SATURDAY NIGHT AT THE MOVIES 008: PLAY IT COOL! (1962)

  

“Play It Cool” (Michael Winner, 1962) was the first film vehicle for Robert Wycherley, a Liverpool rock’n’roller signed up to Larry Parnes’ management stable and renamed Billy Fury. Fury plays singer Billy Universe who, with the Satellites, help heiress-on-the-run Ann Bryant (Anna Palk) to find her banned fiancé – and their hero – rock star Larry Grainger (Maurice Kaufmann). Their search is largely an excuse to visit Soho’s nightclubs and feature the moment’s pop acts – and the latest dance craze, the Twist – but the narrative concludes with the discovery that their idol Larry is a grubby womanizer, chasing Ann only for her money. Cue a Beat Girl-style cry for “Daddy!” and a touching family reconciliation. 

“Play It Cool” was critically slated – or ignored. Andrew Caine, who has discussed why such low-budget revue-format fare was treated with particular disdain by the press and its “elite commentators”, nonetheless has to agree that Winner’s film shows “little idea about how mise-en-scene can enhance the overall theme and mood of a film. For all its emphasis on “cool” London, the film also retains a “safe” mix of musical styles, exploiting current chart hits and dance trends, but still placing them in the commercial cadre of Variety-style performance. Thus the guitar and sax sounds of Shane Fentones’ twist number “Like Magic” are juxtaposed with American crooner Bobby Vee and Lionel Blair’s cabaret floor show. Even Fury is contained within a fictional group of children and gauche adolescents. “Play It Cool” has its artistic faults, but its singular denouement (Ann returns to her father and the airport, and Billy skips off down the runway with the band, reprising the title song), distances the film from the chaste communion of the Cliff Richard musicals and prepares the way for more complicated interpersonal relationships in later phases of the pop music film. “Play It Cool” could be interpreted as a forerunner of the Swinging London films which offer “unprecedented narrative emphasis on female pleasure and sexual identity”.

“Play It Cool” was notable for placing Fury, the most successful British chart act never to have enjoyed a number one hit, as the lead: he didn’t make many appearances in the movies, with “That’ll Be The Day” (featured in our 4^th instalment of Saturday Night At The Movies) made after his heyday being the most respected of those, and once his ill health began to take hold he didn’t appear in any capacity very often, dying in the early eighties when only forty-two.

“Play It Cool” did not have a soundtrack as such, but most of the songs from the film were relegated to the B-side. Billy Fury released “Once Upon A Dream” as an A side of a single and put the other four on an EP. Helen Shapiro, on EMI’s Columbia label, released “I Don’t Care” as the B-side of “Little Miss Lonely”. Shane Fenton (Alvin Stardust a decade later) & The Fentones put both songs from the film on B-sides of EMI Parlophone releases, “Why Little Girl” was the B-side of “It’s All Over Now” in April 1962, before the film was released. “It’s Gonna Take Magic” was the B-side of his cover of “Cindy’s Birthday” in July 1962. Danny Williams, on EMI’s HMV label, put “Who Can Say” as the B-side of “My Own True Love” a year later in July 1963. Bobby Vee gets star billing on the film, and sings “At A Time Like This”. A song which was the B-side of the Goffin-King song “Sharing You” released in June 1962 just ahead of the film. Note it was the British B-side, but not the American one. It was on the Liberty label, which EMI had just started distributing. Most of the music in the film was by EMI’s main staff producer, Norrie Paramor, head producer from EMI’s Columbia label (soon to be supplanted in the EMI hierarchy by George Martin of Parlophone). Norman Newell was the main lyricist, though Larry Parnes ventured into composition with Norrie paramour on “Twist Kid”. 

But before we get to the main feature, let's enjoy... 

The Pre-Show: 

          

Today's main feature has an undisputed star in his first major role: Billy Fury. Though we do have an early interview to enjoy, where he talks about "Play It Cool!" amongst other topics, all our specials today have to do with the British Brenda Lee, a teenager who even eclipsed The Beatles (for a short while though. "Please, Please Me" hit the charts... and the rest is history!). 

