A Few Words About Keith Moon

A few nights ago I decided to pick up my battered old copy of a Keith Moon biography, Tony Fletcher’s book Moon, which I bought and quickly devoured when I was 14 or 15 years old, not long after I discovered the Who’s music and immediately decided that Keith Moon was the greatest drummer of all time, no question. There were many details of Moon’s life that I had forgotten. What a fascinating life to chronicle – so short and yet so wild. I suppose that’s why I find this particular photograph so striking; it’s hard to imagine Moon ever sitting still long enough to be calm and composed. Maybe that accounts for the look on his face.

It’s sort of hard to explain (maybe I “can’t explain,” ha ha) exactly why the Who meant so much to me in high school, other than the fact that I was hooked by the drumming. The exact moment when I became a fan was also the first time I ever listened to the Who, when local cable channel WLIW 21 showed the Rolling Stones’ Rock & Roll Circus in January 2007. The Who’s performance of “A Quick One, While He’s Away” was unlike anything I’d ever seen before. It was a performance that showed me how all of the members functioned within the band in their unique and individual ways. Best of all seemed to be Keith Moon, arms flailing theatrically and guileless in his expressions of pure enthusiasm.

I love this version of “So Sad About Us” from 1967. All of the energy – if not the timekeeping, necessarily – comes from the drumming. It feels like a great early power pop track, the forebear of Big Star and Cheap Trick.

This performance in France on March 31, 1966 further showcases how dynamic the band could be, live and in action. They were all so young here: Moon was 19, Pete Townshend was 20, John Entwistle was 21, Roger Daltrey had just turned 22.

It’s hard to imagine a better example of an immensely talented artist with an equally immense capacity for destructive behavior, both to himself and to others. Understandably, such a larger-than-life figure has been an appealing challenge for filmmakers. For years there has been talk of making a biopic about Moon. Mike Myers was long slated to play the role, but so far the project hasn’t materialized. At this point, Myers is far too old. If he were asked to play Moon only in the later years of his life, after years of excess and addiction aged him considerably and added a lot of weight, that wouldn’t make for much of a movie. His greatest accomplishments were in his first decade with the band.

I think it would be far better to leave the telling of Moon’s life to documentary filmmakers. No other drummer, certainly in rock & roll, has ever had the personality, the raw talent or the sheer passion that he had (especially in his prime), to say nothing of his complexities as a person offstage. I don’t think any actor or script could do justice to the roller coaster that was Keith Moon’s life. Now I’ve said enough… go and listen to some Who songs.

Another Comment on Kim Novak at the Oscars

The more I think about Kim Novak’s appearance as a presenter at the Oscars last night and the fact that she did not receive a standing ovation, the more I think just how appropriate it is to have a discussion about what that signifies. How do the bright, shining stars of Hollywood determine who among them is a legend and who is not?

I guess it’s debatable whether Kim Novak is actually a “legend” (unlike another presenter, Sidney Poitier, who definitely got people out of their seats). She was never nominated for any Academy Awards during her career. There is no question, however, that in her heyday she worked with many of the biggest names in the business. Novak’s starring role in Hitchcock’s Vertigo (1958) is how most people best remember her, but she worked with many other talented directors and leading men as well. Think for a moment of some of those highly-regarded directors: Richard Quine, Mark Robson, Joshua Logan, Otto Preminger, George Sidney, Delbert Mann, Billy Wilder, Terence Young, Robert Aldrich, Guy Hamilton. And then there are some of those memorable leading men, besides James Stewart of Vertigo and Bell, Book and Candle: Fred MacMurray, William Holden, Frank Sinatra, Tyrone Power, Fredric March, Kirk Douglas, Jack Lemmon, James Garner, Laurence Harvey and Dean Martin, to name only ten. Does anyone remember when Sight & Sound crowned Vertigo the greatest movie of all time? Well, for all we know that might not have happened if Hitchcock had cast a different actress.

