“Putney Swope” (1969) dir. Robert Downey

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Robert Downey Jr.’s father Robert Downey Sr. is one of the best and most subversive filmmakers of the last 50 years. “Putney Swope” is considered his masterpiece and it’s an extremely funny (albeit very odd) satire on race relations, the media, and the world of advertising.

When a CEO for a large advertising firm dies from a heart attack, the sole African-American member of the board, Putney Swope (played by Arnold Johnson) gets accidentally elected CEO unanimously by the other board members. This is due to the white board members voting for Swope as a tactic to prevent one of their rivals from getting elected, not realizing that everyone else is doing the same thing. As soon as Swope gets elected, he fires everyone and changes the name of the company to Truth and Soul.  The commercials Swope’s new company produces are a huge success, mainly due to their frequent profanity and nudity.  However, despite the new changes and Swope’s promises to do things with more honesty and integrity, he turns out to be just as corrupt as his predecessors.

The tone of the film is very bizarre and when you first watch it, it will take a while to get used to it. However, once you do, you’re in for quite a ride.  No matter what you hold sacred, this is a film WILL offend you, even though you’ll probably find yourself in hysterics. It’s a film that never fails to make me nearly piss my pants laughing. A subversive comedy masterpiece

P.T. Anderson is a huge Downey Sr. fan, not only hiring Downey for a small, but pivotal role in “Boogie Nights” (the recording studio owner who says “YP” and “MP”), but also naming Don Cheadle’s character “Swope” and having a character randomly throwing firecrackers in the air for no reason.

In this clip, the man in the Arabian headdress is none other than Antonio (Huggy Bear) Fargas.

This clip shows two of Swope’s commercials.  The first one is not safe for work due to some brief nudity.  The second one features actress Martha Plimpton’s mom (Shelley Plimpton) in a politically incorrect singing duet with her African-American boyfriend, played by 70s pop star Ronnie Dyson (“Why Can’t I Touch You?”).

“Death Valley ’69” – Sonic Youth with Lydia Lunch

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From the 1985 album “Bad Moon Rising,” “Death Valley ’69” is Sonic Youth’s take on the Manson murders. It’s the first Sonic Youth song I ever heard and is still my favorite.

I remember seeing this very disturbing video uncut for the first time on the phenomenal (and long gone) late-night USA Network show “Night Flight” back in the mid-1980s and it completely blew me away. The video is directed by Judith Barry and famed underground filmmaker/photographer Richard Kern. The video has a lot of graphic violence and is not safe for work or little ones.

“Don Henley Must Die” – Mojo Nixon

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From Nixon’s 1990 album “Otis,” this is a funny slam on Boomer superstar Don Henley by the ever-sensitive Mr. Nixon. Bizarre / cool footnote: Don Henley joined Mojo Nixon on stage in Austin, TX several years later to perform this song, which impressed Nixon enough to change the name of the song to “Rick Astley Must Die.” Per Nixon: “(Henley) has balls the size of church bells!”

“Someone’s Looking at You” – The Boomtown Rats

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My favorite Boomtown Rats song and one of my favorite songs about paranoia of all time. This is a truncated version, but it still contains my favorite verse in full: “And I wish you’d stop whispering … don’t flatter yourself, nobody’s listening … but it makes me nervous, those things you say …” before exploding into a hateful and angry invective at a perceived (possibly imaginary) adversary.

“I Put a Spell on You” – Nina Simone

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It’s time to pour yourself a double (or triple) of whatever poison you prefer and listen to Ms. Simone. The only thing missing from this splendid cover of the original Screamin’ Jay Hawkins’ meisterwork is the sound of ice clinking in your glass. There’s anger, bitterness, guilt, and extremely high sexual tension in the air. In other words, much more than a mortal man or woman can handle in under two minutes and 40 seconds. Your therapist, life coach, priest, rabbi, or Scientology auditor can wait until morning …

“Everyday Is Like Sunday” – Morrissey

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Back when I was in high school during the mid-late 1980s, I was vaguely aware of the Smiths. I knew they were the hip band du jour in England and in many quarters in America. However, I didn’t really listen to a lot of their stuff. Sometime around 1986 or so, I noticed random goth girls looking at me very intently. I wasn’t quite sure what this was about until one told me I looked like Morrissey of the Smiths. She showed me a picture and I did see a resemblance. Only knowing that people considered him hip, I thought this was very cool and started to explore the Smiths music in more detail. Not being the fastest human in the world, I thought this would be my entree into stud-dom … I’m going to pause for 60 seconds for all of you to finish convulsing in hysterics … OK, are we done, now? Let’s continue …

At the time, I didn’t realize that girls that were into Morrissey were not exactly the types that would be ready to request my services in the carnality. It didn’t help matters that I lettered in theater … Seriously, stop laughing, motherf–kers! … It’s only after I realized that Morrissey was not a role model for someone who wanted to be successful with girls that I sort-of started to come into my own.

I stopped listening to the Smiths and Morrissey for several years and have only started to re-explore their stuff. They’ll never be my favorite band, but there are some gems in their oeuvre. “Everyday Is Like Sunday,” from Morrissey’s debut solo album “Viva Hate,” is a particular favorite and I think is the greatest song he ever had any involvement with.

“Who’ll Stop the Rain” (1978) dir. Karel Reisz

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Based on the 1975 National Book Award-winning novel “Dog Soldiers” by Robert Stone (which was subsequently voted by Time Magazine as one of the 100 best novels between 1923 and 2005), “Who’ll Stop the Rain” is a dark, nail-biting film about drug running, Vietnam, and the decline of the counterculture into crime and violence. It stars Nick Nolte as a merchant marine sailor who agrees to smuggle a large quantity of heroin from Vietnam for a journalist friend played by Michael Moriarty. Things go south fast, with thugs hired by a rogue DEA agent in hot pursuit. So, Nolte grabs the heroin and Moriarty’s drug-addicted spouse (played by Tuesday Weld) and hits the road. The result is a surprising amount of well-staged and suspenseful action for a film this bleak in its look at human nature.