Four top mini-documentaries will let you enjoy a Saturday Night at the movies evening before the popcorn is ready for the main feature. "Helen Shapiro - A Hit In The Making"; "Helen Shapiro - In Her Own Words"; "Helen Shapiro - This Is Your Life" and last, but not least: "Helen Shapiro - Musiclogue" - where we'll have the opportunity of enjoying around 17 musical videos which somehow summarize her musical life in the 60s. 

And we continue with our Sun Records series in its fifth chapter ... Elvis & Sam... get to meet! 

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The Main Feature: 

Title: Play It Cool! 

Director: Michael Winner 

Cast: Billy Fury / Anna Palk / Michael Anderson Jr. / Richard Wattis / Helen Shapiro / Shane Fenton & The Fentones / Bobby Vee / Danny Williams / Jim Crawford

Release Date: March 1962 

Country: United Kingdom 

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On Your Way Out: 

This pre-Beatles pop-musical provided British teens with a precious glimpse of that happening new dance craze: The Twist. So, following that lead, I wish you had a great twisting evening with today's "Saturday Night At The Movies" offering and remind you to get those extra goodies that may complete your collection and definitely serve as a reminder of today's evening. 

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Note: Password for all files: Shade'sVintageRadio 

SHADE'S VINTAGE RADIO SPECIAL 012: THE BEATLES (A NOD TO THE PAST) (Part 07) (CD Version)

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01 – ROCKESTRA THEME (Wings) (1979)

02 – BORN TO BE WILD (Steppenwolf) (1968)

03 – BANG A GONG (GET IT ON) (T. Rex) (1971)

04 – SOME PEOPLE NEVER KNOW (Paul McCartney & Wings) (1971)

05 – LOS JOVENES (Cliff Richard & Los Mustang) (1999)

06 – PUTTING THINGS ON TOP OF OTHER THINGS (Monty Python Sketch)

07 – MAH-NA MAH-NA (Piero Umiliani) (1969)

08 – JOHNNY ANGEL (The Carpenters) (1973)

09 – JUMPING JACK FLASH (The Rolling Stones) (1968)

10 – NANCY ON HER DAD (Nancy Sinatra Interview) (2006)

11 – SEPTEMBER OF MY YEARS (Frank Sinatra) (1965)

12 – NEEDLES AND PINS (Ramones) (1978)

13 – LOVES ME LIKE A ROCK (Paul Simon) (1973)

14 – ROLLIN’ WITH THE FLOW (Charlie Rich) (1977)

15 – SHEILA (Tommy Roe) (1962)

16 – CIERRE DE EMISIÓN TVE2 (23-12-74)

17 – YO SOY TREMENDO (Rocky Roberts) (1968)

18 – TRY SOME BUY SOME (Ronnie Spector) (1971)

19 – TRY SOME BUY SOME (George Harrison) (1973)

20 – ALWAYS ON MY MIND (Elvis Presley) (1972)

21 – HELLO MEXICO (AND ADIOS BABY TO YOU) (Johnny Duncan) (1978)

22 – LA CHICA YE-YÉ (Queta Garay) (1965)

23 – THE GIRL OF YE YE (Zoe And The Stormies) (1966)

24 – THE BOYS ARE BACK IN TOWN (Thin Lizzy) (1976)

25 – THE END OF THE WORLD (Skeeter Davis) (1962)

26 – NANCY ON BOOTS (Nancy Sinatra Interview) (2006)

27 – THESE BOOTS ARE MADE FOR WALKING (Nancy Sinatra) (1965)

28 – THE LITTLE GIRL I ONCE KNEW (The Beach Boys) (1965) 

29 - LOVE'S THEME (The Love Unlimited Orchestra) (1973) 

ANYTHING, ANYWHERE, ANYTIME 011 (CD Version)

 

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SATURDAY NIGHT AT THE MOVIES 007: THE IDENTICAL (2014)

  

Here's a bit of Elvis Presley trivia that might surprise some: The King was a twin. His brother was stillborn and Presley, by some accounts, was haunted and fascinated by this twist of fate. He always wondered what his life would have been like had his brother survived. 

