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#very red sunset gives off melancholy vibes.........
turnaboutchaos · 2 years
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brokenbuttonsmusic · 3 years
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Eleni Mandell: L.A. Singer-Songwriter with Smoky Chrissie Hynde Vocals and a flair for Tom Waits’ Influenced Experimentation
This post is a near- transcript of the Broken Buttons: Buried Treasure Music podcast (episode 5, side A). Here you’ll find the narration from the segment featuring the L.A. singer-songwriter, Eleni Mandell, along with links, videos, photos and references for the episode.
Listen to the full episode on Spotify, Apple, Anchor or Mixcloud.
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Have you ever bought the wrong record? Like, you intended to buy something that sounded like one thing and you accidentally grab something that sounds very different. 
I don’t know if this happens anymore, but I believe it was quite common years ago. Imagine hearing an artist on the radio and being blown away. You go to the record store, find the plastic divider with the name of whom you’re looking for, but you can’t remember the name of the album, or even the song. Remember, you don’t have a tiny computer in your pocket. You’re too nervous to ask the store clerk for fear of looking stupid. So you roll the dice. 
“I know it was someone called Neil Young, but there are a thousand Neil Young records here.”
“Hey, this pink one looks cool.”
That exact scenario didn’t happen to me, but that album, Neil Young’s Everybody’s Rockin’, happened to be the most played Neil Young album in my house growing up, so for years I thought Neil Young was a rockabilly revival act. In reality, that was one of several oddball records Young released during a tumultuous period with his record label to fulfill his contract demands. I still love that record. 
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Eleni Mandell did live out the scenario of buying the wrong record though. She shared the story during a segment of the show Bullseye with Jessie Thorn, where she describes seeing Tom Waits on MTV late at night—back when MTV still cared about music. It was either 120 minutes or IRS’ The Cutting Edge. This would have been around 1984 or 1985, so right around the time of Wait’s masterpiece Rain Dogs. When she went to the record store though, she picked up the 1976 Tom Waits’ Asylum release, Small Change instead. Now Small Change is still a great Tom Waits album, but it sounds nothing like the drastically reimagined sound and musical approach he had begun to employ starting with 1983’s Swordfishtrombones. Something Tom Waits called his “junkyard orchestral deviation.” The spare, off-kilter percussion. Moaning trombones and muted trumpets. Marimba. Plenty of marimba. Experimental instruments mixed in everywhere. Megaphones and CB radios. Trash can lids. 
This is the sound Eleni was looking for. 
Instead she got lush strings. Delicate piano. Cinematic swells and a melancholy wail. 
She got this.
Still awesome, but not the same. She credits the experience with changing her life. She grew to love both sides of the Tom Waits coin. The jazzy piano man in the smoky, whiskey-drenched nightclub and the eclectic, experimental carnival barker that she had her first encounter with on late night MTV. 
You can hear that deep appreciation and influence for the full Tom Waits spectrum injected and swirling through Eleni Mandell’s own spectacular catalog that spans more than 20 years now. 
She’s got plenty of experimental Waits, especially in her early catalog. 
And quite a bit of the jazzy nightclub vibe.
There’s also plenty of folk-y Eleni mixed in, and even some country.
You’ll notice that Eleni’s voice doesn’t sound like Tom Waits though. Did you notice that? It’s less of a deep, gravelly howl and more of rich Chrissie Hynde croon. Spin compared her to Chrissie Hynde and PJ Harvey. Rolling Stone compared her captivating melodies and witty lyricism to early Elvis Costello. 
While she doesn’t have the Tom Waits’ wail, she does specialize in his particular brand of character song-study. Like this first song we’re going to hear. The first track off of Eleni Mandell’s second album Thrill. Released in the year 2000. This is Pauline. 
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Pauline, from Eleni Mandell’s second record, Thrill. So how did this remarkably unique singer-songwriter get her start and pull together so many interesting influences to create the sound we just heard.
Eleni grew up in the Sherman Oaks region of the San Fernando Valley, Los Angeles. She started playing music when she was just 5, beginning with the violin and then piano. Eleni didn’t love playing either, but continued to take lessons until she was thirteen. She remembers wanting to learn to write songs early on, but didn’t have the first idea of how to approach it, especially on violin. She jumped from violin and piano to guitar as a teenager. Her parents exposed her to a variety of musical styles. Her mom would take her to musicals and her dad, a serious record collector, played her Hoagy Carmichael and plenty of jazz standards. She loved the Beatles and remembers Diana Ross making an early impression. 
Another early life changing moment came when she discovered the Los Angeles punk band X.
