record my favorite cameo in it is Buck Henry as himself pitching "THE GRADUATE PART II" to Tim Robbin's slimy studio exec character.

Send your cameo ommisions to:

boopbloop7@gmail.com 



More later...

Film Babble Blog's Year-End Blogtastic Festivus!

Now, I ain't claiming to be a fancy pants seen-it-all babbler - I'm just a writer who works at a movie theater and blogs about what I'm interested in so no big summation of the year's offerings here. 



I mean it's pointless to make a top ten list of the year's best at this point - many lauded big-time studio features (like LAST KING OF SCOTLAND, CHILDREN OF MEN, THE GOOD SHEPHERD, etc.) aren't gonna be in my area 'til January or later so I'm just gonna blab some blurbs 'bout a bunch o' flicks I have seen since my last post. 



THE QUEEN (Dir. Stephen Frears)

  

Definitely one of the year's best and most likely the definitive 'walking on eggshells' movie. Helen Mirren's dead-on portrayal of her Majesty's reaction (or at first non-reaction) to former Princess Diana's death and Tony Blair's (Michael Sheen) touching and funny attempts to smooth it all over with the peeved-off public all plays perfectly. Not a wasted moment - this deserves every Oscar it will get.


 



SHUT UP & SING (Dir. Barbara Kopple, Cecilia Peck) 

  

Like THE QUEEN this is very much about public relations. As I'm fairly sure my readers know The Dixie Chicks made history when Natalie Maines made a fiercely anti-Bush comment between songs at a London concert at the dawn of the Iraq war. The snowballing firestorm (I don't care if that's a glaring contradiction) that ensued makes up the bulk of this documentary. Less a cinematic statement on the state of free speech in America than truly a sharp music doc 'bout a band dealing with backlash from a controversial quote and how that affects their touring and recording - the bit that has Bush's response from a Tom Brokow interview - "They shouldn't have their feelings hurt just because some people don't want to buy their records when they speak out... Freedom is a two-way street." Maines' reply: "what a dumbfuck. He's a dumbfuck," That bit alone makes this whole deal essential viewing.  



BLOOD DIAMOND (Dir. Edward Zwick) 

This thriller about the blood diamond trade in West Africa is way too long with awfully written dialogue throughout ("In America, it's bling bling. But out here it's bling bang"). The scenes between Leonardo DiCaprio and Jennifer Connelly are TV-movie bad. Still there's some great photography and intriguing story elements - it's just unfortunate that when the dust settles it is just a big noisy empty piece of bling bang.


 



Next time out - DVD reviews and more when filmbabble enters a brand new year!




This post is dedicated to the
Godfather of Soul,
James Brown, who passed away on Christmas day.




RIP JB 1933-2006


 



More later...