GIRL, INTERRUPTED

Written by El Mono Santo

I've wanted to see this film since it first came out. What young adult male would pass up those dark, expressive, captivating eyes (Ryder) or that wide smile and the super-sized lips begging to be kissed (Jolie)? But Ryder was so thin and skeletal, I kept having flashbacks of Natalie Portman in V for Vendetta who looked like a starving Ethiopian (minus inflated stomach) or a sexless fetus. I know an emaciated look was important to the film and several of its characters, but it seemed obvious that the lighting crew, make-up artists, and other craftsmen only had to bring out what was (not) already there.

The acting was better than I anticipated and I enjoyed the cast. The characters were fun and our two leading ladies compelling. Although it had nothing that would split your sides, there were quite a few places that tickled the funny bone—including an unintentional bit of cinematic soothsaying at the opening in which Ryder apologetically recollects through interior monologue: “have you ever...stolen something when you had the cash?” And the structure of the film, broken and disjointed, shifting us through various moments of life, pulled us into Ryder's clouded, subjective world very effectively.

Unfortunately, the film wasn't complete—even with a few deleted scenes that should have been included to make better sense of different situations and characters. It seemed more like a series of events we followed which pretty much ended where it began and gave few answers. Since this was adapted from a novel which had no typical plot line structure, perhaps we can be a little forgiving.

It followed the theme of insanity and inability (or refusal) to grasp truth by giving conflicting perspectives. The film concludes with the idea that you should leave one world (the world of rebellion and the pursuit of dreams or fantasies) for the other (the world of control, decision, truth, and judgment), but this is questioned at several points. Maybe it's the doctors who are crazy and the patients sane. And what is freedom? Is it getting out of the institution and back into the world where you do as you are told or allowing yourself to experience life the way you want no matter what anyone else says or thinks? The rebellious and revolutionary make the wrong choices and therefore are mentally ill (yikes!), or perhaps we are all mentally ill to a greater or lesser extent. All these options are presented and none really refuted, clouding the overall message.

This is ultimately a morality tale. It made truth the doubled edged sword--the hinge on which the lives of people swung either to better or worse. The lives of the characters spiral from life to death as they deny or interrupt truth. It is not until they stop running from truth and face it that they break down and have a chance to change for the better. The “moment of truth” comes for Ryder with the death of her friend in which she faces truth and breaks down in the solace of her stalwart mentor. Jolie's moment comes from reading Ryder's diary about how various characters hide from the truth instead of facing it. When the rough and tough chick demands that she be uncovered as well, Ryder obliges and it is almost too much for Jolie to take. But we see in the final scenes that this is a turning point for her as well when she cries and admits the truth of her position to Ryder, saying “I'm not really dead.” So the truth not only saved and set free Ryder, but is on course to save and set free Jolie as well.

DONNIE DARKO

Written by El Mono Santo

So I finally saw the film. Seems to make everyone's top ten, twenty, pick your number, greatest films of all time. Also seems everyone who's seen it recommends it highly, while everyone who hasn't seen it has no clue it even exists. I was formerly one of the ignorants, but cumulative praise via word of mouth finally sent me on a mission to Blockbuster.

As anyone who takes a gander at my favorite film list will immediately see, I've got a special place in my heart for Post-Modern films...not to mention music, art, and almost everything else in that stream... So this film did not fail to delight and excite--even if I happen to disagree with it fundamentally.

Donnie Darko is, basically, mysticism or romanticism for the Existentialist. I guess this was too much for the U.S. audience, so they had to market it as a horror teen flick. But in a way, horror and teen are also what it's all about. The protagonist is a young man suffering from what one philosopher called "angst" but which is better termed existential despair--something Post-Modern youth (like myself many moons ago) really, really get--not just in terms of understanding, but in terms of individual existence. While the film is very good, what makes it top the charts or hit home is this ability to communicate at a fundamental level what defines so many in this era of the Western world. But that is also precisely a fundamental reason why this film is self-contradictory.

Donnie is the Post-Modern superhero. Unlike Superman, who stands for truth and justice and fights against those who twist things to error so that a happy ending is not perverted, Donnie stands for finding meaning in the chaos, for creating his own truth in a world without it, for being able to face the unhappy ending with a smile because of the journey to that end. The road of Existentialism--either in the philosophy books or in this film--is a non-rational personal experience that gives hope and meaning to face a reality that is too much to bear and that would ultimately be better off destroyed (either in reality or outside it).

