In a role that looks likely to eclipse fellow rocker Steven Adler’s appearance in slasher comedy ‘Dahmer vs. Gacy’ erstwhile Black Label Society/Ozzy axeman Zakk Wylde plays Uncle Jed to title charcter Bones White in late-80s set coming-of-age flick ‘`Bones.’

The movie,  the writing and directorial debut of Frank Pestarino, is described as a “heart-breaking…story [about] four teens growing up in 1989 blue-collar New York” and a bond that ties them together for life. Hmmm. Like…finding a dead body?!

swimming pools, movie stars....

And then there’s the cast. Wylde notwithstanding it consists of a bunch of still unknown but rapidly climbing actors such as 13-year old Jimmy Bennett (‘Bones White’), most recently — and geekily — seen as ‘Young James T. Kirk’ in ‘Star Trek’ and Toe Thompson in Robert Rodriguez’ ‘Shorts.’

Melissa Ordway (‘17 Again’) plays ‘Samantha Reeves.’ Jonna Walsh (‘Couple’s Retreat’) is Samantha’s little sis, ‘Kelly Reeves.’ Jesse James plays ‘Derrick Scott’ in this movie. At 20-years old  his resume already stretches back as far as ‘Walker, Texas Ranger,’ ‘As Good As It Gets,’ and ’Gods and Monsters,’ making stops in ”Blow’ and ‘The Butterfly Effect’ along the way. 

Perhaps most Geektastic of all, however, is the casting of Donnie Most, sorry Don Most, as ‘Mr. Reeves,’ the girls’ father. Most remains most famous for  his role as ‘Ralph Malph’ in ’Happy Days,’ but was also in early 80s series ‘Dungeons & Dragons,’ the late 80s’ ‘Teen Wolf’ animated series, and had one- or two-off appearances in ‘Baywatch,’ ‘Star Trek: Voyager,’ and as the voice of ‘The White Rabbit’ in ‘Sabrina the Teenage Witch.’

I’m not privvy to the plot at all, but the general premise and a cast consisting of a very unlikely musician crossover, a bunch of legit up-and-comers, and a Tarantino-style resurrection move, smell to me like either a classic-in-the-making or an unmitigated disaster.

Mr. Pestarino, it is now largely down to you.

If you find yourself staring down the IRS in an audit, according to data provided by Google one of the first things you’ll do is search for a tax attorney in your geographic area. The next is start searching for other tax relief solutions. In some cases a little free information can help you as well. In most cases though, it really pays to hire a professional. TaxRelief.net knows exactly how to address each individual’s unique situation. There are so many variables that can effect what kind of settlement can be reached that it’s not something that can be so easily decided. It’s pretty scary but lot’s of individuals are spending time behind bars for tax evasion. Jesse James’ ex-wife has just finished up a six month sentence. She obviously didn’t find it necessary to secure good representation. Dealing with the IRS or and audit isn’t something that you just leave to chance or fate. Don’t try to solve the matter yourself. Unless it’s a very minor infraction or a very small amount of money, get a great tax attorney right away.

TaxRelief.net is one of the leading providers in the country. If you are having serious tax problems we suggest that you visit their website soon. Or you can call them direct at 1-800-795-5101

In the news . . .

Federal judge sides with artist over trademark dispute with University of Alabama for highly accurate sports paintings.

More tax trouble–actor Nicholas Cage owes $6 million.

All-star pitcher busted for marijuana possession after being pulled over for speeding.

Actress Sandra Bullock and husband Jesse James fight custody battle with James’ ex-wife, and famous porn star, Janine Lindemulder.

Canadian court convicts man of Internet luring for not taking reasonable steps to check child’s age.

To keep with changing times, Disney reverts Mickey Mouse to his wiry, ornery, 1930s form.

Recap of most popular, banned iPhone apps.

Canadian judge confiscates boy’s Nintendo Wii for bad behavior. Meanwhile, China looks to abandon boot camps for Internet-addicted youths after death of 15-year-old boy.

Is AT&T’s lawsuit against Verizon for its “there’s a map for that” commercial the right approach? Coincidentally, the inventor of the cell phone, Martin Cooper, goes on record stating that phones have gotten too complex.

Gone so soon? Federal judge orders BlueBeat to stop its 25-cent sales of songs from the Beatles catalog.

As far as I’m concerned, Jesse James is more of a real man than a “Dead Man.”

The star of Spike’s “Jesse James is a Dead Man” is apparently whopping mad that his ex-wife, just-released-from-prison former porn star Janine Lindemulder, went on “Good Morning America” this week and accused Jesse’s wife, Sandra Bullock, of trying to take her 5-year-old daughter, Sunny, away from her.

Jesse, Sandra and Janine are currently locked in what’s becoming an ugly custody battle for the little girl, who has lived with Jesse and Sandra for much of this year while Janine was serving her sentence for tax evasion.

“What would give her the right to take away my daughter?” Janine, 40, asked “GMA.” “You know, this is my daughter. I am the best mother I can be.”

According to a statement given to People by Jesse’s attorney, Jesse, also 40, is annoyed that Janine keeps dragging Sandra’s name into this mess.

“Sandra Bullock is not a party to this litigation,” Jesse’s lawyer, Marilyn Slifman (a woman – clever man), told People. “Mr. James’s (sic) sole concern is for the safety, welfare and best interests of his daughter. The proper forum to resolve this case is in the courtroom.”

But apparently Janine believes Sandra, 45, is the impetus behind this push to get full custody of Sunny.

“…I do believe the reason Sandra is so interested in Sunny… she (thinks she) is saving Sunny from me, from her own mother… That’s what I believe,” she told “GMA.”

Sandra, on the other hand, has written the court saying, “I am aware that Janine has claimed many times that my desire to have (Sunny) was because I could not have children of my own. That couldn’t be farther from the truth.”

Janine, for her part, says, “I didn’t say that.”