The complicating factor in the public’s reactions to Novak is in the knowledge that she was once a sex symbol. It seems that perceptions are harsher and more judgmental when they are assessing someone who was once considered beautiful. (This remark about Novak by some young nobody is especially mean.) Not even having Academy Awards can alter this; the blogosphere was also snarky towards presenter Goldie Hawn (1970’s Best Supporting Actress winner for Cactus Flower), who was a bona fide star from the early 1970s to the early 2000s and who was certainly considered a sex symbol for many years. Even with all her success, the evident plastic surgery or Botox or whatever it is that Hawn has had done was prime fodder for the online critics. Getting back to Novak, the online reactions remind me of how the Internet immediately laughed at Jacqueline Bisset’s Golden Globes speech. Whether or not people were aware of Bisset’s fame and beauty from the late 60s to the late 80s (and her career hasn’t slowed down to this day), they were only reacting to the “uncomfortable” awkwardness in her genuine surprise at winning. Maybe if you had waited nearly fifty years to win a major award, you’d be shocked and say weird things too.

From what I gather, Kim Novak chose to leave Hollywood because she was frustrated with being seen only as a sex symbol, which was undoubtedly the main reason why she got many or most of the roles that she did, and after a while she was probably not considered a sex symbol anymore anyway. It was better for her to have bowed out graciously when she did, acting only occasionally between the early 70s and early 90s. But even at last night’s Oscars, when Hollywood went out of its way to pay tribute to just about every relic from its golden days, the fickle crowd was selective enough not to care that Kim Novak was onstage. If Novak was unsure of herself back in the 1950s, I can only imagine that it was a little frightening to appear at the Oscars as an 81-year-old woman. Can you really blame a female veteran of an appearance-driven industry for taking some injections?

As the blog Dlisted’s comments noted, echoing disappointment over the Oscar audience’s lack of reverence for one of their own: “This is what happens when people are thought to value and be appreciated based on only their looks … I wouldn’t even want to know how Marilyn Monroe would have looked if she were alive today … Do you think she would have received a standing ovation? Or would the Bieber crowd not recognize her either?”

Oscars 2014: Best and Worst Moments

Among the highlights of last night’s three-and-a-half-hour-long Academy Awards:

Brad Pitt helping hand out plates when Ellen brings pizza. Harrison Ford, Pitt, Meryl Streep and Jennifer Lawrence were among the people actually eating said pizza.

Darlene Love busts out the loudest version of “His Eye Is on the Sparrow” imaginable during the acceptance speech for the documentary 20 Feet from Stardom. Bill Murray is the first to jump to his feet for a standing ovation.

Pharrell Williams dances with Lupita Nyong’o, Meryl Streep and Amy Adams while he sings his Oscar-nominated song, “Happy.”

A bunch of celebrities stop to take a selfie.

Pink performs “Over the Rainbow” during the Wizard of Oz segment.

Lupita Nyong’o’s emotional acceptance speech for Best Supporting Actress.

Benedict Cumberbatch photobombs U2 on the red carpet and again during the show with Chiwetel Ejiofor.

Some of the worst moments:

Bette Midler performs what feels like an extra-long rendition of “Wind Beneath My Wings,” the sappiest song in human existence. Memorial segments are better when the show cuts the sound afterward and has silence until the commercial, rather than this year’s extended Midler performance and applause afterward. Midler’s mugging and talking to the crowd afterward, despite performing for a serious reason, didn’t help.

John Travolta totally mispronounces “Idina Menzel.” He gets a pass for having dyslexia, but why did he agree to read off the TelePrompter in the first place? He’s an actor; couldn’t he have memorized the name?

Kim Novak appears with Matthew McConaughey to present the Oscar for Best Animated Feature Film. I don’t really care how much plastic surgery she may have had; what I can’t figure out is why she was at the Oscars in the first place. I mean, didn’t it seem so random? Mostly it was just a sad moment because she didn’t get a standing ovation.