X were huge in LA, and their first album (called Los Angeles) was the first record Eleni ever owned. Or maybe the first she asked to own. The first record she was ever given was Shaun Cassidy’s greatest hits for her 4th birthday. The first she ever purchased with her own money was X’s third release, Under the Big Black Sun. She tells a story of when she was out record shopping at a place called Aron’s Records, located on Melrose, and to her utter befuddlement came face to face with John Doe, lead singer of X. He was shopping for records too. She quickly snapped up a copy of the band’s third album and asked John to sign it. He did. She still has the signed album, which reads “Yours” complete with a big X “-John Doe.” That was the last autograph she ever asked for. It was not, however, the last time her path would cross with that of the band X. 
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When she was a little bit older, she met Chuck E. Weiss, songwriter, rock n’ roller, beat poet and peculiar Tom Waits associate. Also the subject of the song, Chuck E.’s in Love.
Yes, that Chuck E. Weiss. Waits was in a relationship with Rickie Lee Jones. Waits, Jones and Weiss all lived at the seedy Tropicana Motel in Los Angeles. One day Weiss up and left out of nowhere. Some time later Chuck E. called the apartment where Jones and Waits were living. He explained to Waits that he had moved to Denver because he had fallen in love with a cousin there. Waits hung up the phone and announced to Jones, “Check E.’s in love. Rickie Lee Jones liked that so much that she it turned it into the song we just heard. 
Who is this episode about again? Oh, right. Eleni Mandell. Anyway, Eleni Mandell met THAT Chuck E. Weiss when she was not yet 21. Still, she had a friend who was able to get her into The Central, a Sunset Strip club that would later become The Viper Room. This would’ve been around 1990. Weiss was playing there every Monday. 
Here’s how the write up on Eleni’s original website describes her first encounter with Weiss.
“The first time she ever saw Chuck E. Weiss perform, he walked right up to her and smiled like a cross between The Cheshire Cat and an escaped mental patient. She met him a month later at Musso and Frank’s.”
Eleni says she was at the famous Hollywood restaurant and recognized Weiss. She worked up the courage to approach him and told him how much she loved his show. He asked if she wanted to accompany him to meet up with a friend at Canter’s Deli. She agreed. When they settled into one of the landmark eaterys iconic red, vinyl booths in walked her hero. Tom Waits. What a night. Tom asked Chuck how he and Eleni had met. 
“Hebrew school,” he declared. 
Here’s a tune from Eleni’s debut album, Wishbone, released in 1999. This is Sylvia. 
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From Eleni Mandell’s first album, Wishbone, that was Sylvia. 
Under Chuck E. Weiss’ mentorship, produced by Jon Brion and self-financed by Mandell, Wishbone, as well as her next several records, received strong reviews and drew comparisons to Waits and PJ Harvey in style. 
Before Weiss mentored Mandell, he hired her as a door person at his club. She said he would test her to see how tough a door person she was by trying to grab money out of her hand. Weiss would continue to mentor Eleni over the years and they’re still friends to this day. 
For her fourth album, Mandell shook things up by diving into traditional country. A mix of covers and originals, 2003’s Country For True Lovers is an exciting update to her sound. And one of her life changing moments came full circle. Weiss introduced her to former X guitarist Tony Gilkyson, who produced the project. She also stacked the sessions with all star players, including Nels Cline from Wilco, and another X hero, drummer D.J. Bonebreak. 
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Eleni continued to mix and mesh genres on her next release, 2004’s Afternoon. 
From the No Depression review of that album:
“Last years Country For True Lovers found Los Angeles chanteuse Eleni Mandell turning her sights on twang rather than her previous more PJ Harvey-oriented material, and she received plenty of critical acclaim in the process, sharing the LA Weekly 2003 songwriter of the year award with the late Elliot Smith.”
“On Afternoon, her fifth album, Mandell combines her love of various genres, including country, pop, jazz and rock, to stunning effect. Produced by Joshua Grange, who also lends his considerable talents on guitar, pedal steel, Hammond organ and piano, Afternoon mostly takes the slow and sexy approach. I’ve Been Fooled and Can’t You See Im Soulful give Mandell the chance to show off her breathy but passionate alto, which can devastate in a heartbeat.”
“Mandell does rock out from time to time, as on Easy On Your Way Out, which has a grungy Elvis Costello-gets-on-with-Liz Phair feel to it. I wanna be your afternoon/I want you coming back for more, Mandell sings on the sorta fun/sorta sad title song.”
She can also write catchy singles. Like this song from Afternoon, “Let’s Drive Away.”