Sandra goes on to tell the court, “I know the term ’stepmother’ carries many connotations, one of them being ‘glorified babysitter.’ My commitment and responsibility to [the girl] … goes beyond that.”

“GMA” quotes an anonymous source close to Janine as saying that Janine was “not in favor of the divorce when Jesse left (while she was pregnant with Sunny). Janine had custody of her daughter. Jesse didn’t see his daughter for the first two years of her life except for around the time when she was born. It was only after he got involved with Sandra Bullock that he decided he wanted to have a relationship with his daughter.”

Complicating things even further for Janine is that she recently married a convicted felon and Jesse, rightly so, is concerned about Sunny’s exposure to the man. As a result, the judge in the case amended the visitation order to specify that Janine’s husband must stay away from Sunny.

Whatever the outcome of the case, I hope Sunny winds up in the care of the best possible parents. To read Parade Magazine’s interview with Sandra – in which she mentions Sunny – go here.

This is a list I’ve truly been prepping for, for about a year now. About a year ago I had only seen a couple westerns that I had actually enjoyed (a few of those made this list), and I realized as a lover of movies I have not seen nearly enough westerns. So, I filled my netflix queue and got to watching and enjoying. I realized two things while watching the many westerns I did.

First of all, I’m quite sorry to say and I know many won’t agree with this statement and might even just X out of this page as soon as they read it, but an opinion’s an opinion and I’m not gonna lie to agree with society. I found John Wayne to be overrated. I’m just not a fan. I liked a few of his movies, such as The Searchers and True Grit, and my favorite would probably have to be The Man Who Shot Liberty Valance, but that didn’t even make the list. It probably would be 11 or 12 though if I were to add on to this list.

Secondly, and much more importantly, I realized that Western genre is one of my favorites and this list list would be harder to make than I thought. I was very right. Through watching this dying genre I found not only fantastic westerns, but also some of the greatest movies I’ve seen of all time. Well, I’ve been waiting to do this for a very long time now. Here are my top ten favorite westerns of all time.

10. The Outlaw Josey Wales

Some of Eastwood’s best all around work in both acting and directing really shine in this film. There was only one other Clint Eastwood directed movie that was able to surpass this one and its listed later on this list. The story is a surprisingly  heart felt one and its told to near perfection.

9. The Assassination of Jesse James by the Coward Robert Ford

This is the newest western to be placed on this list and in my eyes this movie is a breath of fresh air because it showed that great westerns can still be made today. Brad Pitt and Casey Affleck are phenomenal. A brilliant cast and script was combined to tell the very true and quite epic tale of the assassination of one of the most famous western outlaws there ever was.

8. The Magnificent Seven

There’s not much you can really say about The Magnificent Seven except that you have to let the movie speak for itself. Needless to say, the cast is stupendous and there are many great scenes. Most importantly though, There’s not much that compares with the camaraderie you feel with each character when that theme music comes on.

7. Butch Cassidy and the Sundance Kid

At the heart of this classic lies what may be the most iconic duo of all time. Paul Newman and Robert Redford play so impeccably well off each other that every scene is made real and memorable. The timing of every witty crack is absolutely perfect, the action sequences are highly entertaining, while sticking to realism and the finale is breathtaking.

6. Tombstone

Tombstone is a fantastic film that just barely misses my top five. Tombstone is the greatest telling of the now classic tale of Wyatt Earp and Doc Holiday. There are many memorable parts, from the classic OK coral shoot-out, to Holiday’s tricks with a tea cup in a bar. There’s something for everyone in this flick because even if you don’t find solace in the fantastic scenes, you will certainly find enjoyment out of Val Kilmer’s masterful performance as Doc Holiday.

5. For A Few More Dollars

For A Few Dollars More is a fascinating character study of bounty hunters in the old west. It’s the second film in Sergio Leone’s Man With No Name Trilogy, but as with every movie in the Dollars trilogy, it stands alone as its own fantastic story. Clint Eastwood and Lee Van Cleef make for a very interesting and entertaining pair in the old west. Leone builds tension, keeps you guessing, and in the end he most certainly does not disappoint.

4. The Proposition

The Proposition is another western that is relatively new. It was made only four years ago and I believe it is one of the greatest westerns of all time, only surpassed by some of the greatest movies I’ve ever seen. The plot of The Proposition is genuinely simple, yet superbly poetic. In the Australian Outback, a man is hired to kill his older brother in order to save his younger one from the noose. It’s the most brutal western I’ve seen and it never lets up till its pitch-perfect ending.

3. Once Upon a Time in the West

By far the greatest title for a western I’ve ever seen, if not just the greatest title for a movie. I mean, what can possibly indicate better that you’re about to watch an epic masterpiece than a title like that. Anyways, besides a great title Sergio Leone’s complex, gritty, western tale of revenge and mayhem is so amazing that it was hard to even put it at three. I’m going to say this right now, Sergio Leone builds tension better than Hitchcock does. Every single scene from the (waiting for the train) opening to the final showdown, your always on edge. I’d also like to say that Ennio Morricone is probably the greatest film composer in history. Westerns almost always have fantastic scores, but this is my favorite of any western score. Last, but certainly not least I have to mention Henry Fonda’s flawless performance as the ruthless western gunslinger Frank, certainly out of character for him and in my opinion; his best work.

2. The Good, the Bad and the Ugly

Most commonly called the classic western and for good reason. The Good, the Bad and the Ugly is nothing and I repeat nothing short of a masterpiece. If I’m not mistaken I think the Man With No Name trilogy is the only trilogy that truly gets greater with each film. Leone’s skill for building tension, which has attempted, but never matched, was never greater than in every single, intricately plotted, scene of this movie.