Another Low Point: In a year when so many notable names passed away, it would have been impossible to include everyone in the “In Memoriam,” but among those that I’m pretty sure were missing from the telecast were Jonathan Winters, Bryan Forbes and Dennis Farina. Also missing were Martha Eggerth, Patty Andrews, Wojciech Kilar, Helen Hanft, Otto Sander and Christopher Evan Welch, who had many decades of excellent work among them. I guess Marcia Wallace, another personality we’ll remember, only counts as a TV actor despite working in movies too.

Academy Award Predictions 2014

Here are my predictions for the winners at tomorrow night’s Academy Awards:

  • Best Picture: 12 Years a Slave
  • Best Actor: Matthew McConaughey (Dallas Buyers Club)
  • Best Actress: Cate Blanchett (Blue Jasmine)
  • Best Supporting Actor: Jared Leto (Dallas Buyers Club)
  • Best Supporting Actress: Lupita Nyong’o (12 Years a Slave)
  • Best Director: Alfonso Cuarón (Gravity)
  • Best Original Screenplay: Spike Jonze (Her)
  • Best Adapted Screenplay: John Ridley (12 Years a Slave)
  • Best Animated Film: Frozen
  • Best Foreign Language Film: The Great Beauty
  • Best Cinematography: Emmanuel Lubezki (Gravity)
  • Best Editing: Alfonso Cuarón and Mark Sanger (Gravity)
  • Best Production Design: Catherine Martin and Beverley Dunn (The Great Gatsby)
  • Best Costume Design: Catherine Martin (The Great Gatsby)
  • Best Makeup and Hairstyling: Adruitha Lee and Robin Mathews (Dallas Buyers Club)
  • Best Original Score: Steven Price (Gravity)
  • Best Original Song: Kristen Anderson-Lopez and Robert Lopez, “Let It Go” (Frozen)
  • Best Sound Mixing: Skip Lievsay, Niv Adiri, Christopher Benstead and Chris Munro (Gravity)
  • Best Sound Editing: Glenn Freemantle (Gravity)
  • Best Visual Effects: Timothy Webber, Chris Lawrence, David Shirk and Neil Corbould (Gravity)
  • Best Documentary, Feature: 20 Feet from Stardom
  • Best Documentary, Short Subject: The Lady in Number 6
  • Best Short Film, Animated: Get a Horse!
  • Best Short Film, Live Action: Helium

New and Improved: Ranking the Films of 2013

On December 31 I wrote a list ranking the new films that I saw in 2013. Now, on the eve of the Academy Awards – and having seen an additional 10 films – I’m releasing an updated assessment of last year’s best, worst and whatever falls in between.

  1. Inside Llewyn Davis – dirs. Joel Coen and Ethan Coen
  2. Nebraska – dir. Alexander Payne
  3. Gravity – dir. Alfonso Cuarón
  4. Pacific Rim – dir. Guillermo del Toro
  5. Stoker – dir. Chan-wook Park
  6. Austenland – dir. Jerusha Hess
  7. Side Effects – dir. Steven Soderbergh
  8. Her – dir. Spike Jonze
  9. 42 – dir. Brian Helgeland
  10. Parkland – dir. Peter Landesman
  11. The Incredible Burt Wonderstone – dir. Don Scardino
  12. American Hustle – dir. David O. Russell
  13. The Great Gatsby – dir. Baz Luhrmann
  14. World War Z – dir. Marc Forster
  15. In Secret – dir. Charlie Stratton
  16. Muhammad Ali’s Greatest Fight – dir. Stephen Frears
  17. Iron Man 3 – dir. Shane Black
  18. The Call – dir. Brad Anderson
  19. Admission – dir. Paul Weitz
  20. The Bling Ring – dir. Sofia Coppola
  21. The Company You Keep – dir. Robert Redford
  22. Closed Circuit – dir. John Crowley
  23. Oblivion – dir. Joseph Kosinski
  24. All Is Lost – dir. J.C. Chandor
  25. Carrie – dir. Kimberly Peirce
  26. Broken City – dir. Allen Hughes