Like Sam Lowry in the Gilliam edit of Brazil, Donnie destroys the world by going insane--at least, that is how to describe it from outside the Post-Modern world-view. In the world-view of this film and many living in the world today, Donnie has not lost hold of reality, he has conquered it in the only way available to him until the end. He has saved himself and become the Existential savior. That is what makes him a comedic character instead of a tragic one. And it is also something that can inspire and give non-rational hope and meaning to other Existentialists who, living a self-contradictory existence anyway, will not mind defining themselves by the same token--in fact will glory in it.

ER - The Complete Fifth Season.

Written by Hombre Divertido

After four full seasons of a show, any fan might fear that the ever-elusive shark may be preparing to be jumped.

In the case of the fifth season of ER, one might fear the shark has arrived in the form of Kellie Martin, who came to fame on the popular ABC series Life Goes On. Ms. Martin plays medical student Lucy Knight, who experiences her first day in the ER, within the first episode of season five.

Though Ms. Martin did not turn out to be the shark, it is clear in the first few episodes of season five, that they are a circling. Mare Winningham of St. Elmo’s Fire fame shows up, as does a constipated horse, a patient wired with dynamite, a stricken magician, and much more. For the most part interesting premises abound, yet handled in all too trite of a fashion

This was the year where the writers clearly started to forget that the success of the show in the early years was due to the storylines being based more on the patients than on the staff. The exception to that rule in season five is when the staff leaves the ER. Those stories, though revolving around the staff, are some of the best of this season, with one in particular being one of the best ever.

Luckily for ER fans, the writers regain their early series form after the first few episodes, the storylines settle down, and season five turns out to be a great season. Fans still have the original cast, sans Sherry Stringfield, for most of this season and they all have their limbs. In fact, Dr. Romano is at his enjoyable worst in many episodes of season five.

As mentioned, there are a few gems here, primarily when the staff leaves the ER. Dr. Carter (Noah Wiley) makes a few trips outside the ER during this season, but it is episode sixteen entitled “Middle of Nowhere” that is the best of the bunch. This episode focuses on Dr. Benton (Eriq LaSalle) working at a rural clinic in Mississippi. It is brilliantly written by Carol Flint, the direction by Jonathan Kaplan is excellent, and features a great score.

Season five also marks the last of George Clooney as Dr. Ross. The departure is well worth watching as the episodes leading up to it are well crafted. Again, primarily because it is not all focused on the staff. We are introduced to a mother struggling with the slow death of her son to a debilitating disease that she passed on to not only him, but to his older brother who has already succumbed to the effects.

The extras in this set are not much to see. Each of the 6 DVDs contains what are called outpatient outtakes i.e.: Deleted scenes. The sixth DVD also includes one of the worst gag reels ever seen. It literally looks like they went back and told the actors to make some mistakes so they could have a gag reel.

Recommendation: This is a key season, and thus a must have for any true ER fan. It is also a must for any Eriq LaSalle fan simply for episode sixteen and his part in the conclusion of episode five.

The episodes improve as the season progresses, so buy the set, and chuck disk one.

TALLADEGA NIGHTS:THE BALLAD OF RICKY BOBBY

Written by Hombre Divertido

Ricky circles the track in first place, but his recent ballad has him circling the drain most of the time.

When you advertise a movie as coming from the people who brought you Anchorman and The Forty-Year-Old Virgin, you are setting the bar pretty high, and as we all know, racecars don’t jump as many bars as they stop at.

There are numerous bad elements of Talladega Nights: The Ballad of Ricky Bobby. The story is weak, the directing is bad, the editing is amateurish, but where it fails the most in comparison to the above-mentioned films is in the supporting characters and cast. Will Ferrell is a talented comedic actor who continues to give memorable performances. In Anchorman, he was surrounded with not only talented actors, but with a script that allowed for the supporting characters to have depth, and be funny. Not so here. Though most of the actors have proven their talent in other films, they have no chance with this script.

Ricky Bobby is the NASCAR golden boy, with a trophy wife, two sons (Walker and Texas Ranger), and a best friend who is also a racer. You get little more of a description or introduction into the Bobby friends and family in the film, with the exception of Reese Bobby, Ricky’s’ sauced, semi-professional racecar-driving father portrayed perfectly by Gary Cole in what is the best performance in the film.