What Sergio Leone, Clint Eastwood (Blondie-The Good) , Lee Van Cleef (Angel Eyes-The Bad) and Eli Wallach (Tuco- The Ugly) have given us is masterful look at the west and adventures, and subsequent stories it inspired. A story full of depth and characters, whether that be the good guys, the bad guys, and the ones in between. A timeless epic that savors my hunger for excellence with each passing scene eventually leading to what is probably the most iconic and greatest western showdown/ending ever put on screen. And for this, from the bottom of my heart, I thank them.

1. Unforgiven

As I said in the past, this was a difficult list to make, but there is not a doubt in my mind when it comes to number one. Clint Eastwood starred in many classic westerns including Sergio Leone’s classic Man With No Name Trilogy. Than he directed some of his own great westerns. His knowledge on the genre grew over years of experience and he than gave us the greatest western of all time. Unforgiven is western that was able to do what no other western was able to do. It showed us what the west really. Unforgiven showed us that a ruthless killer could fall off his horse or miss a shot.

Unforgiven shows the realistic West where no one could really be considered the good guy, not even the guy your rooting for (William Munny- Clint Eastood in an Oscar nominated performance) ,  and especially not the sheriff (Little Bill Dagget- Gene Hackman in an Oscar winning performance). Unforgiven was a masterful look into a world we’ve never seen. We thought we had, but we realize that was all just fantasy. Unforgiven mixes dark realism with the  fantasy Western genre. Add brilliant acting and characters, fantastic writing and direction and the result is not only the greatest western of all time, but one of the greatest movies ever made. A true masterpiece of our time worthy of recognition and praise.

Well.

Yesterday I began a list of my personal favorite Westerns of all time. Today, I return to finish the job – once and for all.

First, though, a quick recap. Here’s the first four entries on the list, numbered seven to four:

7. Young Guns.

The Brat Pack takes on the legend of Billy the Kid. Emilio Estevez is somehow believable as a murdering sociopath. Kiefer Sutherland continues to be awesome.

6. Silverado.

Kevin Kline and Kevin Costner team up to stop corrupt Brian Dennehy and creepy Jeff Goldblum.

Awesome.

5. Tombstone.

Kurt Russell and Val Kilmer steamroll through some of the most cringe-worthy moments in film history, seemingly through sheer force of awesomeness alone. Michael Biehn is also on hand, once again forcing us all to collectively ask: “What the hell ever happened to Michael Biehn?”

4. Unforgiven.

Clint Eastwood frowns and scowls his way towards redemption and a scheming Gene Hackman, with Morgan Freeman caught somewhere in the middle. Saul Rubinek and Richard Harris are also there for some reason.

And now…THE FINAL THREE.

Three: The Assassination of Jesse James by the Coward Robert Ford. (2007)

This is the newest entry on the list, so I’m not sure if it’s properly reached “classic” status yet.

But give it time, friends – it will.

“The Assassination of Jesse James by the Coward Robert Ford” was quite possibly my favorite movie of 2007. Very few people saw it. Even less seemed to like it. But I maintain that it is one of the most beautifully epic and gorgeously shot films I have ever witnessed. The movie is true artwork – every detail is carefully crafted for maximum impact. From the cinematography, to the sparse dialogue, to the acting, to the score by indie hero Nick Cave, everything is note perfect.

It’s certainly not a feel good movie, like some other, younger, gunnier films, but that’s okay. It’s not meant to be. While Jesse James certainly had his boyish fun side, his movie isn’t about him. It’s one of the few Jesse James movies out there, I’m sure, that he isn’t the main focus of.

This movie is about Robert Ford.

It’s about Ford, that “dirty little coward, who shot Mr. Howard,” and his tumultuous, sometimes bizarre relationship with James. Ford idolized James, even loved him – but not in a weird way. Just in the way that he wanted to be Jesse James.

Which, I guess is a little weird.

(But, c’mon…who wouldn’t want to be Jesse James?!?)

Casey Affleck plays Ford as a man who seems to be constantly on the verge of a complete meltdown. He has no real personality, no identity. In his mind’s eye, he IS James, or at the very least, James’ partner in crime. Unfortunately, Jesse James doesn’t really see it that way.

Now, I usually hear the same two complaints about this movie. For one, it’s too long. Well, deal with it. This is a grown-up movie for grown-ups. If you can’t sit and watch a movie for three hours without squirming or getting fussy, than too bad. This movie’s not for you. It’s long, yes, but that only adds to the build up. And I’ve never found it slow, either. Leisurely, sure. It takes it’s time to revel in the world it’s created, and the characters who inhabit it. And what interesting characters they are.

The second complaint is that, like “Titanic”, you already know the ending. All right, sure. It’s in the damn title, for Christ’s sake. But again, the movie isn’t about the murder of James…it’s about the journey leading up to the assassination. It wants to examine this frustrating relationship between two vastly different men, one an idol, the other the worshiper, that culminates in murder. The interesting part isn’t that Robert Ford shot Jesse James in the back of the head. The interesting part is why Robert Ford shot Jesse James in the back of the head. And in the movie, when James realizes his defeat, and gives up to dust off that picture, it’s beautiful, sad and heartbreaking – for both men.

Give it another look. The acting is superb all around, with Affleck at the head of the pack, and excellent supporting performances from Pitt and the always dependable Sam Rockwell. And, in a transparent attempt to make me love this movie even more, the lovely Zooey Deschanel also shows up, briefly, near the end.

So it’s also got that going for it. Which is nice.

Two: The Searchers. (1956)

Racism, family, and John Wayne all collide in this epic masterpiece by that master of epic masterpieces, John Ford.

Wayne, a staple of Westerns, stars as Ethan Edwards, a man searching for his lost nieces after they are abducted by Native Americans. Edwards, racist against the Natives even before they destroy his family, sets out to find the girls at any cost.

That cost, as we soon find out, is exorbitantly higher than the audience may initially think; Ethan’s hatred for the Comanche is so severe, that he would rather see his nieces dead then in Native hands. If he can’t save them from death, than at least he can try to save them from the tribe.