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That was Let’s Drive Away from Eleni Mandell’s fifth album, Afternoon, released in 2004. That song was also featured on the TV show, Weeds.
And here comes the challenging part of covering an artist like Eleni Mandell, who’s put out consistently solid albums for over two decades. There’s not enough time to feature all the good stuff she’s produced, but trust me, over her eleven albums, she always delivers. From the diverse shifting sounds of Artificial Fire [play clip] to the smooth and breezy Dark Lights Up [play clip], Eleni whirls a magical combination of jazz, folk, pop, country and rock, with just enough experimental twists to keep everything fresh. 
She’s also branched out from her solo artist gig to release two albums with her band The Grabs. The Grabs allows her to exercise more of her pop side and features Eleni on vocals, Blondie bassist Nigel Harrison, and Silversun Pickups’ drummer Elvira Gonzalez. 
And, she’s also released records with the Andrews Sisters inspired supergroup, The Living Sisters, with Inara George, Alex Lilly and Becky Stark.
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I’d recommend checking out all of this. 
So now that we’ve established that the Eleni Mandell road is paved with the goods, let’s skip ahead to focus on her most recent album: 2019’s Wake Up Again.
Here’s what Eleni and her website have to say about the latest release: 
“For two years or thereabouts,” Mandell says, “I taught songwriting at two colleges and a women’s prison.”
The prison gig came about via Jail Guitar Doors, the organization founded by Wayne Kramer, guitarist of the vaunted Detroit band MC5, in partnership with English musician Billy Bragg. “I don’t know why exactly I was drawn to that work,” Mandell says. “But I had a family member who had been in prison in the 1940s. He wasn’t around when I was growing up, but that sort of fascinated me and I was always curious about what kind of person disappears and what kind of person commits crimes — what are they thinking?”
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Working with the inmates also provided many epiphanies for her as a person, and proved fertile for her as an artist, as captured in the 11 songs on this album, her 11th studio release. In many ways it’s the culmination and fulfillment of all the strengths as a writer and performer going back to her start under the tutelage of Chuck E. Weiss, Tom Waits and other top chroniclers of people in the shadows.
“I really enjoyed it,” she says. “I was inspired by the stories, and surprised by the laughter I heard there. And I shouldn’t have been surprised, but I was, by how many different kinds of people were there: teachers, lawyers, nurses, and also people who grew up in poverty.”
Here’s a song about one of the woman she met during those songwriting classes she taught. This is Evelyn.
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Evelyn from Eleni Mandell’s most recent album, Wake Up Again. Another great addition to her expansive, impressive catalog. The album is filled with rich character studies and deeply personal self-examinations.
Her early Tom Waits inspiration continues to ignite and propel her, even after 11 albums. Only now she can call Tom a longtime friend. 
And she went from obsessive punk rock X fan to counting a member of X as a member of her own band. What a cool, thrilling ride she’s had so far. Eleni Mandell. 
References and other stuff:
Eleni interview with Luxury Wagers
Eleni interview with Mr. Bonzai
Eleni interview with Tyler Pollard on Timeline
The bio from Eleni’s current website has a great write up on her most recent album and I quote from it in the episode.
No Depression review of Afternoon that I quote in the episode
Here is the original bio from Eleni’s old website that is now archived. I also quote from this
Eleni has been featured on NPR segments over the years. I did not use anything directly from these, but they are good and informative
Pop Matter review of Dark Lights Up
Good L.A. Times article about Eleni teaching songwriting to female inmates and her latest album
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iwannawritepls · 4 years
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Writing Update 04?
So much is happening. Like gosh.
Welcome back to me not using paragraphs correctly!!
So! We have 17ish chapters now which is like woah.
It took me much much too long to write but now we’re on 50k!!! we got there folks and I can confidently say that I will most likely have 20 chapters with around 54-55k words as I predicted. Is it weird that um feeling super melancholy about that??
But on the positive side there will be another book after this because uhhh there’s too much to wrap up in just one.
I wrote and deleted chapter 14 over and over again but now I have something I'm proud of at lastttttt! I realised after talking about it to some friends that
1) I skipped something huge by accident  
2) In the first few versions of chapter 14 there was no climax to what was happening
3) I was adding things but at that point I should’ve started to answer them
So we fixed it up and now she’s pretty damn cool. The second half of the chapter still needs a little bit of editing until I can become happy with it but oh well.
I also edited chapter 15 so they’re ready for the most part but the last 2 need basically a rewrite for them because they’re soooo bad. I shouldn’t measure by words but generally for a fist version of a chapter I write anywhere between 800 and 1000 words and then I manage, through editing, to make it become somewhere between 1500 and 4500 which is a big leeway but it really just depends on what’s happening.