John C. Reilly appears to be in over his comedic head as Ricky’s’ best friend Cal Naughton Jr., though he certainly received no help from the writers. The rest of the cast is equally unimpressive hitting an all-time low with the performance of Sacha Baron Cohen as Jean Girard, our antagonist. Mr. Cohen displays no comedic timing whatsoever, and is for the most part, painful to watch.

Where Talladega Nights does live up to a comparison to Anchorman is in its simplistic hero to loser and back storyline, as Ricky crashes, and has trouble getting back on the track ala Tom Cruise's Cole Trickle in Days of Thunder.

Though the writers went terribly wrong in the depth of story and character, they did manage to come up with some hysterical comedic bits. Whether or not they came up with enough for an entire film is certainly open for discussion. The Bobby family sitting down to dinner and opening with a prayer is solid funny, and there are many other good laughs in the film, yet there are also several that made the commercials, and did not make the final cut of the film. This type of choice leaves the audience wondering: Though the film will induce laughter, are we more inclined to be laughing at the humor in the film, or at the production as a whole?

Recommendation: This is like going to a bad all-you-can-eat buffet when you are really hungry. It may seem like a good idea at the time, but when you’re done eating, you can’t help but look around and say, “What was I thinking?”, and then head home to take a shower.

If you are hungry for laughs, you will get fed here because you can’t escape the fact that Will Ferrell is funny, and this film has some great laughs in it, but don’t be surprised if you stand up when it’s over and say, “What was I thinking?”, and then head home for a shower.

Wait for the DVD.

LADY IN THE WATER

Written by Hombre Divertido

Lady in the Water has tremendous depth.

So M. Night Shyamalan attends a MENSA meeting, where he requests their assistance in remaking the 1987 film Batteries Not Included. A brainstorming session ensues where members in attendance suggest that rather than small spaceships; they use The Little Mermaid. “Oh!” one member screams, “M (Because that is of course what they would call him) lets include peoples search for their purpose, because that book, The Purpose-Driven Life by Rick Warren, is so popular right now.” The result is Lady in the Water, a film so deep, that it requires multiple viewings.

According to reports, that is not the way this story came about, but one cannot help but feel that way, as they are trying to scramble to find paper and pen to take notes during this 110-minute cavalcade of twists and turns. Actually stemming from a bedtime story Shyamalan concocted for his daughters, Lady in the Water is a brilliant piece of storytelling by a master at his craft.

Shyamalan is smart enough to know that the story is secondary to the characters, and if he is able to get the audience to care about the characters, they will invest the brainpower to follow this labyrinth of a tale.

Care about the characters the audience does, as they are introduced to all the inhabitants of the apartment complex which is watched over by our hero; Caretaker Cleveland Heep played excellently by Paul Giamatti. It is Heep who first discovers the Lady in the Water, who goes by the name of Story and is played with subtle intensity by Bryce Dallas Howard, and interestingly enough lives beneath the apartment pool.

Story leaves the pool on a mission, and finds the assistance of not only Heep, but eventually the majority of the tenants of the apartment.

Shyamalan, not only pulls us in with the vivid characters, but with film work, angles, and lighting, that allows us to experience not only the life of Caretaker Heep, but what it’s like to live in this apartment complex as well.

Oh yes, on some levels, this story may just be too much of a good thing. There are creatures and characters in Story’s world whose motivation is difficult to follow. Some may feel a bit set up as we are introduced to the interesting characteristics of our tenants. Mr. Heep seems to posses amazing diving techniques as he investigates Story’s home beneath the pool. On many levels, some people may decide it is just too much to invest their time in. Most will want to see it again, so as to figure out what they missed.

One might wonder what the film might have been like had Shyamalan simplified the story and made it easier to follow. As George Costanza said in a classic episode of Seinfeld: “I’m not dumbing it down for any mass audience!”

Recommendation: It would be quite easy to drown in the complex story that is Lady in The Water. Make sure you don’t see the late show, so that you can sit through it a second time and take it all in. Then go purchase The Purpose-Driven Life.

MONSTER HOUSE (2006)

Written by Hombre Divertido

Well worth the ninety-one minute stay.

Robert Zemeckis and Steven Speilberg (co-producers with Jason Clark, Jack Rapke, and Steve Starkey) have brought us a fun summer movie for the whole family. Well, maybe not the whole family, as the imagery may be a bit much for children under seven or eight, but great fun for the rest of us.