The direction by Reisz and performances by all parties, including Nolte, Moriarty, Weld, Anthony Zerbe, Ray Sharkey, and Richard Masur, are excellent. This is an extremely gritty and violent psychological thriller that would never be greenlit today by a Hollywood studio. Even back in the 1970s, the distribution branch of United Artists detested the film because the film’s main hero (Nolte) is a drug runner and virtually dumped the film, despite its acclaimed director, cast, literary pedigree, and it was one of the films selected to compete for that year’s Palme d’Or at the Cannes Film Fiestival. It’s sad this film never found its audience, because it packs a wallop, both viscerally and emotionally.  This is 1970s cinema at its best.

“Midnight Express” (1978) dir. Alan Parker, scr. Oliver Stone

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When you’re making a feature film about a real-life event, it’s difficult to do justice to that event in just two hours.  People and events need to be combined, placed out of order, or removed entirely, in order to make a dramatically interesting film.  I understand that and am very forgiving most of the time… except I find it hard to do with “Midnight Express.”

“Midnight Express” is a 1978 film about Billy Hayes, an American college student who got arrested in Turkey trying to smuggle four pounds of hashish out of the country.  The film was highly praised, was nominated for six Academy Awards (including Best Picture), won an Oscar for Best Musical Score and Best Screenplay (Stone’s first Oscar), and won Best Picture at that year’s Golden Globe Awards.  It’s an extremely riveting and disturbing film, not only for the horrors Hayes faces in a foreign prison, but also because of the Turkish justice system.   He was initially sentenced to five years in prison, but then laws changed while he was serving his time, was retried, and then given 30 years.  Hayes made a daring and harrowing escape into Greece (a country which has traditionally not gotten along with Turkey), who then deported him back to the United States.

If you know nothing about Hayes’s real story, the film will shock you to your very core and will leave you severely wrung out by the end.  The film plays like one of the scariest horror films ever created.  It’s expertly directed, edited, scored and acted, with a classic performance by Brad Davis, who plays Hayes.   However, if you read the original book on which the movie was based, you start to appreciate the film much less.  There’s many similar events, but the film reedits them, puts them in a different order, and then invents many events to make the film more interesting.  Per Wikipedia, here are some of the main differences:

  • In the movie, Billy Hayes is in Turkey with his girlfriend when he is arrested, whereas in the original story he is alone.
  • The attempted rape scene was fictionalized. Billy Hayes never claimed to have suffered any sexual violence at the hands of his Turkish wardens. He did engage in consensual sex while in prison, but the film depicts Hayes gently rejecting the advances of a fellow prisoner.
  • The scene where Billy attempts to escape from the Turkish police and is recaptured by “Tex”, the shadowy American agent, did not happen. ‘Tex’ was a real person Billy encountered after his arrest, who indeed pulled a gun on him, but that was when they were riding in the police car from the Istanbul airport to the police station after Billy attempted to sneak out of the car while it was stopped at a red traffic light. In the book’s account, Tex drove Billy to the police station where he dropped him off and Billy never saw him again. It was a Turkish policeman who translated for Billy during his interrogation with the Turkish detective.
  • Although Billy Hayes did spend seventeen days in the prison’s psychiatric hospital in 1972, Hayes never bit out anyone’s tongue, which led to him being committed to the section for the criminally insane in the film.
  • In the book’s ending, Hayes was moved to another prison on an island from which he escapes eventually, by swimming across the lake and then traveling by foot as well as on a bus to Istanbul and then crossing the border into Greece.  In the movie this passage is replaced by a violent scene in which he unwittingly kills the head guard who is preparing to rape him. In reality, Hamidou, the chief guard, was killed in 1973 by a recently paroled prisoner, who spotted him drinking tea at a café outside the prison and shot him eight times.

In other words, the film’s most dramatic moments were either completely fictionalized or distorted to such a degree that the alterations significantly sour whatever power these moments had.  In addition, the way in which the Turks are portrayed by the filmmakers (corrupt, sadistic, sexually violent) is scarcely better than the way Southern whites were portrayed in “Deliverance” or African-Americans were portrayed in “The Birth of a Nation.”

What’s particularly interesting is that even Hayes’s original book doesn’t even tell the complete story.  Hayes has recently given a new version of events that paints a different picture than the one he gave in the book.  Per Hayes’s most recent account, the time he got arrested was not his first time smuggling drugs out of Turkey.  He actually had done it several times before.  Also, one of his friends was murdered trying to get Hayes out of prison.  I would imagine these things were left out because Hayes was very afraid of being brought up on new charges, but given the statute of limitations, he has now told the complete story, which can be seen here in its entirety (from National Geographic’s “Locked Up Abroad”):

Hayes has now expressed deep regret with how the movie distorted his story and even returned to Turkey to publicly apologize for how the film painted their country in such a bad light.  In 2010, Hayes, Stone, and Parker returned to Turkey to watch the film with Turkish prisoners and discuss the film.   It’s a good thing the filmmakers have taken responsibility for this, but it’s unfortunately too little, too late.  The film’s popularity over the years has done a lot of damage to the world’s view of Turkey.

“Drugs” – Eric Bogosian (from the 1991 film “Sex, Drugs, Rock & Roll”)

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A brilliantly funny monologue by Eric Bogosian, this time portraying an arrogant, aging rock star who is now pursuing sobriety. Bogosian is terrific at portraying unreliable narrators and he positively nails the sanctimonious nature of this type of character. Very reminiscent of Sarah Silverman.