There’s something huge that happens in chapter 17 but I only wrote 459 words for it because it was 2 in the morning and I wanted to get it done before I tried to sleep. Inevitably it was quite bad. Chapter 16 is the same but thankfully that’s 914 words so there’s something more to work with. Yayyyyy.
Needless to say, I will not be including excerpts from them in this.
So chapter titles?
Chapter 13 - Metamorphosis of a Blizzard
Chapter 14 - Curtain Call (subject to change)
Chapter 15 - Kingfisher Flurry
Chapter 16 – Catgut Bindings
Chapter 17 – AHHHHHHHHH (this is 100% changing I just needed to put something and I was freaking out)
Oh, oh and! I have a proper actual name for the book! Sisyphus Lies on Unmade Beds. How suitably edgy.
There are so many references to Greek mythology that the title fits and it can link to all of them in some way, so I thought why not. There’s #symbolism to it all. And who isn’t a fan of accidental symbolism you find halfway through your book.
What happens??
Chapter thirteen is a long-waited apology from Bas to the one person who deserves it most. We find out about someone vaguely important for the next book as well as a character that maybe might have his own little book of his own.
Chapter fourteen includes our boy Sebastian coming along and helping by not helping at all!! Yay…but really what else is new, his motives don’t align with the boy’s and so we shouldn’t expect him to be helpful in any way.
Chapter fifteen is a dangerous thing…out dude the devil makes an appearance. For those who’ve listened to the magnus archives or watched Everyman Hybrid I tried to emulate Michael/Habit in it but it hasn’t really worked out yet. I'm getting there but I'm not at terrifying levels of suave. When writing characters that are so powerful they could murder you with a single flick o’ the wrist you are treading a careful line between edginess and not threatening at all.
chapter sixteen is the fallout. If we follow the lovely 3 act structure we are at the darkest moment in chapter sixteen and chapter seventeen continues with that mood but follows through with the whole ‘hope’ thing. jk there’s no hope just crisis.
I find that I managed to actually keep to the 3-act structure naturally?? I'm a discovery writer so it’s a little more difficult for me to not meander off into the sunset/make everything happen much too fast. But I think pacing was okay in this as long as I keep track of the seasons – which I hope I did.
We have a few memes from dearest friends – kinda old but have them
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And now,,,the excerpts!!
Everything felt like cotton was stuffed inside, swelling, and soaking through with excess fluid. Fluid that was still building in his lungs, he felt them pressing against his ribs and rubbing together eating away more at his already damaged body. Gorging on him, dissolving him, water couldn’t ever be full only overflow and so it would continue to erode his body to fit the ever-greater capacity he needed to hold.
He's not dying! I mean he is but not yet!! I feel so bad that Albert has spent more of this book sick than anything, but I feel like I'm constantly mentioning him and I don’t want people to get annoyed by him? idk I feel like someone would find him annoying and that he did nothing but whine – probably a carryover from the original book where he could’ve been beaten up by his own shadow. He can and does stand up for himself in this more than in the original but
They began to mend themselves in a way that neither Narcissus nor Prometheus could have foreseen. So maybe they weren’t quite butterflies or moths. Maybe instead they were snakes, the devil’s advocates turned serpentine after rebelling against God. But that meant that at least they could change again, shed their skin, and start afresh after mountains of pain and healing from accidental words fallen from temporarily false tongues.
Let’s play how many references to classic literature can you fit into one paragraph at least 4. One of which is Paradise lost. Because Greek mythology just wasn’t enough.
The old man shivered and croaked out a few more words so quiet that the wind ate them. The woman just stared at him with wide eyes before fleeing back to the cold.
This is the ending of a while thing from a book that Al’s reading. I kinda wished this book existed its got some of my favourite techniques in it and some of my favourite lines but this one was the only one I could just take without a pause for drama between Alberts reading.
Enoch wanted to skip the walk the moment he realised there wouldn’t be any talking, every single one of his steps was too slow, every single breath was too loud. Even as he tried to listen to the conversations of those they walked past, it was too distant and blurred for him to listen to in any kind of concordant manner.
My boy hates the quiet and I feel that
The very first promises of autumn began to chew on the leaves, She took each one into her embrace and changed the deep greens that summer left in His wake and transformed them into a cacophony of yellows, reds and oranges. She plucked the ripened ones from their cradles and pulled their colour from their grasp placing it on Her tongue and dropping the carcases into winters waiting hands.