In this story, no adults believe three youths' assertion that a neighboring residence is a living creature that means them harm. With Halloween approaching, the trio must find a way to destroy the structure before innocent trick-or-treaters meet ghastly ends.

This film takes risks, and though they don’t always pay off, the audience can’t help but appreciate the effort.

Potential Spoiler Warning: The following paragraphs may contain plot points.

The story is risky as it avoids the typical rational explanation ending, and instead explains that the house is actually haunted. This works as the details are provided in a manner that even the youngest viewer can understand and enjoy.

Where the risks did not completely pay off were in the animation where processes continue to evolve. This film (viewed in 3D) was visually exciting, but makes a drastic transition midway through the film. During the first half of the film, you can’t help but feel like this could have easily been a live action film, as it certainly feels like it. Once our Monster House comes to life, you appreciate that it is indeed animated, to a point. The more alive our house becomes, the busier the film gets. As we reach the climax of the film, the house becomes mobile, and the story becomes secondary to the effects, which is too bad.

The three-dimensional aspects added to the visual appeal of the film, though it lacked the usual effect of things coming out at the audience.

The vocal performances in this film are spot on. Mitchel Musso (DJ), Sam Lerner (Chowder), Spencer Locke (Jenny) play the children to perfection, but it is Steve Buscemi as the crotchety neighbor Mr. Nebbercracker who steals this film. The supporting cast is outstanding as well with Jason Lee as the babysitter’s (Maggie Gyllenhaal) boyfriend Bones (he’s in a band), and an all-too-brief vocal appearance by Jon Heder (Napoleon Dynamite) that left us wanting more.

Judging from the numerous previews prior to the showing of Monster House, there are numerous 3-D animated films headed our way in coming months. Hopefully, producers will remember that the story is as important as the animation. Successful ventures of the past have included both great animation, and storylines that contain plots that kids can follow and humor that adults can appreciate.

Recommendation: From the basement to the attic, Monster House works on many levels. Catch it in 3-D if you can, but catch it either way.

Billy Joel: 12 Gardens Live

Written by Hombre Divertido

One always takes a risk when purchasing a CD of a live performance. You can’t be sure of the quality of the recording or the performance. The artist may be a superior studio performer but may not translate well to a live setting. The artist may have been playing the same songs for years, and has now decided to tweak them, which often disappoints the audience. Luckily, Billy Joel’s new effort suffers very little from any of these potential sales killers.

Recorded live at Madison Square Garden this new two-disc set delivers over and over again. With a total of 30 songs, there is something in this set for everyone, as Mr. Joel still manages to exude the energy of an angry young man, belting out hit after hit.

When one listens to these classics, you can’t help but be impressed by the career longevity of Joel, who wrote all of the songs. Another challenge of a live recording can be the audience, but the sound mix is excellent here as we are treated to the energy of the crowd without detracting from the quality of the performance.

Joel is backed up quite capably by a talented group of performers who make a strong effort to allow him to be the focus. They are Crystal Tallefero (vocals, guitar); Andy Cicon (vocals, bass guitar); Tommy Byrnes (guitar); Mark Rivera (saxophone, keyboards); Richie Cannata (saxophone); Carl Fischer (trumpet, trombone); David Rosenthal (piano, organ, keyboards).

There are a few bumps in the road, as in “The Night is Still Young” where Joel’s vocals are combined in a duet with Taleifero that does not quite work, and the second disc ends with an unlisted 31st song which is a weak, or maybe just a tired, Joel closing out with “It’s Still Rock and Roll to Me.” That ending might leave some disappointed, but there is too much quality here in both musical genius and memories to allow anything to distract from the overall performance.

Recommendation: Make sure you see Billy Joel's next concert, and get a hold of this effort until you do.

The Pilgrim: A Celebration Of Kris Kristofferson

Written by Fantasma el Rey

When you think of Kris Kristofferson, many things come to mind: rebel, songwriter, actor, activist, outlaw. As all these titles do apply, Kris himself will be the first to tell you that the line between man and myth can become very blurred. Yet, there is still more solid truth behind the man, a truth that comes through in the songs he writes and sometimes sings. His life is a fascinating one, filled with willingly taken wrong directions. Although, if he hadn’t taken these paths, we wouldn’t have his music to listen to or a chance to hear from some of the people he has inspired on this well done tribute album.

