Hollywoodland (2006; USA; Technicolor; 126m) ∗∗∗½ d. Allen Coulter; w. Paul Bernbaum; ph. Jonathan Freeman; m. Marcelo Zarvos. Cast: Adrien Brody, Diane Lane, Ben Affleck, Bob Hoskins, Robin Tunney, Joe Spano, Molly Parker, Kathleen Robertson, Lois Smith, Phillip MacKenzie, Larry Cedar, Eric Kaldor, Caroline Dhavernas, Zach Mills. Inspired by one of Hollywood’s most infamous real-life mysteries, follows a 1950’s private detective who, investigating the mysterious death of “Superman” star George Reeves, uncovers unexpected connections to his own life as the case turns ever more personal. The torrid affair Reeves had with the wife of a studio executive might hold the key to the truth. More a comment on fame and stardom than a murder mystery. It weaves between the lives of the star and the detective investigating his supposed suicide and in doing so often disturbs the flow of the story, but the performances are uniformly excellent and the subject matter is genuinely fascinating. Feature film debut for veteran TV director Coulter. 
David F Walker’s 6-part Shaft comic book will be released in a 176-page trade paperback format by Dynamite on 21 October 2015. The book compiles all 6 individual instalments of the series, which was well received by Shaft fans and comic book aficionados alike. The series also was the winner of the 2015 Glyph Comics Award for “Story of the Year” and nominated for the 2015 Dwayne McDuffie Award for Diversity. Whilst sales of the comics have been described as disappointing, it is felt the trade PB format will do much better given the positive vibes around the comic and a recent resurgence of interest in the character.
Dynamite’s blurb: Who’s the black private dick that’s a sex machine with all the chicks? Shaft! (You’re damn right!) Created by author Ernest Tidyman and made famous in a series of novels and films, iconic hero Shaft makes his graphic novel debut in an all-new adventure. He’s gone toe-to-toe with organized crime bosses, stood up to the cops, squared off against kidnappers, and foiled assassination attempts. But who was John Shaft before he became the hardboiled investigator with a reputation as big as New York City itself? Recently arriving home from his tour of duty in Vietnam, his first case – tracking down a missing person for his girlfriend – quickly turns into a matter of life and death, making him a target of gangsters and the police!
While We’re Young (2014; USA; Colour; 97m) ∗∗∗∗ d. Noah Baumbach; w. Noah Baumbach; ph. Sam Levy; m. James Murphy. Cast: Ben Stiller, Naomi Watts, Amanda Seyfried, Adam Driver, Charles Grodin, Brady Corbet, Maria Dizzia, Dree Hemingway, Adam Horovitz, Adam Senn, James Saito, Ryan Serhant, Greta Lee, Ashley James, Matthew Maher. An uptight documentary filmmaker and his wife find their lives loosened up a bit after befriending a free-spirited younger couple. Baumbach explores themes of generational values, integrity and the fear of getting old in this poignant and funny commentary on modern life. Fine performances from a strong cast who make the most of a bitingly witty script. 
DEAR BOY: THE LIFE OF KEITH MOON by TONY FLETCHER (1998/2005, Omnibus, Paperback, 596pp) ∗∗∗∗∗
Blurb: Keith Moon was more than just rock’s greatest drummer, he was a phenomenal character and an extravagant hell raiser who – in a final, uncharacteristic act of grace – actually did die before he got old. This new edition includes a newly written After word that consiers Moon’s lasting legacy, the death of John Entwistle and The Who’s ongoing career in the new millennium. In this astonishing biography, Tony Fletcher questions the myths, avoids the time-honoured anecdotes and talks afresh to those who where closest to Moon including Kim, his wife of eight years, and Linda, his sister and Annette Walter-Lax, his main girlfriend of the final years. Also interviewed are Oliver Reed, Larry Hagman, David Putnam, Alice Cooper, Dave Edmunds, Jeff Beck, John Entwistle and many others who worked and partied with him. In interviewing over 100 people who knew Moon, Fletcher reveals the truth behind the ‘famous’ stunts that never occured – and the more outrageous ones that did! He also uncovers astonishing details about Moon’s outrageous extravagance which was financed by The Who’s American success.
Keith Moon was one of rock music’s most innovative drummers, but it was ultimately his lifestyle that created the legend. There are more myths surrounding Moon’s alcohol and drug fuelled adventures than surrounds any other rock ‘n roll legend. In his exhaustive and frank book, Tony Fletcher unravels the truth and in doing so creates one of the most absorbing biographical dissections of self-destruction ever written.