This is kinda purple and I had just read Der Sandmann so I was super into the vibe of it. I referenced it more originally before editing it so now all we have is a very slight call back if you know the story that you can vaugly make if you try.
Nature was so simple and yet beautiful, complicatedly captivating.
William is yearning
“Enoch.” Basil called out
“it wasn’t me!” he replied holding his hands up “I came out here to get him a new hat, it was Valentine that dragged him in.” he held up a lily pad with a grin.
“where is Valentine?”
“probably wrestling the heron.” He replied wading towards the shoreline.
Just some fun from them because you all need to see that they can be friends I swear.
A man was stood in the middle of the flurry, he stepped through them as if they were nothing but a reflection on the glassy water.
And that’s all for chapter fifteen I think unless there’s something at the end because I know people who read this irl and they haven’t gotten any of this yet. So I don’t want to ruin things but I also want to give you all things so it’s a struggle.
because you cannot help the diseases in your mind
this is something I wish I heard more often so here. You’re super awesome and the dude who said this is big brain mode.
But yeah that’s all. I probably won’t update again until I'm done and even then it’ll be one I’ve sent the last chapters to my friends so that they can read it and I can talk about the plot for real because I’ve been vague for spoiler reasons outside Tumblr.
I love these guys so much, but I'm excited to begin something newer y’know? I want to stay in this world, but I want to follow different characters before I go back to these guys because they are dysfunctional as all hell.
Anyway, I’ll talk more about that later. Until next time!!
Hope you have a nice dayyy!!!
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aion-rsa · 3 years
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Best Thanksgiving Movies to Watch This Holiday Season
https://ift.tt/392gRNP
This year marks a unique Thanksgiving, to be sure. With the pandemic carrying on, families and loved ones across the United States are testing out new ways to celebrate a national holiday that might be best described as food, football, and then, of course, more food. For some that means outdoor gatherings are the order of the day; for others it will mean the first time you might be cutting turkey while wearing a mask.
However you might wish to celebrate the holiday though, gathering with loved ones around a movie never goes out of style. For that reason, we’ve gathered the best Thanksgiving movies to choose from. Some of these films are truly beloved holiday classics, and others might be less obviously about Thanksgiving, even as they wear their affection for the holiday on their sleeves. And yet others still will offer the rare respite: a streak of cynicism for those who think Thanksgiving is for the birds. So pass the potatoes and enjoy a helping of good cinematic cheer below.
Addams Family Values (1991)
Addams Family Values might seem an unusual choice, but then everything about this one is unusual, right down to it being the rare comedy sequel that is superior to its predecessor. That success is in no small part due to the filmmakers realizing Christina Ricci, who made her big break playing the morbid Wednesday Addams, was devastating in her deadpan delivery.
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Movies
How 1991’s The Addams Family Nearly Got Derailed
By Simon Brew
Movies
The Addams Family and Their Spooky New Jersey Origins
By Aaron Sagers
Thus Wednesday gets half the film to herself in this one, and we’re thankful for it. With Addams Family Values, she’s forced to endure the dreariness of summer camp and its middle class morality, right down to them holding a Thanksgiving pageant in July. Surrounded by smiling rich white kids who cast Wednesday as Pocahontas (who, it should be said, was not in New England or at the first Thanksgiving), Wednesday takes the opportunity to keep it real about Thanksgiving.
“My people will have pain and degradation,” Wednesday hisses in her last minute rewrite. “Your people will have stick shifts. The gods of my tribe have spoken. They say do not trust the Pilgrims, especially Sarah Miller. And for all these reasons I’ve decided to scalp you.”
The chaos that ensues is delightful. Happy Thanksgiving, folks!
Alice’s Restaurant
Alice’s Restaurant is an inadvertent Thanksgiving comedy directed by Arthur Penn, who re-envisioned Bonnie Parker and Clyde Barrow as counterculture antiheroes in his 1967 gangster classic, Bonnie and Clyde. Penn did the same with Arlo Guthrie, the son of folk hero Woody Guthrie, the committed anti-fascist who wrote “This Land is Our Land.” The film is based on Arlo Guthrie’s 1967 folk song “Alice’s Restaurant Massacree,” which was about Alice and a restaurant. The restaurant wasn’t called “Alice’s Restaurant.”
That’s just the name of the song, which is very talky, like the movie, which is also pretty violent and fairly drug-fueled. The film doesn’t start on Thanksgiving, but at an army recruitment center, where Arlo, playing himself, is trying to avoid the draft. Turns out he’s got no good reason to stay out of the war.