Kristofferson was born into a well-to-do military family, complete with a Major General for a father. Kris himself would eventually sign up for military service, but not until after receiving the Rhodes scholarship and his Master’s degree from Oxford University. While attending college, he was always writing, working on a novel or songs for his recording session as “Kris Carson”. As a helicopter pilot in the military, he would make up songs to entertain his fellow soldiers, but his love and study of literary writers made him want more from his songs. Kris was turned down for voluntary duty in Vietnam because he was to be assigned to teach literature at West Point academy.

After ditching his military assignment, he headed to Nashville where he scored a job as janitor for the Columbia studios where he met many artists who would record his songs in the near future. He made a slight impression on Johnny Cash, but Cash still would not record any of his material. It wasn’t until Kris landed a helicopter in John’s backyard that he took any real notice. After that, others started to take notice as well and the rest is history, which includes becoming a terrific actor in major motion pictures and being an activist on the world scene. You can get a more detailed run down on Kris’ life in the liner notes to this CD where you’ll read about his time as a fireman in Alaska, a railroad men, a construction worker, and eventually a Nashville beer hall regular. The thick booklet is very informative in its telling of the story of how and why Kris came to be an outlaw of country music. This CD is a good example of how he changed the way a country song could be written.

This killer tribute album opens with an intro by Kris to “The Pilgrim: Chapter 33” performed by Emmylou Harris. Her connection with Gram Parsons makes her the perfect choice for this powerful song, and is a great way to begin this disk because the song itself is somewhat autobiographical and contains wonderful lines about being a “problem when he’s stoned/ he’s a walking contradiction/ partly truth and partly fiction”.

“Maybe You Heard” by Todd Snider and “Sunday Mornin’ Comin’ Down” by Gretchen Wilson are two more powerful and reflective tunes composed with feeling and passion. Kris has lived these songs and it comes across in these lyrics. “Maybe You Heard” deals with understanding and sticking by the people you love and say you care about, while others look down upon them or turn their backs on them. “Sunday Mornin’ Comin’ Down” is my favorite tune by Kris and is done well here. He captures that lonely Sunday morning perfectly with an honesty and truth that anyone who was spent said dark morn’ alone coming down can definitely relate to and understand.

Kris’ songs are also represented well by others from the outlaw clan, such as longtime friend Willie Nelson and the family of Waylon Jennings, son Shooter and wife Jessi Colter. Shooter keeps the flame alive by delivering “The Silver Tongued Devil & I” in such a way that would definitely make his daddy proud, a voice sadly missing from us all now. Shooter’s young whiskey-soaked baritone does a fine job here, in this number about drinking, thinking and opportunities missed. Jessi’s working of “The Captive” is heartfelt and moving. She is a fine choice and excellent interpreter of Kristofferson’s ability and skill. Willie’s vocals can be heard on the last tribute track “The Legend” and his voice shines here as his delivery of the opening lyrics “was it better then/ with our backs against the wall/ were we better men/ than we’d ever been before” are a compliment to Kris’ ability to convey reflective feelings of the lives they’ve led.

Latin vocalist Marta Gomez and R&B singer Brian McKnight represent Kris’ widespread influence. Marta’s bilingual “The Circle”, is moving and her accent comes though wonderfully, making this track one of the most enjoyable. While McKnight’s version of “Me And Bobby McGee” is passionate and growing on me the more I hear it, I can’t help but be reminded of other R&B covers of country and folk songs. The slow beat, mellow guitar, shaker sound, and yes, this one is complete with handclaps. I do like his voice; I just think he could have done more with the song.

The two standout tracks for me masterfully follow one another in track order “Lovin’ Him Was Easier (Than Anything I’ll Ever Do Again)” and “Come Sundown”, performed by wife and ex-husband, Rosanne Cash and Rodney Crowell. Her voice has knocked me out and stayed with me since I first heard her version of “Tennessee Flattop Box”. Crowell puts his signature sound and mellow vocals on “Come Sundown” to full effect; this song sounds like a tune right out of his own songbook. Hearing these numbers back-to-back sends me back to my youth, listening to these artists, as my Ma would show us how to dance a Texas two-step that still impresses the ladies. Thanks again, Ma.