The film attempts to examine racism in the Old West, showcasing Ethan’s hatred for the “red man” against the Comanche chief’s racism against the “white man”. Both are extreme in their racism to the point of madness – the chief, Scar, will continue to kill and scalp white men, with no end in sight, in retaliation for his two son’s murders, and Ethan will willfully murder his own niece, rather than see her marry a Comanche.

It’s a dark, dense tale, that is uncommon even now – let alone in the 1950’s, when it was a given that all cowboys were good, all Indians savages.

Wayne is amazing as Edwards. Defiant, aggressive and stubborn, his character grows throughout the film, but only really finds redemption after being pushed to the brink – he only truly becomes human after giving up his own humanity.

It’s a great film – a social message beautifully shot and well acted. Certainly one of Ford’s best, which means it truly must stand tall in the genre. Highly recommended, this is one of the best in the genre.

One: High Noon. (1952)

The only thing more epically, badassingly awesome than the movie “High Noon,” is Gary Cooper, who stars in the movie “High Noon.”

This is number one is right here, folks. And it is awesome.

“High Noon” is a ridiculously awesome movie with a ridiculously awesome concept. Cooper plays Will Kane, the sheriff of a small town, now happily married and planning to retire. Then some dude Kane put away years ago vows revenge on Kane, heads back into town, grabs himself a posse, and wages war on our intrepid lawman.

No problem, right? Just round up some deputies, take these dudes by force, scrub up your badge for the next guy, and high-tail it outta town on the next stagecoach for a weekend honeymoon retreat with your wife at some five-star saloon or something.

WRONG.

The townspeople may admire Kane, but they sure as hell don’t want to step into his shoes. Frank Miller (Ian MacDonald) is one badass dude, and they want nothing to do with him. They suggest the same to Kane. Leave town. Forget Miller. Move on.

But Kane knows better. You deal with bullies by facing them down, not running away. Otherwise, they will hunt you down and haunt you for the rest of your life. So he stays in town. He pins that badge on his vest, and he throws down against Frank Miller and his gang, with no help from anyone but himself. Will Kane vs. THE WORLD. And in REAL TIME.

It’s a great movie that showcases the struggles of doing the right thing vs. doing the easy thing. It presents this argument mostly through dialogue, and characters action prior to the finale – and, in fact, the finale is the only place where any violence or action at all take place. Not your typical Western – especially Back In The Day.

Check it out to find out why I consider it to be the best Western ever made (personally speaking, of course.)

And you’ll also find out why Gary Cooper’s Will Kane is the greatest Western hero of all time.

Well.

That is the list as I see it. I’m sure there will be future lists down the road, but for now…I’m all listed out.

Oh, what the hell. Here’s the honorable mentions list. Check these out too, for a better representation of the genre as a whole:

The Magnificent Seven. (1960)

Butch Cassidy and the Sundance Kid. (1969)

Shane.(1953)

Rio Bravo. (1959)

The Wild Bunch. (1969)

Stagecoach. (1939)

Dances with Wolves. (1990)

And yes. I am fully aware that EVERY movie on THIS list is better than “Young Guns.”

REGULATORS!

MOUNT UP!

Every time my blog goes nuts with hits I have to assume something big is going on. And in the case of bad boy Jesse James, I gather it is.

Sandra Bullock and Jesse James spend time with Jesse's three children from previous marriages, including 5-year-old Sunny, far right./Photo by Celebrity Baby Blog

Although the American tabloids don’t seem to have picked up on it yet, the “Celebrity Apprentice” breakout star and his wife, Sandra Bullock, are apparently gearing up for a custody battle over Jesse’s almost 6-year-old daughter, Sunny, with Jesse’s ex-wife, porn star Janine Lindemulder. Sandra, 45, and Jesse, 40, have had custody of the girl while Janine, as I reported previously, served six months in prison for tax evasion. Janine, 40, was recently released to a halfway house, and according to reports will be allowed to apply for custody of Sunny after the new year.

As a preemptive strike against such a move, Jesse recently told a California court that “Good cause exists for the court to conduct a review to determine if Sunny will be safe with (Janine). She should be restrained from allowing the child around pornographers, drug addicts, guns and firearms, felons and other unsafe environments.”

Well that’s just common sense. It’s sad when a no-brainer statement like that has to be articulated. Don’t you think a mother should automatically know that?

Does being a porn star like Jenna Jameson, shown earlier this year shortly before giving birth to twin boys, mean you can't be a good mother?

This report also makes me wonder: Does being a porn actress mean you can’t be a good mother? Look at Jenna Jameson. She’s considered the queen of the industry and just gave birth to twin boys earlier this year.

Or is it Janine’s porno past combined with her prison sentence that makes her not-such-an-ideal mother? I’m sure there’s much more to this story than what’s been reported.

Une journée pluvieuse au Missouri…

Une tempête tropicale venue des Caraïbes est remontée dans les terres et a frappé le Missouri de plein fouet. Exit les photos de St-Louis. Ça ne valait pas la peine. Je suis donc parti pour Kansas City. Et puis je me suis dit que j’allais faire 2 détours : Hannibal et St-Joseph.

Première escale : Hannibal. Petite ville sur le bord du fleuve Mississippi.

Franchement, je voulais y venir seulement pour voir l’endroit où a grandi Mark Twain. Après tout c’est un moustachu et il mérite le respect pour cela tout comme Mr T., Jesse “The Body” Ventura ou Ron Jeremy. Mais bon, plus sérieusement je trouvais ça intéressant de voir les lieux qui lui ont inspiré ses histoires.

Et puis cela me donnait une dernière opportunité de revoir le fleuve Mississippi. Si majestueux et tellement brun…couleur de l’amour.