The Thanksgiving setting, however, gives the film its purpose, and main reason to be thankful. The main plot involves getting rid of some trash after a holiday dinner. Arlo and his friends load a couple months’ worth of garbage into their red VW microbus, along with “shovels, and rakes, and other implements of destruction,” and head to the city dump, which is closed for Thanksgiving. They’d never heard of a dump closed on Thanksgiving before, so with tears their eyes, they drive off to find another place to put the garbage.
It takes Arlo 18 minutes and 21 seconds to tell the plot in the song, in intermittent three-part harmony, but the gist is: he gets arrested for littering, and his criminal record keeps him out of the draft. With it, Penn turns Guthrie into one of the most mild-mannered antiheroes in counterculture cinema. He’s not moral enough to join the army, burn women, kids, houses, and villages because he’s a litterbug.
A Charlie Brown Thanksgiving
Perhaps not quite as iconic as the legendary A Charlie Brown Christmas or It’s the Great Pumpkin, Charlie Brown, the third Peanuts holiday special (and 10th Peanuts animated special overall) is still just as charming, wholesome, and satisfying as its predecessors. Once again written by Peanuts creator Charles M. Schulz and directed by Bill Melendez, the show has been a November staple on TV for decades since first airing in 1973.
This time out, Charlie Brown (voiced by Todd Barbee) and his sister Sally (Hilary Momberger) are getting ready to go to their grandmother’s house for Thanksgiving when one by one, all their friends invite themselves over to his house—despite the fact that Charlie Brown can only make “cold cereal and maybe toast.” It all gets sorted out in the end, and it’s all the little jokes, the delightful voices, and the unforgettable music by Vince Guaraldi that makes this a perennial favorite.
The Fantastic Mr. Fox
There isn’t so much as a mention of Thanksgiving in Wes Anderson’s stop motion masterpiece. Yet, somehow, it’s impossible to watch The Fantastic Mr. Fox and not have late autumn brought to mind. Is it the carefully chosen fall color palette that’s all sunsets and foliage? Is it the warm familial vibe of the Foxes and their neighbors that makes you miss big get-togethers? Is it the impeccably dressed cast of animal characters, all resplendent in corduroy, flannel, and tweed, quietly shaming you with their perfect sartorial choices? Or perhaps it’s simply their ravenous eating habits that puts you in the right frame of mind. 
With little resemblance to the Roald Dahl book it’s based on, The Fantastic Mr. Fox is instead one of the most perfect encapsulations of Anderson’s eye for (some might say obsession with) the little details. And it’s those little details, even more than its fuzzy animal characters, that make this perhaps the coziest of the director’s efforts. Alternately exuberant and melancholy (just like the holiday itself), and with numerous scenes of beautifully plated gluttonous excess, it’s remarkable that this movie hasn’t already been adopted as an unofficial icon of the season. Let’s start that campaign right here, shall we? 
Hannah and Her Sisters
The movie that won Michael Caine and Dianne Wiest Oscars, Hannah and Her Sisters is a story about family framed between two Thanksgivings and the year that connects them. With a meticulous insight about the highs and anxieties of upper-middle class life among Manhattan intellectuals, the film is really the travails of Hannah (Mia Farrow) and her sisters Holly (Dianne Wiest) and Lee (Barbara Hershey). There’s also the lust of Hannah’s husband Elliot (Caine), who pursues an affair with Lee, but the film is mostly told from the vantage of three women of varying ages struggling with how they see themselves and their lives in a year of New York living.
Writer-director Woody Allen is here too as a hanger-on in this family, who’s struggling with his own fears of death, but his and Elliot’s roles are ultimately as outside observers who arrive every Thanksgiving to watch the sisters and their parents renew their family ties… and close ranks.
Home for the Holidays
One that feels particularly timely as 2020 adults hole up in their childhood homes for Thanksgiving and beyond, director Jodie Foster’s underrated family gathering comedy wallows in the downsides of going home. The film stars Holly Hunter as a woman who’s lost her job and is growing apart from her teenage daughter (Claire Danes). But all of that pales in comparison to spending Thanksgiving with her parents (Anne Bancroft and Charles Durning), plus younger brother Robert Downey Jr.
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TV
The Best Thanksgiving TV Episodes
By Alec Bojalad
Movies
The Long History of Mystery Science Theater 3000 and Thanksgiving
By Gavin Jasper
It’s a familiar setup, but Thanksgiving is a time of being with those you’re familiar with, whether you like it or not. Plus, as a comedy it also has the still vital message of counting your blessings.
The Ice Storm
Based on Rick Moody’s acclaimed 1994 novel, director Ang Lee’s (Brokeback Mountain) masterful adaptation is a scathing portrait of upper middle class suburban life in the early 1970s, when all the experimentation in the world with drugs, alcohol, and sex couldn’t quite stop anyone from feeling like their lives and society were unmoored.