Many others who have been inspired by our hero Kris round out the disk. People you might not really think of, such as actor Russell Crowe doing a fine version of “Darby’s Castle” or Marshall Chapman and the rocking “Jesus Was A Capricorn”. This tribute disk ends fittingly with a demo by Kris circa 1970 on “Please Don’t Tell Me How The Story Ends”, a perfect song because who knows where Kris’ long and accomplished career will head from here now that he’s 70 and lost none of his fight or passion.

The Pilgrim is a true celebration of the music and songwriting skills of an American original that has endured throughout years of criticism and self-abuse. He’s a true storyteller of everyday life and love, of the lost and found. A poet documenting those who are given another chance to rise again and redeem themselves. Kris is an inspiration to us all if we know it or not, and we’ve all heard his voice in a song we sing.

Kris Kristofferson, passionate songwriter, rebel and outlaw, we all owe you.

SUPERMAN: BRAINIAC ATTACKS

Written by Hombre Divertido

In the new DVD release from Warner Brothers, Superman: Brainiac Attacks, embittered by Superman’s heroic successes and soaring popularity, Lex Luthor forms a dangerous alliance with the powerful computer/villain Brainiac. Using advanced weaponry and a special strain of kryptonite harvested from the far reaches of outer space, Luthor specifically redesigns Brainiac to defeat the man of steel. When Brainiac betrays Luthor and reveals its sinister plans for world domination, Superman must brave the mysterious Phantom Zone to find the strength to survive this deadly showdown.

Is it too late to send this to Bryan Singer?

It can be difficult to get excited about watching a straight-to-video cartoon, but Superman: Brainiac Attacks is a pleasant surprise. Pleasant in that the movie is done well, and not overly directed towards children. The story is well crafted, and the soundtrack is motion picture quality.

Tim Daly's performance as Superman and Clark Kent would make Bud Collyer proud, though it could be distracting to Wings fans. The rest of the cast is stellar as it is stacked with star power including Dana Delany as Lois Lane, Powers Booth as Lex Luthor, and Lance Henriksen as Brainiac.

With all the various incarnations of Superman between live action and animated television, as well as motion pictures and comic books, it can be challenging to keep track of the development of the characters and stories. In this outing, Superman is still struggling with telling Lois his true identity, the Fortress of Solitude is quite different than in other stories, and Lex Luthor is portrayed quite clownish. The direction of the Luthor character does not work at all, but that is one of the few parts of this endeavor that does not work.

On the other side of the character interpretation coin is the Jimmy Olsen character voiced by David Kaufman, and that of Brainiac (Henriksen). Jimmy is enjoyably involved in the story far more than other television and motion picture efforts. Brainiac comes across as confident and intensely dangerous, and the battles between he and our hero actually leave Superman looking vulnerable.

Movie Spoiler Warning:

This is a fun film for the whole family. It was nice to once again see Superman fighting for truth, justice, and the American way, rather than having sex out of wedlock, impregnating Lois, and then abandoning his child and her mother for five years as was depicted in the recent motion picture.

Recommendation: A little history on Brainiac and some extras would have made this DVD perfect, but even lacking a little more story and the bonuses we have come to expect on a DVD, this is well worth the investment of time and money.

Johnny Cash - Man In Black: Live in Denmark 1971

Written by Fantasma el Rey

“Hello, I’m Johnny Cash”. His standard opening is sadly missing from this entertaining live DVD, filmed in some television studio in Denmark. Yet that takes nothing away from this solid performance by one of the greatest talents the world has known. This show in Denmark and the crowd’s reaction only prove that Johnny was loved by people all over the world; that fact is made obvious by people today, who know nothing about classic country or the other outlaws that Johnny came to run with, yet who claim Johnny as their inspiration and hero. On this disk we get a good glimpse of the Johnny Cash road show, we also get a chance to see and hear many of the regulars of his weekly television show, which include his wife June Carter, his longtime friend Carl Perkins and the Statler brothers.

The disk jumps right into “A Boy Named Sue”. No intros to Cash or the band, just Johnny jumping on stage and picking up his guitar. Johnny always puts this tune over with a smile and chuckle that makes it much more entertaining and comical. From there, Johnny moves into the solemn Kris Kristofferson-penned “Sunday Mornin’ Comin’ Down”, a look at someone reflecting on his life and feeling lost on a Sunday morning. This tune is one of my favorites. Johnny’s delivery is more believable for the life he has led, and I don’t think that any one else could have pulled this one off as well.