Moon’s death at a young age, he was only 32 when he died, was inevitable and yet throughout the pages here Fletcher also demonstrates his impressive capacity for survival. The constant diet of drink and drugs turned a natural eccentric – who was warm, funny and generous – into a wild and often uncontrollable force with a legendary track record in ritual destruction of hotel rooms, a chaotic home lifestyle and a 24-hour party mentality. There were also tragic events, which coloured his personality and brought out a dark side that contradicted his outward joviality and desire to make people laugh.
Tony Fletcher, a keen fan of The Who, is determined to present a balanced view on Moon’s life and doesn’t gloss over the more unsavoury aspects. He lets us in on the real Keith Moon through a series of frank interviews and extensive research. The band largely distanced themselves from the story with Roger Daltrey and Pete Townshend unwilling to be interviewed and quotes being restricted to archive material, but the book does not suffer because a greater objectivity is achieved as a result. This version, published in 2005, also contains an Afterword following new interviews that add further clarity(and in some cases uncertainty) to some of the key events in Moon’s life.
With today’s heavily corporate approach to rock music it is difficult for the current generation to understand that when rock was in its infancy it was at its most out of control. If any one book conveys the sheer scale of the wildness of the rock ‘n roll lifestyle in the 1960s and 1970s, then this book is it. If any one person conveys the chaos then it is Keith Moon.
Silver Dream Racer (1980; UK; Eastmancolor; 111m) ∗∗½ d. David Wickes; w. David Wickes, Michael Billington; ph. Paul Beeson; m. David Essex. Cast: David Essex, Beau Bridges, Cristina Raines, Clarke Peters, Harry H. Corbett, Diane Keen, Lee Montague, Sheila White, Patrick Ryecart, Ed Bishop, T.P. McKenna, David Baxt. A young hot-headed motorbike enthusiast inherits the prototype for an incredibly fast machine which was designed by his brother. Cliché ridden sports drama benefits from lively performances from Bridges and Peters, but is ultimately predictable. Star Essex, whose hot-headed character competes for Raines’ affections with Bridges, also provided the music score. Corbett’s last feature film. US shorter cut runs 101m. 
To Trap a Spy (1964; USA; Metrocolor; 92m) ∗∗∗ d. Don Medford; w. Sam Rolfe; ph. Joseph F. Biroc; m. Jerry Goldsmith. Cast: Robert Vaughn, Luciana Paluzzi, Pat Crowley, Fritz Weaver, William Marshall, Will Kuluva, David McCallum, Ivan Dixon, Victoria Shaw, Eric Berry, Miguel Ángel Landa. The pilot for the TV series The Man from U.N.C.L.E., re-edited and released to theatres as a feature. U.N.C.L.E. discovers that W.A.S.P. killer Andrew Vulcan plans to assassinate a visiting African leader, Premier Ashumen, while he’s on a tour of Vulcan’s factory. Whilst lacking the scope and grandeur of the James Bond films that inspired it, this is still a fun spy thriller. Vaughn and Crowley spark nicely off each other, but McCallum has only a background role. Followed by THE SPY WITH MY FACE (1965). [PG]
Spy with My Face, The (1965; USA; Metrocolor; 88m) ∗∗ d. John Newland; w. Joseph Calvelli, Clyde Ware; ph. Fred J. Koenekamp; m. Morton Stevens. Cast: Robert Vaughn, Senta Berger, David McCallum, Leo G. Carroll, Michael Evans, Sharon Farrell, Fabrizio Mioni, Donald Harron, Bill Gunn, Jennifer Billingsley, Paula Raymond, Donna Michelle, Harold Gould, Nancy Hsueh, Michele Carey. THRUSH captures Napoleon Solo and replaces him with a look-alike to infiltrate U.N.C.L.E. Second feature lacks the spark of TO TRAP A SPY and after a promising start descends into lapses of logic with its muddled plot. It also lacks an effective villain with Evans lacking charisma. The movie first aired on NBC as the eighth episode of The Man from U.N.C.L.E. (1964), “The Double Affair” with additional scenes filmed to expand the running time. Followed by ONE SPY TOO MANY (1966). [PG]
One Spy Too Many (1966; USA; Metrocolor; 98m) ∗∗½ d. Joseph Sargent; w. Dean Hargrove; ph. Fred J. Koenekamp; m. Gerald Fried. Cast: Robert Vaughn, David McCallum, Rip Torn, Dorothy Provine, Leo G. Carroll, David Opatoshu, James Hong, Yvonne Craig. Megalomaniac Alexander wants to be like Alexander the Great. His plan is to commit the world’s greatest crimes to expand his industrial empire. Fairly enjoyable spy hokum, which despite low production values and a dodgy script is enlivened by well-staged action sequences, some witty lines and a winning supporting performance by Provine. Torn makes for an enigmatic villain. Expanded from the second-season opener, “The Alexander the Greater Affair” of The Man from U.N.C.L.E. with additional scenes filmed for theatrical release. Based on a story by David Victor. Followed by ONE OF OUR SPIES IS MISSING (1966). [PG]
TONY BANKS – A CHORD TOO FAR (2015, Esoteric, 4CDs) ∗∗∗∗
- Rebirth – From Soundtracks
- At The Edge Of Night – From The Fugitive
- Walls Of Sound – From Strictly Inc.