Puis je me suis dirigé vers St-Joseph. Passer d’Hannibal à St-Joseph, cela veut dire traverser l’État du Missouri d’Est en Ouest. Chacune de ces villes est située sur une frontière. L’une à l’est sur le bord du Mississippi qui la sépare de l’Illinois. L’autre à l’ouest sur le bord du fleuve Missouri qui la sépare du Kansas. En fin d’après-midi, je suis donc arrivé. Malheureusement, quelques minutes seulement avant la fermeture des deux trucs que je voulais voir…

La maison où Jesse James s’est fait assassiné. J’avais eu l’idée de faire le détour après avoir vu le film The assassination of Jesse James que j’avais vraiment beaucoup aimé. J’aurais aimé parler au vieux bonhomme malcommode qui gardait la maison pour savoir ce qu’il pensait du personnage. M’enfin, selon ce que j’en sais, c’est une “célébrité” au Missouri. Voler aux riches pour donner aux pauvres. Être un expert de la guerilla contre les yankees pendant la guerre de sécession. Tout ça participe à l’établissement du mythe.

En plus, si j’avais pu entrer, j’aurais pu voir le trou de balle!!!!

L’autre chose que je voulais voir était le quartier général du Pony Express à St-Joseph. La ville était considérée à l’époque comme le dernier ravitaillement avant d’entrer dans le “wild west”. Le Pony Express avait pour bu de relayer le courrier à travers ce territoire hostile.

La plaque comportait des informations plutôt intéressantes.

120 celebrated riders rode 650 000 miles with only one rider killed by indians, one schedule not completed and one lost mail.

Après ça je suis allé à Kansas City qui n’est pas bien loin au sud. Je commence un rhume, alors je me suis trouvé un hôtel où je me terre et écrit ce récit d’une journée pluvieuse. Rien de grave, ça doit seulement être la grippe porcine bubonique vitriolante. Avant de succomber, j’ai tout de même pu me promener un peu dans la ville en cherchant un endroit où passer la nuit. C’est ma foi une très belle ville à première vue. Demain j’explorerai un peu avant de repartir.

Position : East Kansas City (Missouri)
Température : 8 celcius
Distance du jour : 663 km
Distance totale : 2522 km

Dear Hon,

I love you. I love every little thing about you. I love your cute smile, your magical eyes, and the sound of your voice. I love your gentle touch, and I love the warmth I feel when I’m by your side. I can’t stop thinking about you when we are apart. I need you by my side. You complete me. You mean the world to me. You are the best thing that has ever happened to me. You are the one I’ve always wished for. I never thought that I would ever meet someone as special as you. I love each and every moment I share with you.

I know I can’t give you the whole world, but I can promise you I will always love you. My heart is yours, and even though I know I’ll make mistakes, I will never break your heart. I’ll be right beside you as we chase our dreams together, and you will never have to wonder if I still care. I think about you all day long and when I’m not near you my mind is consumed with thoughts of being close to you again. When you’re near me I feel like everything in the world is right, and I know I don’t have to ask God for anything because as long I have you in my life I have everything I could ever want. All I want to do is spend the rest of my life making you as happy as you have made me. I know you might already have someone else, but if you do, I hope that you feels the same way I feel because that’s what you deserve.

Love Always,
Melrose

Police believe that  Colton “Colt” Harris-Moore, who has been linked to crimes in six counties involving planes, luxury cars and boats, is stealing, and crashing,  airplanes in Washington state.

From CNN:

The 18-year-old man police call the prime suspect does not have a pilot’s license. But he does have a nickname — “The Barefoot Burglar” — and a Facebook fan club, which compares him to Jesse James “without the murders” and exhorts: “Fly, Colt, Fly.”

Since November, police say, at least three small, private planes have been stolen and flown away. The latest to go missing crash-landed last week in a clearing in Granite Falls, Washington, after running out of fuel, police said.

The rough landing damaged the Cessna 182, which along with its instruments is worth more than $500,000. But authorities said the plane’s pilot appears to have walked away unhurt.

Harris-Moore has not been charged in any of the plane thefts. But authorities are testing vomit found in the cockpit of one plane to see whether they can place the teen inside.

‘I am an eye. I am a mechanical eye. I, a machine, I am showing you a world, the likes of which only I can see.’

Het is een gevleugelde uitspraak van de legendarische Russische filmmaker Dziga Vertov. In de jaren twintig van de vorige eeuw kwam hij met het begrip Kino Eye op de proppen om de haast magische kracht van de camera te bestempelen. Met de ontwikkeling van de technologie is die camera vandaag de dag geen log bakbeest meer, zoals in Vertovs tijd. Integendeel: camera’s vliegen door sleutelgaten, glijden door hotelgangen, nemen hele films in één doorlopend shot op, en vervormen de wereld naar believen. Op deze blog, en in de Xi, wil ik meerdere keren een relatief onderbelichte film bestuderen om de keuzes en het stempel van de director of photography te achterhalen. Dit keer Andrew Dominiks moderne klassieker (en persoonlijke filmfavoriet) The Assassination of Jesse James by the Coward Robert Ford, met weergaloos camerawerk van de gelauwerde Roger Deakins.

Brad Pitt als Jesse James in "The Assassination..."

In de film met de belachelijk lange en opmerkelijk onthullende titel draait alles om Jesse James (gespeeld door Brad Pitt), een Amerikaanse outlaw in de tweede helft van de negentiende eeuw. James en zijn bende teisteren grote bankcorporaties en spoorwegnetwerken in hun niet-aflatende zoektocht naar geld. Onder de delinquenten in James’ bende bevinden zich de gebroeders Ford, waarvan de jongste, Robert (een magistrale rol van Casey Affleck), een bijzonder intense haat-liefdeverhouding met de bendeleider heeft. James’ paranoïde houding en onvoorspelbare karakter maken hem een moeilijk te peilen figuur. Hoewel dit zijn mythische, haast heroïsche status onder het volk ten goede komt, begint Robert, die er een niet zo stiekeme idolatrie voor James op nahoudt, zich meer en meer te ergeren aan de onkwetsbaarheid en arrogantie van de illustere bandiet. Uiteindelijk beginnen de zinderende spanningen tussen de twee mannen dergelijke hoogtes te bereiken dat de titelbelofte wel ingelost móet worden.

