Arts & Entertainment

Thoughts and Musings While Re-Watching “It’s a Mad, Mad, Mad, Mad, World”

/ Jack Marshall / 3 Comments

There were three distinct stages in my consideration of the sui generis Cinerama feature from 1963, “It’s a Mad, Mad, Mad, Mad, World.” The movie’s gimmick was that it collected more comedians and comic actors in a single Hollywood production than has ever been featured before, which meant, naturally, that it had to be the funniest movie ever….or so we were told.

I first saw IAMMMMW at Boston’s Cinerama Theater when I was 12. It was the first of the new, improved, seamless Cinerama features, which meant it was inferior to the original format, which wrapped around the audience. There were few effects in the movie that took advantage of the giant screen, either. But like all boys under 20 or so, I thought IAMMMMW was very amusing and a lot of fun. Girls didn’t get it, for the most part, and that has never changed. It’s physical comedy and slapstick throughout, and often cruel slapstick. This is a real male-female divide that appears to be timeless.

I was also, even back then, an omnivore of popular culture. Seeing so many familiar comedy icons of the era (and the previous one) in one movie was a thrill; of course, that was one of the main goals of the film. Sid Caeser, Milton Berle, Jimmy Durante, Jonathan Winters, Phil Silvers, Buddy Hackett, Mickey Rooney and more, with well-conceived cameos by the likes of Jack Benny, Jerry Lewis and Don Knotts—in the waning period of Hollywood all-star cast spectaculars, the idea of doing one with comedians was irresistible.

I saw the movie a second time in my thirties, and was shocked how different my reaction to it was. To be fair, I recalled many of the sequences that would have been funnier as a surprise, but the film seemed over-long, abrasive and, most surprisingly, sad. The subplot in which Spencer Tracy plays an aging police captain who becomes disillusioned with his professional and family life to the extent that he tries to steal the money that has set off an insane race among the assorted loonies is more tragedy than comedy, and, oddly, Tracy didn’t play any of his role for laughs. Grace, my wife, hated the movie in 1963 and hated it just as much when I made her watch it again with me.

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Lizzo, Fat Championing Hypocrite

/ Jack Marshall / 7 Comments

I hadn’t followed the Lizzo dieting scandal because, frankly, I couldn’t care less about the in-your-face obese pop star who has been the current champion of the “love your body”/”fat is beautiful” mob. Lizzo, who performed with svelte female dancers to emphasize her proud flab, made defiant fatness part of her brand, wearing costumes that normally would be taboo for any woman not a size 6.

Well, if it works, it’s show business! But somehow toward the end of 2024, Lizzo started slimming down via Ozempic, dieting and a personal trainer, so she is now sporting a more conventional model of female beauty. Predictably, her fat fans feel betrayed, and they should.

We’ve seen this so many times before that I hesitated to even post on it, but no previous fat celebrity so aggressively asserted that she loved her extra pounds and that society’s obsession with fit female bodies had to be rejected. All of these photos…

…accompanied past features about how the singer insisted that fat was “normal” and that she “loved her curves.” And now what is she saying? She doesn’t need to say anything; her conduct speaks for her. She decided to exploit being fat as a gimmick, not caring how it would encourage unhealthy lifestyles among her female fans, then as soon as losing weight and becoming more typically attractive seemed like a wise career move—reinvention!—she discarded “fat is beautiful” like a house guest who had stayed too long.

We shall see if a performer of Lizzo’s rather unremarkable talents can stand out among all the other comely female pop singers. If not, don’t be surprised if she starts hitting the all-you-can-eat buffets again.

The Last “Snow White” Post (I Promise)

/ Jack Marshall / 2 Comments

Why is the Cognitive Dissonance Scale the graphic I chose for the final word on Disney’s “live-action” remake of Walt’s biggest and most important hit, 1937’s “Snow White and the Seven Dwarfs”? (For some perspective, realize that we have the same relationship on the timeline to that film that it had to the Presidency of Millard Fillmore.) It is clear that this cultural ethics train wreck, which EA has been dutifully covering (here, here, here, here here, and here), is now stuck inextricably in cognitive dissonance territory. For most viewers, what they think about the movie will be influenced far more by their biases and what they associate with the movie than the movie itself.