Howard Klausner, the screenwriter behind "The Identical," apparently wondered the same thing. In the movie, a famous singer grows up believing his twin died at birth, only he didn't. In this story, though, the singer is named Drexel Hemsley, which is good, because the last thing we need is more Elvis conspiracy theories. But the resemblance is clear: the voice, the hips, the slight curl of the lip. And who better to play Drexel and his long-lost twin, Ryan Wade, than the winner of an Elvis impersonator contest? 

"The Identical" is really about Ryan. The story begins in the 1930s in black and white, as the impoverished Hemsleys realize they can barely take care of one child, let alone two. Like a sign from God, William Hemsley (Brian Geraghty) figures out a solution when he happens upon a tent revival where a preacher is lamenting that he and his wife cannot conceive. So the Hemsleys hand off one son to Reece (Ray Liotta) and Louise Wade (Ashley Judd) and make the couple promise to keep the secret until Williams and his wife have died. 

Reece steers Ryan toward a future as a preacher, just like dad, but the boy's passion for music is immediately apparent. Instead of reciting hymns at church, he belts them out with a hint of gospel music; he sneaks around to honky-tonks even though his dad forbids it; and when Ryan joins the Army, he brings his guitar along and serenades his platoon. 

Not long after he returns home, he hears Drexel on the radio, and Ryan is smitten with the sound, tormenting his parents by playing the record over and over. Meanwhile, the growing hordes of Drexel Hemsley fans can't believe the uncanny resemblance between Ryan and the singer. That likeness actually helps Ryan realize his dream of singing professionally. he becomes a drexel Hemsley impersonator, traveling the country playing all the hits to adoring fans. 

The movie is the feature debut for director Dustin Marcellino, and it follows a formulaic route, charting the ups and downs of fame and fortune. Even if Ryan is a mere impersonator, he's still a very succesful one, and his rise leads to even more trite moments, including a greedy manager who throws dollar bills in the air and says things like "I made you, Ryan Wade, and don't you forget it." And Ryan's performance during a pivotal contest culminates in Drexel himself leading a slow-clap standing ovation. 

While Rayne doesn't rise to the challenge of pulling off some very emotional scenes, some of the other performances are quite good. Judd is hardly doing heavy lifting here, but her portrayal of a loving mom is heartfelt and sweet, and it's nice to see Liotta softening up a bit instead of doing one of his go-to mobster roles. Joe Pantoliano most seamlessly inhabits his part while offering a lot of comic relief as an auto mechanic who hires Ryan after the boy drops out of divinty school. 

The music is catchy and sounds sufficiently Elvis-like, and "The Identical" occupies a neglected niche as a family-friendly movie that isn't geared just toward kids. But living up to a legend is an uphill battle, and the movie doesn't ever reach those heights. 

But before we get to the main feature, let's enjoy... 

The Pre-Show: 

                     

Today's main feature deals with an artist impersonating another, making a living out of his passion. Since Elvis left us in 1977, each year Elvis impersonators spring out of the blue. Many in the tacky department, which really doesn't help spread a positive view of the man himself. So today I saw fit, taking into account our Saturday Night At The Movies film, that I'd present that other side to the impersonators as such, the professional ones: better known as ETA: Elvis Tribute Artists. These are full time serious Elvis impersonators who are in the business of performing for a living. In that category I have a special favourite: Dean Z. In 2013 Dean won the Ultimate Elvis Tribute Artist Contest, the only world-wide contest recognized by Elvis Presley Enterprises, serving as an ambassador to Graceland and the estate. Dean Z received the Heart of The King Award at the former Las Vegas Hilton, on the same stage, Elvis himself performed over 700 shows. In 2017 Dean joined "The Elvis Tribute Artist World Tour" based in the United Kingdom. 

Please, not to be confused. In my humble opinion, there is only one person who I consider capable of filling Elvis's shoes, and that is Elvis himself. There'll never be any other who can spread such charisma on stage or on the screen, as he did for years. Even though many of his movies were under par, there was still his smile or his looks, and especially his voice which would save the day. Having said that, I must admit I enjoyed my Saturday afternoon watching this show with my family and found myself  participating actively in many songs. Now, what better way to entertain a Saturday Night At The Movies, before the main feature. However, when the show's over and one finally catches his own breath back, back in the mind there is the lingering question... if only... if only that 16th of August of 1977 things would have turned out for the better and not for the worse. How much more would we have enjoyed, or less selfishly expressed, how much more of a fulfilling life would Elvis have enjoyed. 

What comes up next has to do with a renowned country artist Wynonna Judd and her particular interpretation of Burning Love. Once you see Dean Z's performance you'll understand her inclusion here. Plus, let's not forget, the female star in our main feature is Ashley Judd. This is a small world, indeed. 

Last but not least our on-going Sun Records series, this week Chapter 4. More adventures coming from Memphis' own Recording Studio, with Sam Phillips at the helm. 

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The Main Feature: 

Title: The Identical 

Director: Dustin Marcellino 

Cast: Blake Rayne / Ray Liotta / Ashley Judd / Joe Pantoliano / Seth Green

Release Date: September 5th 2014 

Country: United States 

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On Your Way Out: 

I suppose you're still dancing down the aisle on your way out of the cinema. Well don't forget to pick up your "small token" as a physical memory of today's, hopefully entertaining session. Remember to drive home safely and catch you next week for another opportunity to experience the musical film genre. 

OYWO  

Note: Password for all files: Shade'sVintageRadio 

SHADE'S VINTAGE RADIO SPECIAL 011: THE BEATLES (A NOD TO THE PAST) (Part 06) (CD Version)

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ANYTHING, ANYWHERE, ANYTIME 010 (CD Version)

  

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SATURDAY NIGHT AT THE MOVIES 006: THE GOSPEL ROAD (1973)

  

The Gospel Road, was released in 1973, strangely one of three musicals based on the life of Christ that was released that same year - although this was the only one to create the feel of a documentary. Cash decided to produce the film a few years after his conversion to Christianity in late 1967 early 1968. He subsequently met Billy Graham in 1970 and they teamed up with director Robert Elfstrom who had filmed Cash's 1969 biopic "Johnny Cash! The Man, His World, His Music (1969). Cash co-wrote the script along with Larry Murray, who went on to write for Cash's ABC Television shows. 

The filming of the movie was relatively ad hoc. Furthermore, the decision to cast Robert Elfstrom as director was only made the day before filming. It was perhaps a rash decision. All the good work of authentically filming the documentary in the Holy Land, was undone by this ultra-blond Jesus, the lightest-haired Jesus ever committed to celluloid. Elfstrom's acting was weak too, and never really created the empathy that the role usually aquires. 

That is not to say it is an entirely poor portrayal. Elfstrom's Jesus is as beatific as they come, and has clearly been very influential. The scenes of him playing with a group of children on the beach to the tune of Joe South's "Children" would set a standard that other smiley Jesus films, notably those made by more conservative Christians, would aspire to. In particular, the 1979 "Jesus" film, the Visual Bible's "Matthew" and the 1999 "Jesus" mini-series all appear to have been influenced (perhaps indirectly) by this film. 

Acutally the film both draws on older Jesus films as well as influencing later films, although many of these may well be coincidental. Since this film and "Jesus Christ Superstar" were made at the same time it must be an accident that both films are made in Israel and combine a mixture of historical and contemporary commentary. That said, the scene of the woman caught in adultery must surely be influenced by DeMille's 1927 epic - in both films when Jesus writes on the ground he is writing the sins of those standing nearby. The final scene where Jesus is reconciled to his disciples on a beach is reminiscent of the ending of "King Of Kings" (1961). In terms of possible influence, Mary Magdalene (June Carter Cash) is the only character in the film we hear speaking, when she retells her first meeting with Jesus. Another popular female singer P.J. Harvey, would reprise the role in "Book Of Life" (1998) and similarly give an account of her conversion experience. 

The role of Carter Cash in this movie is interesting, given how she was viewed at the time and her role in "Walk The Line". As Lesa Bellevie notes: "I can understand to some degree why June Carter Cash would have wanted to play Mary Magdalene on film. Judged harshly for her divorces, perhaps she felt some kinship with the haunted Mary Magdalene whose sexuality had become the focus of her entire existence". 

There are a number of interesting points in relation to this. Firstly, probably the majority of Jesus films have combined Mary Magdalene with the woman caught in adultery. By contrast, "The Gospel Road" shows that incident but uses a different actress, and when it comes to Magdalene's speech stresses the seven demons aspect. Secondly, in light of the "Da Vinci Code", it is hard to resist looking whether a particular Jesus film suggests some form of romantic interest between Magdalene and Jesus, and in this case, the casting of the producer's wife in the role is somewhat suggestive. Finally, in "Walk The Line" she is cast as Johnny's salvation, and so it is interesting that this film is, to an extent, examining her salvation. 

Like the other 1973 Jesus Musicals ("Jesus Christ Superstar" and "Godspell") the film has dated terribly, and much of it seems twee and bland today. Even in it's own day it was probably the safest of the three films. "Godspell" was a bold re-contextualisation which dared to show Jesus as a clown. Whilst "Superstar" was also set primarily in the past, it used Rock music rather than the "safer" country music of Cash. 

That said, the film has a number of strengths that are often overlooked. The use of natural light, and voiceless characters give the film a naturalistic cine-camera feel which feels less about a performance, or a DeMille-like spectacle, and more about genuine faith. Despite the fact that we generally do not hear the characters speak, we are drawn closer to them, and relate to them more freely. The movie has a "from the heart" feel which is generally lost in Jesus films. It serves as a testament to Christian faith from that era, no doubt due to it being Cash's labour of love. 

The natural light effect is emphasized by the low camera angles and inclusion of the rising or setting sun in many scenes. Whilst the deference implied by such low camera work has been discussed in cinema circles, these scenes also introduce a simplistic beauty into the film. 

Another strength is the space that the movie creates. Given a tiny budget (from Cash's own pocket), the film uses only a few extras who are sparsely distributed around the various locations. When there was a requirement for a multitude they went to the opposite extreme and had no-one present yet used the sounds of a multitude. This creates an eerie effect placing the viewer at the centre of events. 

Such budgetary limitations were no doubt also part of the decision to depict the three trials of Jesus all at the same time. Herod, Pilate and Caiaphas stand in adjacent arches and Jesus moves from one to the other. This crystallises the often confusing sequence of events into a single moment. The three stand together, and Cashs' narration cleverly draws out how each represents a particular grouping. 

Perhaps the film's strongest moment is the crucifixion where the camera first encircles the dying Jesus, before cutting to a number of close ups which gradually pan out to reveal a modern location. The focus of these scenes, like the film in general is very much on the "gospel" road of faith, rather than on historical reconstruction or exploration like the majority of other Jesus films. This has infuriated some, whilst inspired many others. One assumes these reactions are more in the past than the present. The years have dulled the impact of the film, and left itself something of a historical artefact - a monument to Johnny Cash's faith. 

But before we get to the main feature, let's enjoy... 

The Pre-Show: 

               

First up, the "Easter Parade" song. A song which was featured in yesterday's Shade's Vintage Radio Special: "Happy Easter - 50s style!", through the magic voices and performances of Judy Garland / Fred Astaire; Sarah Vaughan / Billy Eckstine and the "ivory" touch of Fats Domino. Here we not only get the audio quality but the visual pleasure of witnessing the song being performed in different films. We begin with the movie: "Alexander's Ragtime Band" where we get the opportunity to watch Don Ameche sing and.... hold it! Sit tight! .... Tyrone Power conducting a full blown orchestra! This was the first appearance of the song in a film. This will be followed by Bing Crosby interpreting the song in the 1942 version of the film: "Holiday Inn". To continue with the 1948 version of the same film, featuring the most known version by Judy Garland and Fred Astaire. We end with a "Holiday Inn" Live theatrical performance from 2017. 

Our next stop deals with a short visual document that relates how Easter was back in the day. The documentary finishes by recalling how we used to end the day with our kids watching "It's The Easter Beagle Charlie Brown". Well, we're not going to be less... so tell the kids to sit around the TV and press play. 

We end our adventure before the main feature with our third chapter of our on-going Sun Records series. Which seems to be to the like of many. Fun, music and great times is guaranteed for all! 

PS: I nearly forgot... (well not really) there is a whole folder with 16 Chapters of The Gospel according to Mark... wait.... hold your breath! .... Read..., by none other than Johnny Cash himself! 

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The Main Feature: 

Title: Gospel Road (The Story Of Jesus) 

Director: Robert Elfstrom 

Cast: Johnny Cash / Robert Elfstrom / June Carter Cash 

Release Date: March 31st 1973 

Country: United States 

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On Your Way Out: 

Taking into account that it's Easter, our evening has been kinda "religious" though we had the Easter Parade counterpoint, without forgetting our wild Sun days exposure. Johnny Cash has been all over the place, which is never a dull thing! Hope you had, at least, as much of a swell time as I've experienced. Hope to catch you next "Saturday Night At The Movies". As usual, don't forget to grab this week's goodies, on your way out. 

OYWO  

Note: Password for all files: Shade'sVintageRadio 

SVRSP 024: HAPPY EASTER 50s STYLE!

 

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01 – PICKIN’ THE CHICKEN (Speedy West & Jimmy Bryant) (1952)

02 – CHICKEN NECKS (Don & Juan) (1961)

03 – REAL CHICKEN REEL (COCK-A-DOODLE-DOO) (Red Foley) (1951)

04 – CHICKEN IN THE BASKET (The Tri-Tones) (1957)

05 – UP JUMPED A RABBIT (Sam Butera & The Witnesses) (1961)

06 – THE CHICKEN SONG (Ernest Tubb & Red Foley) (1951)

07 – PETER COTTONTAIL (Jimmy Wakely) (1950)

08 – THE CHICKEN AND THE BOP (Lloyd Price) (1957)

09 – EGGBERT, THE EASTER EGG (Betty Clooney & The Sandpipers) (1951)

10 – EGGBERT, THE EASTER EGG (Rosemary Clooney) (1952)

11 – LET’S GO BUNNY HUGGIN’ (Sonny James) (1955)

12 – F***K OFF! THE DIRTY ROOSTER (Slim Gaillard Trio) (1958)

13 – DON’T YOU GO CHICKEN (Rudy Preston) (1957)

14 – 16 CHICKENS & A TAMBOURINE (Roy Acuff & His Smokey Mountain Boys) (1953)

15 – EASTER PARADE (Judy Garland & Fred Astaire) (1948)

16 – EASTER PARADE (Sarah Vaughan & Billy Preston) (1957)

17 – EASTER PARADE (Fats Domino) (1961)

18 – LET’S DO IT (THE CHICKEN SCRATCH) (Jimmy McCracklin) (1959)

19 – AIN’T NOBODY HERE BUT US CHICKENS (Louis Jordan & His Tympany Five) (1946)

20 – CRAZY CHICKEN (James Gallagher) (1956)

21 – TWO EASTER SUNDAY SWEETHEARTS (Vera Lynn) (1954)

22 – A CHICKEN AIN’T NOTHIN’ BUT A BIRD (Nellie Lutcher & Her Rhythm) (1949)

23 – WHO ROCKS THE CHICKEN (Al Dual) (2017)

24 – SPRING FEVER (Ernie Freeman) (1956)  

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SATURDAY NIGHT AT THE MOVIES 005: STARDUST (1974)

  

In the early 1960s, Jim MacLaine (David Essex) tours Britain with his band the Stray Cats, hoping to make it big although playing cover versions of hits by other, more successful people seems to be all the audiences want to hear. He encourages his old friend from his fairground days Mike (Adam Faith) to accompany the band as manager, and soon Mike has them playing bigger venues, and they secure a record contract. However, there are growing tensions and growing success when singer Johnny (Paul Nicholas) is forced out by Mike's canny conniving and Jim takes his place at the head of the band.

"Stardust" is a R&R, rags to riches drama, written by Ray Connolly as the sequel to the late nineteen-fifties-set "That'll Be The Day", tracing Jim MacLaine's path to stardom and eventual downfall in the manner of a rock star which would be a cliché if it was not unfolding in that fashion for a select few talents in real life, and would continue to do so. All the expected elements are present: the arguments between the band members, the groupies, the price of fame, the drug abuse and the growing pretension in the musical styles from the rock star. In fact, so many of the tropes are used that once you've watched the beginning of the movie, you can predict exactly what's going to happen with reasonable accuracy. 

But is the hackneyed plotting less to do with lazy writing, and more to do with the pattern that bands got into once the Beatles had exploded onto the scene? It seems that way, although MacLaine never comes across as a serious rival to the Beatles musically: his songs (written and performed by Dave Edmunds, who also appears as one of the Stray Cats) sound like a seventies idea of what sixties pop and rock sounded like, and what few genuine hits of the era there are on the soundtrack show them up. But as far as that success story goes, MacLaine's lifestyle is all too familiar as he is manipulated and squeezed dry of every last drop of musical ability until there really is no more to give. 

As the lead character, Essex gets by with his natural star quality, here more reactive than in the first movie as if he is being led by events around him instead of the other way around, although McLaine's irresistibility and talent have to be taken on trust. You do miss Ringo Starr, but Faith's interpretation of Mike meant the real acting honours go to the ex-sixties crooner as the manager, who is sly and Machiavellian, but the best friend MacLaine has as his bandmates and his girlfriend fall away to be replaced by money men like record executive Larry Hagman who is no less dangerous to Jim, but far less of a friend. As had been the case before, casting real music performers in the film pays off, especially with a returning Keith Moon being himself. 

Eventually, in a fit of ego MacLaine creates a soulless rock opera about the "deification of women", a performance of which is beamed around the world's television sets in a nod to the Fab Four's famed "All You Need Is Love" broadcast. After that, he has nowhere to go and retreats to a huge castle in Spain to become a recluse, with his fans wondering if he will make a comeback when we can tell creatively he is a spent force. It's no surprise what happens then. While well crafted overall, "Stardust" is hard to enjoy due to its deadening, morose tone; there are excellent scenes, such as the uncomfortably realistic near-riot at a concert (Essex was enjoying genuine pop idol status himself) and MacLaine's mother's funeral being overtaken by his screaming fans which results in his wife ordering him out of her life and that of his son forever, but it all leaves a bitter taste which of course was the intention all along. 

But before we get to the main feature, let's enjoy... 

The Pre-Show: 

First up, a song which is fun to belt out at a professional sports game: "Sweet Caroline". For sure, it is how many people today have been introduced to the song. Neil Diamond's "Sweet Caroline" was released in May of 1969. His recording reached #4 on Billboard's Hot 100 chart and became a million-seller. We'll enjoy two versions by Neil, one on TV and one, in later years, live. Don't miss the short interview where he talks about Elvis. Which, obviously, leads us to the King's version. Elvis sang "Sweet Caroline" in concert on serveral occassions. One performance in August 1970 at the International Hotel in Las Vegas was used in the documentary: "Elvis - That's The Way It Is". Having enjoyed the full power of the song through both performers, a little taste of what it means to be in one of those professional sport events and this song comes on full blast through the loudspeakers (especially for all of us who do not live in the States). 

Next, a short documentary on the famous Slapback Echo Machine present in so many songs that were crafted in a small recording studio down in Memphis, Tennessee: The Memphis Recording Service, later better known as: Sun Records. 

And we continue with our second episode concerning the CMT series: Sun Records. If we had the chance of being introduced to Elvis Presley and Johnny Cash in the first episode, sit tight and fasten your seatbelts as the killer himself: Jerry Lee Lewis is about to make an entrance in this our second helping! 

To end our pre-show for this week, time to call the kids in - or better still, recall the kid we used to be and sing along to the wonders of Mahna Mahna!! A little surprise at the end! 

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The Main Feature: 

Title: Stardust

Director: Michael Apted 

Cast: David Essex / Adam Faith / Keith Moon / Marty Wilde / Edd Byrnes / Dave Edmunds

Release Date: 24th October 1974 

Country: United Kingdom 

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On Your Way Out: 

As usual, hopefully, a wonderful time has been had by all concerned. As the room lights are coming back on, and I'm thinking of the course of Jim MacLaine's life, from "That'll Be The Day" to "Stardust" - I dunno if I should cheer and cry out: "So Good!!!", "So Good!!!" or just let myself out with the unquestionable Mahna, Mahna chant!! By the way, don't forget to grab your goodies before you leave the theatre. A token to remind today's evening! 

OYWO  

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