‘Zinderend’, ‘mythisch’, ‘intens’, ‘onvoorspelbaar’; het zijn allen trefwoorden die ook hun weerslag hebben gekend op de cinematografie van Roger Deakins. Deakins verdiende zijn sporen met films als The Shawshank Redemption en A Beautiful Mind. Hij verwierf grote roem door zijn haast onafgebroken samenwerking sinds 1991 met de gebroeders Coen (The Big Lebowski, No Country For Old Men) en als de nieuwe vaste cinematograaf van Sam Mendes (Jarhead, Revolutionary Road) sinds de dood van Conrad L. Hall. Deakins staat bekend om de kracht die hij uit minimalistische, zelfs eenvoudige shots weet te puren. Zelfs in het huidige digitale tijdperk zoekt Deakins de mogelijkheden van de camera en de belichting, van het ambacht. Zijn shots lijken vaak te ademen door de belangrijke mate waarin zij bijdragen aan de sfeer van de film. De sneeuwvlaktes in Fargo, de iets te fel verlichte gangen in Revolutionary Road, de dreigende luchten van No Country For Old Men; het is Deakins’ grote prestatie dat zijn cinematografie op zichzelf altijd bijzonder origineel en wonderschoon is, maar tegelijkertijd nooit de aandacht van het verhaal afleidt.

Pitt als James en het graan als, eh, het graan in "The Assassination..."

Eén van de meest treffende voorbeelden hiervan is Deakins’ werk aan The Assassination of Jesse James by the Coward Robert Ford. De cinematograaf heeft gezocht naar een stilistische methode die recht doet aan de insteek en de visie van regisseur Andrew Dominik. Generisch gezien ligt Jesse James namelijk mijlenver buiten de gebaande paden; het is noch een typische biografie, noch een western, noch een avonturen- of actiefilm. De film is een psychologisch geladen, poëtische en contemplatieve bespiegeling van sterrenstatus in de negentiende eeuw – daarmee hevig knipogend naar de huidige situatie. Deze onalledaagse insteek vraagt om een ietwat ongewone manier om in beeld gebracht te worden.

Eén van de meest ingrijpende visuele methodes waar Deakins naar gegrepen heeft, is het gebruik van pinhole photography. Deze vorm van cameravoering is te vergelijken met de klassieke camera obscura zoals wij die kennen van zeventiende-eeuwse Nederlandse schildersmeesters. Hierbij wordt er geen gebruik gemaakt van een cameralens, maar van een dichte doosconstructie met een klein gaatje. Deze minuscule opening in de doos zorgt voor de focus van de camera. De randen van het beeld vervormen echter door het ontbreken van een helder afbakenende cameralens. Het effect is vergelijkbaar met kijken door de loop van een geweer of een hele smalle buis; je kunt maar naar één specifiek object of persoon kijken, een helder en scherp centrum. De rest van het gefilmde is vervormd en lijkt het beeld uit te glijden.

Pitt in stoel als James in stoel in "The Assassination..."

Deakins hanteert deze visuele stijl hoofdzakelijk in twee typen filmscènes. Aan de ene kant zien we deze visuele stijl, in combinatie met tergend trage track-ins, vaak terug in dialoogloze situaties waarin de aandacht bij het personage van Jesse James ligt. Dit zijn bijvoorbeeld scènes waarin Jesse rustig met een handeling en of buiten het huis bezig is, andere mensen met zijn ogen volgt, of in gedachten verzonken is. De innerlijke emoties en gedachten komen hier niet tot uiting middels dialoog. Daarom versterkt Deakins het woordeloze acteerwerk van de acteur in kwestie, in dit geval Brad Pitt, middels de toepassing van de pinholecamera. De vervormde randen en verzengende focus op het personage van Jesse verlenen deze scènes een subtiele dreiging, hoe rustiek en licht de desbetreffende scène ook moge zijn.

Daarnaast zien we ook vaak pinholeshots in niet-persoonsgebonden situaties, met name in dichterlijke, artistieke weergaven van het landschap, de omgeving en de lucht. Jesse James bevat een flinke hoeveelheid Van Sant-achtige shots van voorbijtrekkende wolken, ditmaal echter extra intrigerend gefilmd middels het gebruik van de pinholeconstructie. Wolken trekken voorbij met een alarmerende snelheid richting de vervormde wereld aan de rand van het beeld. Details in het landschap vallen plotsklaps met genadeloze precisie op. Ook de wereld om de personages heen lijkt te verglijden in de steeds duister wordende geestelijke staat van het hoofdpersonage.

Landschap, met daarin Casey Affleck te paard, in "The Assassination..."

Daarnaast speelt Deakins op bijzondere wijze met het licht. De meeste scènes met het personage van Casey Affleck, de jonge, onzekere Robert Ford, zijn opvallend goed belicht. Zelfs als we Robert in avondlijke scènes zien, is met name zijn gezicht altijd bijzonder goed te zien door Deakins belichtingsplan. De onschuld, naïviteit en jeugdigheid van het personage komen op die wijze sterk uit de verf; Roberts wereld is immers nog licht en stralend, gespeend van iedere duistere kanttekening. Aan het eind van de film, als de filmtitel zich voltrokken heeft, komt het personage lichttechnisch gezien in sterkere beeldcontrasten terecht. Zo bevat de laatste akte van de film een aantal scènes waarin Robert en zijn broer het leven van Jesse James naspelen in theaters. Hier valt op hoe óverbelicht Robert plotsklaps is, zeker in vergelijking tot het bedreigende duister waarin het theaterpubliek zich bevindt.