After a good run through my all-time favorite Cash song “I Walk The Line”, Johnny introduces, as the “originator” of Rock ’n’ Roll, Carl Perkins, who performs two of his tunes: the classic “Blue Suede Shoes” and “Matchbox”. Carl goes through his routine dancing of fancy footwork while he sings and solos. People love to see these same steps that he has been doing since the beginning of his career, playing in small honky-tonks and juke joints. As Carl sings “Matchbox”, the camera has Johnny in the shadows, getting the crowd to clap along to the song; a very interesting and cool shot.

Johnny comes back for a good version of another Kristofferson song “Me And Bobby McGee” and a short version of “Guess Things Happen That Way”, before introducing the Statler Brothers. The Statlers have two songs that showcase their four-part country harmony, which for some reason always makes me smile and think of my mother; who by the way, introduced a very young Fantasma to her wonderful world of music, which included country classics such as Mr. Cash, his family and friends and solid 1960s pop/rock as well. (Thanks, Ma.) The Statlers do sing another favorite of mine, their all-time hit “Flowers On The Wall”.

Johnny comes back once more for a rocking version of “Folsom Prison Blues”, which puts the spotlight on his longtime backing band, the legendary Tennessee Three: Marshall Grant on bass, who has been with Cash from the start, W.S. “Fluke” Holland on drums, who started his career in the Carl Perkins band and was last to join, and taking over for the beloved Luther Perkins, (no relation to Carl) Bob Wootton on guitar.

Johnny talks about his concerts at various prisons next, before introducing his wife June. As soon as she appears, you can see Johnny light up and give a truly sincere smile. One can tell that Johnny’s love for his wife is something greater than himself by his loving glances and long looks into June’s eyes as they sing together. That look is definitely more than an act. They do three numbers including the Grammy-winning “If I Were A Carpenter”, “Help Me Through The Night”, and the one that hits home for me, John Sebastian’s original “Darling Companion”.

Next, the lights go out on the band and Johnny is left in the spotlight for his then current single, and what is now his theme song, “Man In Black”, a powerful song that tells the reasons why he wears all black. This shot of Johnny and the one I mentioned early with Carl make up for the few times that the cameramen goof and we get some shots of the back of John’s head or some other off angles.

John then gives a proud introduction to Mother Maybelle and the Carter Family, then consisting of June’s mother and two sisters Anita and Helen. Their “A Song To Mama” is a moving tune about Ma Carter and the girls’ love and appreciation for her. At the point where Johnny does the spoken verse, there is an insert of Ma looking somewhat uncomfortable, yet moved to tears by the song.

After a long round of rhythmic applause from the crowd, John brings everyone back out on stage for three spiritual numbers to close the show. All three songs are entertaining and have that Johnny Cash sound to them. If I need to explain that sound here again, then you should probably stop reading and go out and get yourself an essential collection of Johnny Cash material. The song “No Need To Worry” has a chorus that says, “I found out that if you take one step/ he’ll take two” which is a Bible reference and seems to mean more knowing Johnny’s struggles throughout his life. The show ends with “Children, Go Where I Send Thee”, the song is Cash-penned and involves singing verses up to twelve, using everybody on different parts; much the way that the “Twelve Days Of Christmas” is sung.

If you recall that the opening song is “A Boy Named Sue”, then closing with a spiritual might seem a bit of an odd way to end a Johnny Cash show. Yet if one knows John’s life story, then it seems that the songs are the perfect bookends to a Cash concert. Everything that the man is and stands for is summed up in his shows, which this taping is a condensed version of. The DVD clocks in at just under an hour, but his highly entertaining and does move very well from segment to segment. All the hep kats and my “Kitten” should enjoy this one from start to finish.

Overall, this DVD is a good look at Johnny Cash just a few years before he became an outlaw to the establishment of country music, refusing to alter his sound or his vision of what they wanted his music to be. As a final note though, I do believe that the Cash well might be running a bit dry, as this DVD contains no bonus material of any kind. Besides being a solid Cash performance, it doesn’t seem to have much significance in John’s career, so it will be interesting to see what is released next. Hopefully I’m wrong, and we can keep getting quality Cash output.

So there it is and here we go… this one is for Johnny and fifty years of the best and we all know that his music will be felt for at least fifty more.