Like other dramas that take place around Thanksgiving, there’s very little to actually be thankful for: the characters (played with flair by Sigourney Weaver, Kevin Kline, Joan Allen, Tobey Maguire, and others) are all trapped in emotional black holes of their own making.
Similarly, all the decadence and crazy fashions/trends of that surreal decade can’t replace the feeling that something has gone dreadfully wrong. Lee–before he became obsessed with the latest camera technology–charts this all with patience, empathy, and precision.
Knives Out
Okay, so Rian Johnson’s brilliant little whodunit isn’t actually set on Thanksgiving, but it sure feels like it is and was released around the holiday on Nov. 27, 2019 (God, that feels like a century ago). So… close enough. And while the family gathering at the center of the story is for a patriarch’s birthday, it certainly resembles the kind of large family assembly many hold at Thanksgiving, right down to feeling like it could end in murder.
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Movies
Knives Out and the Villainy of Privilege
By Kayti Burt
Movies
Knives Out: When Murder Makes You a Better Person
By Natalie Zutter
The murder in question, of course, is that of mystery novelist Harlan Thrombey (Christopher Plummer), and it’s up to gentleman detective Benoit Blanc (Daniel Craig) to figure out which of his many bickering, backbiting, scheming descendants might have had a hand in it. Perhaps Harlan’s nurse Marta (Ana de Armas) can help since the clan insists “she’s like part of the family.”
All that’s really missing is the turkey. The knives are out, in abundance.
The Last Waltz
Perhaps no title card in cinematic history deserves to be heeded more than the one which opens The Last Waltz: “This film should be played loud.”
Not just the greatest concert film ever made. Not only the greatest rock documentary of all time. The Last Waltz may lay claim to being the only movie of any stature literally filmed on Thanksgiving. Martin Scorsese shot The Band’s farewell concert on Thanksgiving Day, 1976, where the audience of 5,000 was served a literal Thanksgiving dinner in addition to an unforgettable night of music by some of the most legendary performers of the 20th century.
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Culture
The Last Waltz: Martin Scorsese’s Ultimate Rock n’ Roll Movie
By Tony Sokol
Culture
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By Tony Sokol
But this is no mere concert film. Being treated to a document of such legendary musicians at the height of their powers would make this important enough, but when it’s shot, lit, and edited by Scorsese, and with The Band joined by towering guest stars like Muddy Waters, Eric Clapton, Neil Young, Bob Dylan, and many more, The Last Waltz becomes one of the most powerful musical statements ever committed to film. Scorsese breaks up the performances with members of The Band reflecting on their career, and even in these quieter moments, The Last Waltz radiates the power and danger of a life lived on the road, in seedy dives, and storied ballrooms.
When you’ve had your fill of football and family for the night, pour yourself a glass of something good and do exactly as that opening title card says.
Miracle on 34th Street
Yes, yes, technically speaking Miracle on 34th Street is a Christmas movie. But it is definitely worth noting that the film actually spends more screen time on the actual Thanksgiving holiday than Christmas Day. Indeed, the picture opens with the now legendary Macy’s Thanksgiving Day Parade. In the ultimate stroke of product placement, Macy’s New York City shindig got nationwide attention on the big screen, even as the movie focuses on the department store hiring the wrong Santa Claus for its festivities.
Arriving drunk and disgraceful to Macy’s preparations, an inebriated mall Santa creates an opportunity for a man who calls himself Kris Kringle (Edmund Gwenn) to step in. Kris is passing through, presumably doing some holiday shopping ahead of his own big day in December. But upon seeing his personage so besmirched, he demands to take Santa’s reins and in the process saves Thanksgiving. We also see how this affects the turkey time of the film’s central mother and daughter team, played by Maureen O’Hara and Natalie Wood.
Mistress America
Sometimes Thanksgiving can be quiet and intimate… and desperately needed. That’s the case of the end to Noah Baumbach’s effervescent Mistress America. A mostly successful attempt at emulating 1930s screwball comedy for literary millennials, Mistress America is a clever throwback set during autumn in New York City and, tellingly, a trip to the suburbs of Connecticut. But by movie’s end, protagonists Tracy (Lola Kirke) and Brooke (Greta Gerwig) find themselves alone and isolated in the big city on Thanksgiving. They also thus discover an excuse to reconcile after grievances drove them apart, breaking bread at a restaurant down the street. It’s downbeat, but emotionally cathartic for both the characters and film.
Planes, Trains and Automobiles
As the late John Hughes’ masterpiece, Planes, Trains and Automobiles is the quintessential “get home in time for the holiday” tale. Steve Martin is Neal, a stressed-out marketing exec who picks up an accidental travel companion in Del (John Candy), a well-meaning but oafish shower curtain ring salesman. As the two struggle to get back to Chicago in time for Thanksgiving amidst a string of misadventures and transportation issues, an eventual friendship forms, leading to a moving conclusion.
Planes was a step forward for Hughes as he began to move away from teen comedies, and the movie’s balance of humor and heart was perfectly complemented by the dynamic comedic chemistry of Martin and Candy. The latter probably had his best role ever in Del Griffith, and it’s a tribute to both actors and Hughes that each lead character can be annoying yet is never unlikable.
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Hilarious and poignant, this mix of buddy picture and road movie is a near-perfect treat for the season—or any time.
Prisoners
We wouldn’t exactly call Prisoners ideal holiday viewing. It’s set at Thanksgiving and immediately afterwards, although there isn’t much cheer during most of the film’s harrowing 153 minutes. The movie opens with a Thanksgiving dinner involving two Pennsylvania families, a pleasant ritual that soon turns nightmarish when two little girls—one from each clan—go missing. From that point onward, the story becomes a downward psychological spiral in which the search for the girls takes a terrible toll on all caught in its wake.
The first Hollywood studio film directed by French-Canadian filmmaker Denis Villeneuve (who has since gifted us with films like Sicario, Arrival, Blade Runner 2049, and next year’s Dune), Prisoners is a brutal, emotionally complex thriller that maintains a high level of suspense and dread over its formidable running time.
Featuring excellent performances from Hugh Jackman, Jake Gyllenhaal, Terrence Howard, and others, it may not be the kind of cheery escapism we often seek out at the holidays. But it will leave you deeply thankful for the good things in your own life.
Rocky and Rocky II
“To you it’s Thanksgiving, to me it’s Thursday,” Rocky Balboa (Sylvester Stallone) tells Adrian Pennino (Talia Shire) as they hit the streets for their first date in Rocky. That date wouldn’t have happened if it weren’t for the tougher than tough love of Adrian’s brother Paulie (Burt Young). He gave them no alternative but to go out when he tossed the Thanksgiving turkey his sister slaved over all day out the side door. What followed was one of the best first date scenes in film.
It doesn’t seem like Rocky and Adrian have a lot to be thankful for. She says her daddy told her to develop her brains because she’d never get by on her looks. Rocky says he’s so dumb he couldn’t hope to be anything else but a fighter, which is halfway to being a bum.
While the scenes surrounding the ice skating rink date aren’t only some of the most romantic sequences captured on celluloid, they culminate in one of hottest. This is all before Rocky is even approached to fight the heavyweight champ of the world. The battered underdog Rocky stays on his feet until the final bell, and an almost equally bashed Apollo Creed, who barely held onto his title belt, swears he never wants a rematch.
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By Tony Sokol
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Apollo takes that rematch when he defends his title in Rocky II. The fight is set for Thanksgiving Day, and Rocky knocks the stuffing out of that turkey, and laps up the gravy. Many of the Rocky movies, including Creed, opened on Thanksgiving weekends, and are perfect “date movies.” The main bouts may focus on two fighters, but the love stories, starting with the one between Rocky and Adrian, are tenderer than the bird Paulie tossed in the alley.
Spider-Man
The original Spider-Man really is a superhero movie for all seasons. With its romantic and old-fashioned photography of New York City in the spring and autumn, the picture runs the calendar’s gamut in its storytelling of the webslinger’s first year on the job. But it also pivots on a rather eventful Thanksgiving dinner.
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Fresh off Spider-Man (Tobey Maguire) refusing to team up with the Green Goblin (Willem Dafoe), and after a blow up at a not-Macy’s Day Parade in Times Square, the pair’s alter-egos unwittingly meet up for Thanksgiving in Peter Parker’s apartment. It’s a swanky bachelor pad he shares with Harry Osborn (James Franco). But even with Aunt May (Rosemary Harris) and Mary Jane Watson (Kirsten Dunst) there to give it some holiday warmth, things get frosty when Dafoe’s patriarchal Norman realizes the kid passing him the cranberries is his mortal enemy. Awkward.
And yes, nearly 20 years later this strangely does feel like a holiday movie, doesn’t it?
ThanksKilling
This film is terrible. An exploitative C-cheapie horror where a turkey possessed by a demon with a smart mouth hunts and murders coeds. But if that’s your jam… well, it exists.
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