Casey Affleck in de briljante rol van Bob Ford in "The Assassination..."

Het personage van Jesse James wordt aan de andere kant veel vaker onder- dan overbelicht. In veel situaties zien we Jesse James niet duidelijk, of slechts zijn silhouet, zijn ogen of zijn contouren. In scènes die zich overdag afspelen, wordt vaak gespeeld met de kleuren waartegen Jesse James wordt afgezet. Treffend is bijvoorbeeld de manier waarop Jesse vaak tussen wuivende graanhalmen en andere bruintinten wordt afgeschilderd. Hierdoor versmelt zijn personage als het ware met de omgeving waar hij zich in bevindt, en dat geeft aan de outlaw weer een betekenis mee dat hij feitelijk altijd en overal aanwezig is. Jesse James lijkt immer alles te weten en iedereen te doorgronden, alsof hij inzoomt op individuen met de scherpte en precisie van een pinholecamera.

Pitt in het donker in "The Assassination...". Oh, en hij is Jesse James.

Tenslotte mag ik een van de cinematografische stokpaardjes uit deze film niet vergeten, een scène die ondergetekende ertoe bracht om The Assassination of Jesse James by the Coward Robert Ford als casusfilm voor deze rubriek te nemen. In de eerste akte van de film is te zien hoe de bende van James zich opmaakt voor een grote, en tijdelijk laatste, treinroof. Op de bewuste avond volgt de camera hoe de bendeleden zich tussen de bomen naast het treinspoor verschuilen met hun lampen, terwijl James en zijn broers een blokkade op de rails voltooien. Uiteindelijk vraagt Jesse James aan zijn kornuiten om de lichten te doven. Het mysterieuze beeld van dansende, warme lichtbollen tussen de contouren van het bos vervaagt daardoor langzaam. De camera glijdt langzaam langs Jesse James naar voren.

Dan is het plotsklaps pikdonker in het beeld. En dat blijft het. Op de geluidsband is zacht gerommel in de verte te horen, een zwaar basgeluid dat langzaam maar zeker aan kracht wint. En dan, ineens, in het puntje van het scherm: een voortbewegend lichtje. Traag maar onherroepelijk schrijdt het lichtje richting de kijker. Het wordt groter en groter en belicht steeds meer van het gebied waar het doorheen laveert. De bomen doemen op, de treinrails en de wegversperring worden uitgetekend door het licht, de schimmen van de bendeleden worden zichtbaar. Het zware dondergeluid van de trein zwelt aan en plots stoot de trein tégen de camera aan, die achteruit met de trein mee glijdt. Terwijl de trein met piepende remmen zijn vaart mindert, stapt aan de rechterkant Jesse het beeld in. Hij gaat op de barricade staan, met zijn rug naar de camera, van voren belicht door de felle lamp van de trein.

The American hero: Jesse James/Brad Pitt in "The Assassination..."

En daar staat hij. Een crimineel van mythische proporties, een ambigue en onpeilbare schurk met een heldenstatus. De American hero van de bandeloze negentiende eeuw. Eén beeld, perfect belicht, omkadert en gevat door Roger Deakins, een held van de moderne filmcamera. Dát is cinematografie.

Dit artikel is, in een licht aangepaste versie, oorspronkelijk geschreven voor Xi, jrg. 18, nr. 1.

2004 February Cycle World Motorcycle Magazine Back Issue available at www.DadsVintageAds.com in the “Magazine Back Issue Index” category

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Estreno de uno de los directores más rabiosos, honestos, insobornables y adictivos de todos los tiempos, Samuel Fuller; escritor, periodista, personaje, cineasta.

Primero el documental francés “Tell me Sam” dirigido por Emile Weiss en 1989, consistente en una larga entrevista con Fuller, donde se explaya hablando sobre su carrera y su vida, sobre la guerra, el cine , sobre la narración y sobre las historia. Una pieza fabulosa que permite ver a Fuller “at his best”; contando.

Tell me Sam 2/8, Tell me Sam 3/8, Tell me Sam 4/8, Tell me Sam 5/8, Tell me Sam 6/8, Tell me Sam 7/8, Tell me Sam 8/8

Ahora empieza la película…créditos.

I shot Jesse James

Año: 1949

País: Estados Unidos

Fotgrafia: Ernest Miller

Música: Albert Glasser

Guión: Samuel Fuller sobre una historia de Homer Croy

Intérpretes: John Ireland, Preston Foster, Barbara Britton, Reed Hadley

81 min.

Un “western” extravagante, original y desquilibrado (en todo los sentidos) sobre el peso de convertir a un hombre en leyenda y en donde ya refulgen las constantes temáticas y visuales que lo convertirían en uno de los francotiradores del cine americano. Rodada dentro de los estrechos márgenes presupuestarios de la “serie b” con un notable vigor y esa audacia que siempre caracterizó al autor, ese gusto por los temas fuertes y escandalosos, no hay que olvidad que Fuller provenía del reporterismo callejero y las novelas de “a duro”, así como por los personajes en los márgenes de la historia. Coherentemente se fija aquí en el tortuoso Robert Ford, contrafigura del héroe y desclasado absoluto, enamorado (doblemente) doliente, abrumado por la paranoia del perseguido y la carga del mito, brillantemente expresado en la escena de la representación teatral del asesinato, una fantasmagoria brutal, con el protagonista obligado por su propia mano a revivir una y otra vez el ciclo de muerte, una ceremonia de romanticismo necrófilo estremecedor. Un gran personaje beneficiado por la excelente interpretación de John Ireland, fabuloso secundario (inolvidable Cherry Valance en “Río Rojo”) y actor perpetuamente desaprovechado que terminó por reciclarse a presencia de prestigio en el cine europeo de género durante la edad de oro de las coproducciones.