That’s how the scale works, as I keep explaining ad nauseam. If Disney is generally a plus-5 on a ticket-buyer’s scale (once upon a time, Disney would have been a plus-10 or higher on everyone’s scale) and the movie in a vacuum would be at “Meh”-level Zero, Disney would pull the film into positive territory. If Disney is in negative territory already for a different viewer, the film begins with an anchor chained to its metaphorical ankles.

Thus it is hardly surprising to see this as the early returns on the film (which doesn’t officially open in theaters until tomorrow):

Now that’s polarization!

What’s going on here? Well, a lot…

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Addendum to “An Ethics Can of Worms: The Mental Health of Airline Pilots”

/ Jack Marshall / 7 Comments

This has been happening to me a lot lately: I finish a post under the pressure of my large and enthusiastic dog making it painfully obvious that he wants a walk and won’t leave me in peace before he gets one, rush to get it up while he’s pawing at my arm, and then, on the walk, think of something I should have included in the post.

In this case, I should have mentioned the comparison with the military. We don’t want those suffering from mental and emotional illnesses holding guns and defending the country any more than we want them flying planes, but the standards are much, much lower. A “Section 8” draft deferment required far more serious symptoms than chronic depression.

Four famous movies had the issue of mentally ill soldiers at their centers: “Dr. Strangelove…,” “The Dirty Dozen,” “M*A*S*H,” and “Catch 22.” (I never could figure out what was the problem with Trini Lopez in “The Dirty Dozen” except for his obsession with songs about vegetation.) My father was somewhat bitter about the low standards WWII draftees were subject to, I assume because his foot was almost blown off because of a member of Dad’s platoon who had an IQ in the sixties.

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Confronting My Biases, Episode 19: Movie Continuity Errors and Cheats

/ Jack Marshall / 16 Comments

A long time ago, I read an article complaining about how nobody says “goodbye” at the end of phone calls in movies and TV shows. Characters just hang up. “Now that I’ve pointed this out, I guarantee that it will drive you crazy,” the author wrote. It does drive me crazy: in stage and movie director terms, it “takes me out of the story.” Because it’s so obviously a device to save time, the omission of “goodbye” reminds me that I’m watching a performance. (Lately, I have noticed, “goodbyes” are appearing here and there, but still in a minority of productions.)

My late wife was a fanatic about such things, and she ruined many a show and film by pointing then out. One of her favorites, a pretty famous continuity botch, was Judy Garland’s constantly changing pig-tails in “The Wizard of Oz”: they are shorter and longer not only from scene to scene, but sometimes from shot to shot in the same scene. Grace was also the one who first pointed out to me the absence of rear-view mirrors in most shots of a character driving a car; now that drives me crazy.

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From the Res Ipsa Loquitur Files: The Most Unethical “American Idol” Audition of the Century (So Far)

/ Jack Marshall / 7 Comments

Two minor points:

1. If it’s obvious that the woman is saying “Shut the fuck up,” then it’s pointless to bleep it out. In fact. it’s dishonest. The show deliberately featured a woman repeating a vulgar phrase, and pretends that it disapproves.

2. As the audition’s are screened, ABC is responsible for taking one more chunk out of American public civility. But then ABC inflicts “The View” on the nation, so this hardly represents a major lowering of standards.

Why DEI Must DIE: Exhibit A

/ Jack Marshall / 7 Comments

On the bright side, I suppose its reassuring to know that The Great Stupid is even worse “across the pond” than it is here…

Shakespeare’s Birthplace Trust, which cares for buildings in the immortal playwright’s home town of Stratford-upon-Avon, has announced that it wants to “create a more inclusive museum experience.” Therefore, the center of Great Britain’s essential public appreciation of the fact that it was so fortunate to be the birthplace of the greatest writer the world has ever known (unless the Bard was really a visitor from another planet, which has been my personal theory since I had to study “King Lear” in detail in order to direct a production of it) will seek ways to act on the diagnosis that Shakespeare’s works have been used to advance white supremacy.

Yes, these are morons. The legacy of one of the most vital catalysts of Western civilization is in the hands of morons. Now what?

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Ethics Movie: “The Company You Keep”

/ Jack Marshall / 11 Comments

2012’s “The Company You Keep” was the last film directed by Robert Redford, which tells you something. Redford is an excellent director but often not a commercially popular one: this movie, about aging Sixties radicals and their slow-dawning realization (or not) that their “movement” was ethically and logically flawed did not do well at the box office, and after his previous ethics movie (“The Conspirator,” which I posted about here) bombed, Redford’s days of getting studios to bet on his work were over.

“The Company You Keep” is not as good as “The Conspirator,” but it is surprisingly relevant in 2025 as we watch the American Left struggling with its hypocrisy, foolish utopianism and increasingly obvious hatred for its own country. Redford plays a former Weatherman (“The Weathermen” was the violent faction of the Students for Democratic Action) who has been in hiding in plain sight since a domestic terrorism action by the group turned fatal. When his long-standing alternate identity as a prominent lawyer is outed by an idealistic young journalist, Redford goes on the run. In the process he encounters former fellow-revolutionaries, some of whom still burn for the cause.

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Celebrity Ethics: Scarlett Johansson’s Manifesto

/ Jack Marshall / 18 Comments

For some mysterious reason, Daily Caller reporter Leena Nasir felt compelled to attack Hollywood actress Scarlett Johansson for her statements regarding fans who approach her when she is in public but not in a performing capacity.

“Scarlett Johansson put her arrogance on full display by issuing an unhinged statement about her celebrity status,” the indignant writer declared in an “Editorial.” “Clearly setting her bar as low as it can go, she casually blurted the selfish comments during the interview for her In Style cover story,” Nasir continued. “Johansson launched into a self-indulgent display of arrogance…I don’t think Johansson has a lot to worry about anymore. The people who did follow her career have likely just been turned away. It’s hard to imagine fans will care much about her anymore.”

Wow, two uses of “anymore” within three sentences. When I do that, I sentence myself to remedial writing exercises.

But back to Scarlett: what did the acclaimed actress tell the interviewer to justify such enmity from The Daily Caller? This:

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Oh Great. “Hamilton” Again. Where’s Aaron Burr When You Need Him?

/ Jack Marshall / 13 Comments

I haven’t seen “Hamilton” yet, which is embarrassing for me, as I consider it my duty to try to keep abreast of theatrical phenomena with cultural implications. I thought I would finally see Lin-Manuel Miranda’s creative re-imagining of the life of one of America’s most important Founders with an all “of-color” ensemble singing rap next year when the touring company had a scheduled month-long run at the Kennedy Center in Washington, D.C., but no. The touring company announced that it is canceling the gig, which had been scheduled to be part of the Kennedy Center’s celebration of the 250th anniversary of the Declaration of Independence. The show and its creator are throwing a tantrum, punishing the audiences of the Washington D.C. area because Donald Trump is Hitler, or something.

President removed Democratic members from the Center’s board, became its (temporary) chairman and replaced the venue’s president, so the uniformly leftist cast and production company decided to boycott the place. Well, you know, theater types…

“This latest action by Trump means it’s not the Kennedy Center as we knew it,” Lin-Manuel Miranda, who originated the title role on Broadway, said in an interview last week. “The Kennedy Center was not created in this spirit, and we’re not going to be a part of it while it is the Trump Kennedy Center. We’re just not going to be part of it.”

The show’s producer, Jeffrey Seller, whined that Trump “took away our national arts center for all of us.” “It became untenable for us to participate in an organization that had become so deeply politicized,” he said. “The Kennedy Center is for all of us, and it pains me deeply that they took it over and changed that. They said it’s not for all of us. It’s just for Donald Trump and his crowd. So we made a decision we can’t do it.”

The claimed justification for this hissy-fit insults the intelligence of Democrats and Republican alike. The Kennedy Center has, since its opening in 1964 as a memorial to the assassinated President John F. Kennedy, been a stronghold of Democratic power-brokers and liberals in general and the Kennedy family in particular, whose members and allies have always controlled the place. Although its inception was an order by President Dwight Eisenhower calling for a non-political arts venue in the Nation’s Capital, once the three theater complex was under the control of the Democratic Party’s First Family, bi-partisanship got the hook.

The “Hamilton” Axis allies had some gall referring to the Kennedy Center as apolitical and “neutral.” Nothing is neutral in Washington. I experienced first-hand the partisan influence of the Center when my theater company in nearby Arlington, VA. presented the premiere of a drama, “The Titans,” about the Cuban Missile Crisis. It had originally been slated to be presented at the Kennedy Center, but was vetoed by the Center’s board when the Kennedy family protested that the script was not sufficiently supportive of the myth that it was JKF who saved the world from nuclear war (rather than the one who almost blundered us into it).

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