- Lion Of Symmetry – From Soundtracks
- The More I Hide It – From Bankstatement
- Shortcut To Somewhere – From Soundtracks
- The Waters Of Lethe – From A Curious Feeling
- I Wanna Change The Score – From Still
- Water Out Of Wine – From Still
- Something To Live For – From Strictly Inc.
- By You – From The Fugitive
- Never Let Me Know – From Strictly Inc.
- Thirty Three’s – From The Fugitive
- Charity Balls – From Strictly Inc.
- An Island In The Darkness – From Strictly Inc.
- The Border – From Bankstatement
- Lucky Me – From A Curious Feeling
- Another Murder Of A Day – From Still
- Moving Under – From The Fugitive
- Still It Takes Me By Surprise – From Still
- Red Day On Blue Street – From Still
- After The Lie – From A Curious Feeling
- Redwing – From Soundtracks
- Queen Of Darkness – From Bankstatement
- A Piece Of You – From Strictly Inc.
- Big Man – From Bankstatement
- Angel Face – From Still
- This Is Love – From The Fugitive
- I’ll Be Waiting – From Bankstatement
- Back To Back – From Still
- For A While – From A Curious Feeling
- Throwback – From Bankstatement
- You Call This Victory – From Soundtracks
- And The Wheels Keep Turning – From The Fugitive
- You – From A Curious Feeling
- The Final Curtain – From Still
- Blade – From Six Pieces For Orchestra
- Black Down – From Seven
- Siren – From Six Pieces For Orchestra
- Earthlight – From Seven
- From The Undertow – From A Curious Feeling
- Spring Tide – Demo
- Neap Tide – Demo
- City Of Gold – Demo
- The Chase – From The Wicked Lady
- Kit – From The Wicked Lady
- Poppet – Previously Unreleased
- The Wicked Lady – From The Wicked Lady
Tony Banks is the most influential contributor to the Genesis sound and yet his solo career has been the least successful of all the band’s core members. Listening to this excellent collection it is evident that his solo output is of a high quality and should appeal to Genesis’ fan base. But where Banks has suffered in comparison to his band mates is in the personality department. He has never been at home in the limelight and his reluctance to front his own songs – with the exception of The Fugitive, he has relied on others to interpret his songs – has led to them having a lack of identity. Phil Collins and Peter Gabriel had the advantage of being singers in the first place, whilst Mike Rutherford employed two of the best in Paul Carrack and Paul Young for his Mike + The Mechanics project. Secondly Banks has never been one to compromise or overly simplify and whilst many of the songs here eschew his prog rock roots, they also are more complex in structure and harmony and therefore more challenging to the listener.The first thing you notice about this collection is the excellent remixes of tracks from the earlier albums – notably the period of A Curious Feeling through to Bankstatement. The initial CD releases had lacked a certain dynamic quality, which has been fixed here bringing new life to those tracks (A Curious Feeling having already been spruced up a couple of years ago). Banks has also sequenced the 4 CVDs and not simply followed a timeline. This gives a good balance to the collection and allows for some new creativity with the morph of the gentle instrumental “Redwing” into the rocking “At the Edge of Night” working particularly well at the outset.
Banks has employed some significant talent over the years and they are evident over the first 3 CDs. Singer Kim Beacon and Genesis touring drummer Chester Thompson worked on his debut A Curious Feeling, which remains the album from his solo career that Banks feels closest to with six of the tracks featured here. It was the album that was closest to his work with Genesis and it remains a very satisfying experience. Banks sang himself on 1983’s The Fugitive and did a decent job. The songs were simpler and more pop orientated, but still has the essence of Banks’ ear for harmony and chord structure. Five tracks are represented here. The Wicked Lady (1983) and Soundtracks (1985) featured instrumental and vocal work he had contributed to films in the early to mid 1980s. The synth pop of “Lion of Symmetry” is a classic example of how Banks can build a song with Toyah Wilcox supplying distinct vocals and lyrics.
The catchy “Shortcut to Somewhere” was one of three collaborations with former Marillion vocalist Fish. The other two coming from 1991’s Still – the brooding “Angel Face” and the meandering but dramatic “Another Murder of a Day” actually work much better. That album also saw him link up with 1980s pop star Nik Kershaw as well as Andy Taylor and Jayney Klimek, having worked with the latter on Bankstatement two years earlier. Alistair Gordon was the other vocalist on that album.
Banks’ tasteful compositions and arrangements are evidenced on tracks such as the breathy “I’ll Be Waiting” and the reflective “The Final Curtain”. His taste for the epic is demonstrated with the 17-minute “An Island in the Darkness” from 1995’s Strictly Inc on which Banks collaborated with vocalist Jack Hues of the Hues Corporation fame. The lack of success of that album in particular led to Banks moving into the classical world where he could be more true to his flare for melody, harmony and complex musical structures. Seven (2004) and then Six (2012) followed to warm reception and this work forms the majority of CD4, on which there are also his demos of some of the pieces that would appear on these albums.
All in all this is an excellent collection, but one primarily targeted at Genesis’ and Banks’ fan base. To those curious to find out more It serves as a splendid sampler to one of rock’s most creative writers and inspirational keyboard players. The set comes with a beautifully presented and illustrated 60-page book written by Banks himself. There is the promise of a re-release of Banks’ full catalogue in 5.1 Surround to follow. It is a catalogue worthy of re-appraisal.
According to a report today states that New Line intend to have a “much more comedic tone” to their Shaft reboot, bringing on board writers Kenya Barris and Alex Barnow. This is a huge disappointment to fans of the character who had hoped for a treatment sympathetic to Ernest Tidyman’s creation.
David F Walker, who made Shaft’s return to the printed page in the recent comic book series and the novel Shaft’s Revenge (the first since The Last Shaft in 1975) has written an open letter to New Line protesting at their proposed approach. I would urge any fans of Shaft and of cinema in general to support his letter and Twitter campaign.
A creatively bankrupt Hollywood strikes again.
Stardust (1974; UK; Technicolor; 111m) ∗∗∗½ d. Michael Apted; w. Ray Connolly; ph. Anthony B. Richmond; m. Dave Edmunds, David Puttnam (music producers). Cast: David Essex, Adam Faith, Larry Hagman, Ines des Longchamps, Rosalind Ayres, Marty Wilde, Edd Byrnes, Keith Moon, Dave Edmunds, Paul Nicholas, Karl Howman, Richard LeParmentier, Peter Duncan, John Normington, James Hazeldine. The rise and fall of a rock singer (Essex), in the mid 60s, with his manager and his group, “The Stray Cats.” Sequel to THAT’LL BE THE DAY is a well-made parable on the trappings of fame. Apted authentically captures the mayhem with well-staged crowd scenes. Strong performances from Faith and Hagman dominate, whilst Essex struggles manfully to convey the angst of the artist caught up in the business and media frenzy that surrounds him. 
That’ll Be the Day (1973; UK; Technicolor; 91m) ∗∗∗ d. Claude Watham; w. Ray Connolly; ph. Peter Suschitzky; m. Neil Aspinall, Keith Moon (music supervisors). Cast: David Essex, Ringo Starr, Rosemary Leach, James Booth, Billy Fury, Keith Moon, Rosalind Ayres, Brenda Bruce, Robert Lindsay, Verna Harvey, James Ottaway, Deborah Watling, Beth Morris, Daphne Oxenford, Kim Braden. Abandoned by his father at an early age, Jim MacLaine (Essex) seems to have inherited the old man’s restlessness. Director Watham mirrors the kitchen-sink dramas of the era in his approach to this episodic rights-of-passage tale. Essex creates an unlikeable central character with a colourless performance, but a strong cameo from Ringo and excellent period detail make this an interesting and authentic depiction of youth in the 1950s. It spawned a sequel, STARDUST (1974).