Asombra la claridad del subtexto homoerótico, la turbadora intimidad de los dos hombres y la manera de llenar la imagen y los diálogos de dobles sentidos (ejemplar la escena del baño, James en el agua y a su lado Ford acariciando el revolver del primero), así como la nada desdeñable capacidad de penetración psicológica sobre el personaje central, toda la primera mitad resulta espléndida, con un bloque central magnífico culminado por la escena en la que un desprevenido cantante acaba por tener que interpretar la celebérrima “Balada de Jesse James” delante del hombre que lo elevó a los altares ( la fascinante realeza/ panteón americano que forman los forajidos), un momento que mezcla dolor masoquista, tristeza y revelación. En muchos aspectos la espectral “El asesinato de Jesse James por el cobarde Robert Ford” no deja de ser una lujosa (y estupenda) reformulación/ampliación de este clásico menor, una puesta al día de su temática a cerca de la fascinación, el enamoramiento y el deseo de ser el otro.

Desgraciadamente en su tercio final la historia se vuelve un “western” más o menos rutinario que aun así conserva chispazos como el regreso de Barbara Britton enlutada por anticipado o el cambio de oscuro a claro en el vestuario del protagonista, y desde luego levanta el vuelo en su fatal duelo final con una puesta en escena demencialmente expresiva: pese a ser de día, en sus contraplanos Robert Ford está rodeado de la negrura absoluta.

Jesse James and Josiah Jamaal make me the happiest litz boy in the world.  The cutest fella’s I’ve ever laid eyes on, I honestly can’t get enough of the two of them.  Sure, pretending to snore in the tent got old real fast, and I honest to god did not understand a single word of Jesse’s story tonight before bed, but still…they’re little angels and I love ‘em.  Every time they laughed, especially in unison, it was like music to my ears.  Children are precious.  I never understood that until these little princes came along, and I’m so glad to have them in my life.  Erin and John, I hope you know how very blessed you are with them, I know I do.  They amazing, in every aspect. 

Watching them grow and flourish before my eyes is crazy.  They’re still so small, but I feel like it was just yesterday I was learning how to wrap Josiah up just right in his blanket so that he’d be snug as a bug…and toasty too.  They’re reading already!  Absolutely blows my mind.  Both of them – everything they can do as little humans is so impressive, I just want to put them on a pedestal somewhere for the entire world to see how cool these little dudes are…and how much better they are then every other 4 and 6 year old I’ve/I’ll ever run into.

On October 8, PBS will braodcast The Power of the Poor, a new documentary featuring Hernando de Soto, among my favorite economists. The documentary was produced by the same team that brought us Milton Friedman’s classic documentary series Free to Choose. Below is a preview of what to expect:

The Power of the Poor will demonstrate “how free markets, individual freedom and especially the right to property can transform the poor into the most powerful resource in the world. At its heart is the potential triumph of capitalism as a system.”

Click here to read my previous post on the ideas of Hernando do Soto.

The Assassination of Jesse James… | Andrew Domninik, 2007

Set in the times when cowboys were all but legend, the The Assassination of Jesse James by the Coward Robert Ford (to use its full title) spins a well-practiced tale on its head by selecting paranoia and obsession as its two main themes: an outlaw’s paranoia concerning those he surrounds himself with and a young man’s obession with the tale of his idol. Casey Affleck plays Robert (Bob) Ford, a wannabe gunslinger whose impressionable attitude only unnerves his would-be employers, the legendary James brothers, who are looking for one last successful robbery before hanging up their wanted pistols for good. As the tale flares into life from this angle, one can be forgiven for thinking that Jesse James is much like many other such films that came before it – the story of a gang and their endeavours, as a certain skilled underdog works his way through the ranks. This common idea can be seen very often in cinema, though it will not be found here, for Dominik and co. are more concerned with the force that drives their underdog rather than the underdog himself. It is a driving force rooted in childhood fantasy: an ever-lingering lust that compels Bob not only to be near his idol but also to make a name for himself in the same way. The film also follows the plight of Mr. James himself, deep in life as an outlaw that is now slowly and fatally stealing away the air from his very lungs. He cannot look a man in the eye without becoming suspicious, and this paranoia makes Jesse James a volatile character: one that longs for a lost comradery yet will never allow anyone out of his sight. Both these characters are wonderfully portrayed by Affleck and Pitt respectively, though perhaps the real strength of Jesse James is in its supporting ensemble – the chameleon form of Sam Rockwell (as Ford’s older brother) impressing in particular.

The much-discussed and rather lengthy full title for Jesse James is not only a sly nod towards certain traditions in the Western genre but also, perhaps more importantly, a hint at the biased stance of the film itself. Of course, much credit should be given to the novel upon which this screenplay is based, though for a writer/director such as Dominik with one film under his belt to take on such an ambitious project and turn it into something so profound is a feat in itself. I’ve specifically left what’s harder to put into words for later in the review, simply because I find it difficult to do justice to something that is so visually compelling. Jesse James is quite beautifully shot, with master cinematographer Roger Deakins (Nineteen Eighty-Four, The Shawshank Redemption, Fargo, The Man Who Wasn’t There, No Country for Old Men etc.) outdoing even his own high standards here. He brings so much life and beauty to such harsh and unforgiving backdrops that they frequently distract from the action itself. Then there is Nick Cave’s score: a haunting and unconventional music that complements Deakins’ sheer and jaw-dropping shots quite majestically. At 160 minutes long the film is still quite bloated, despite the rigorous editing that caused so many problems during post-production, and much of this is down to the film’s crucial, epilogue-like closing act – a wonderful sequence that is so important to the general feeling we are left with, and one that I’m glad wasn’t left behind on the cutting room floor. The Assassination of Jesse James… is exactly the type of film Hollywood should be financing. A film that upholds the cinematic tradition of a moralistic struggle yet does so with a certain uniqueness to ensure that while the themes may be similar, the end product is like nothing you will have seen before.

Our Rating: