“The Boys in Company C” (1978) dir. Sidney J. Furie

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One of the first major studio films to deal with the Vietnam War after the war was over, “The Boys in Company C” was released near the beginning of 1978. The film got mixed reviews at the time and whatever notice it got was overshadowed by the double punch of Michael Cimino’s “The Deer Hunter” (released at the end of 1978) and Francis Ford Coppola’s “Apocalypse Now” (released in the summer of 1979).

It’s a real shame that “The Boys in Company C” has been shuttled to the sidelines over the years, because it’s a really good movie. Admittedly, it’s uneven at times (at one point, it shifts from a war movie into a sports movie). But the film is extremely ambitious, attempting to tackle several important subjects (combat, drugs, racism). And the film boasts several terrific performances, specifically by Stan Shaw, Andrew Stevens, Craig Wasson, Michael Lembeck, James Canning, R. Lee Ermey, James Whitmore Jr., Noble Willingham, and Scott Hylands.

This was R. Lee Ermey’s first acting role and it’s very reminiscent of his role in Stanley Kubrick’s “Full Metal Jacket,” which many people mistakenly believe is his debut. Ermey plays the same hard-ass drill instructor we all know and love (and — gulp! — are deathly afraid of), but in “Boys in Company C,” there’s also a humanity that’s missing from his performance in Kubrick’s film. The scene above is a compilation of Ermey’s entire performance, but the part you really need to watch is the scene that starts 3:10 into the clip. This is Ermey and Shaw having an intense discussion about boot camp, Shaw’s struggles with being company leader, and Ermey’s explanation of what he needs Shaw to do. It’s a powerful scene, wonderfully acted by Ermey and Shaw. Please note that because it IS Ermey playing a drill sergeant, the language is beyond rough and extremely politically incorrect.

And not to slight Shaw. Most people remember Shaw as the doomed Toomer from “The Great Santini,” but his performance as Washington is outstanding, and in a film that’s basically an ensemble piece, Shaw is the lead of the film. Had this film come out a few years later, Shaw arguably may have had the career Denzel Washington had. His performance in “Boys in Company C” demonstrates he has the talent and charisma to have gone all the way.

“One” – Aimee Mann

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Another terrific Aimee Mann cover … this time of Harry Nilsson’s “One” which Three Dog Night turned into a big hit during the early 1970s. Mann’s version was brilliantly used over the opening of P.T. Anderson’s 1999 masterpiece “Magnolia.” I like this version WAAAAY better than Three Dog Night’s cover, which is the best known version.

The opening of “Faster, Pussycat! Kill! Kill!” (1965) dir. Russ Meyer

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Ladies and gentlemen, welcome to violence, the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains… sex. Violence devours all it touches, its voracious appetite rarely fulfilled. Yet violence doesn’t only destroy, it creates and molds as well. Let’s examine closely then this dangerously evil creation, this new breed encased and contained within the supple skin of woman. The softness is there, the unmistakable smell of female, the surface shiny and silken, the body yielding yet wanton. But a word of caution: handle with care and don’t drop your guard. This rapacious new breed prowls both alone and in packs, operating at any level, any time, anywhere, and with anybody. Who are they? One might be your secretary, your doctor’s receptionist… or a dancer in a go-go club!

OK, I did not write those words. They come from the infamous opening to the film director John Waters once called the greatest film ever made. Russ Meyer’s “Faster, Pussycat! Kill! Kill!” film is one of the most wonderfully sleazy movies ever made … and it’s also one of the most fun to watch.  It’s one of those films that seems really, really dirty even though it probably would get rated PG-13 if released today (it was rated TV-14 when it popped up on Turner Classic Movies).  It would make a great double-feature with “Road House.” There’s no nudity here, but the above clip not safe for work as this is from a less politically correct time. Go baby go! Go! Go! GO BABY GO! Work it out!

“I Dig You” – Boss Hog

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Jon Spencer, his sexy spouse Cristina Martinez, and the rest of the Boss Hog gang get their Russ Meyer on with this homage to “Faster Pussycat, Kill! Kill!”

Jon: I dig your groovy hips!
Cristina: I dig your barbecued lips!

Yowsah! That has to be one exciting marriage. From Boss Hog’s self-titled major label debut in 1995.

The ending of “Fight Club” (1999) dir. David Fincher

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This has to be the strangest “happy” ending in film history … a declaration of mature love amidst massive destruction and mayhem … while the Pixies’ legendary “Where Is My Mind?” plays in the background. I realize this is a perverse selection here given my last entry about “United 93,” but to be fair, “Fight Club” was written / filmed pre-9/11. And just because some of the angst of “Fight Club” was rendered obsolete by the subsequent “war on terror”  doesn’t mean that “Fight Club” still doesn’t raise several excellent issues about our culture. If there’s a film that summarized my mental state in my early 20s, this is it. Fortunately, I saw this in my late 20s after I was married and settled down … so the film left me with the weirdest, most perverse grin on my face I’ve ever had watching a film. Especially during the “Sixth Sense” – level plot twist that occurs 3/4 of the way through.  Between this and David Cronenberg’s “Videodrome,” my all-time favorite film.

Sorry ladies … and maybe some gents … the infamous subliminal “pickle” shot has been edited out.

“United 93” (2006) dir. Paul Greengrass

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I can completely understand why anyone would not want to watch this film. But please, don’t dismiss this as an exploitation film. Paul Greengrass’s “United 93” is an extremely intense, but respectful approximation of what happened on United flight 93 on September 11, 2001. So far, it is the best non-documentary film about what happened on that day and it’s the only film that brought me back to what it felt like on that day when it seemed like the entire world was falling apart. While I’m happy Scorsese finally got his Oscar for Best Director for “The Departed” in 2006 (a truly great film), he really should have won it for “Raging Bull” or “Goodfellas.” Greengrass should have won for Best Director that year (he was nominated). This is a film that won a lot of acclaim when it was released, but is almost forgotten about these days … maybe because most people don’t want to watch it.  But seriously, “United 93” is a very respectful, non-sensational film about the events on 9/11, even though it’s admittedly a very difficult film to watch.

“Who is Keyser Soze?” from “The Usual Suspects” (1995) dir. Bryan Singer, scr. Christopher McQuarrie

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One of the most bone-chilling scenes in cinematic history .. this is the back story of master criminal Keyser Soze … the much-feared boogeyman of Bryan Singer’s best film “The Usual Suspects.” As Kevin Spacey’s character Verbal Kint says: “Keaton always said, ‘I don’t believe in God, but I’m afraid of him.’ Well I believe in God, and the only thing that scares me is Keyser Soze.”

The other key line: “The greatest trick the Devil ever pulled was convincing the world he didn’t exist.”

The clip here is not safe for work. It’s not particularly bloody, but extremely disturbing.

“Like a Hurricane” – Roxy Music

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On the surface, this seems like a joke. Europe’s artiest rock band covering a song by America’s grungiest troubadour? Until you realize that this classic Neil Young song has all of the elements of Roxy Music’s best songs. The way Ferry and company cover this, it sounds like they could have written it themselves … even though Young’s version sounds quintessentially Young. Seriously, I’m hard pressed to say which one is better.

“Eleanor Rigby” – Stanley Jordan

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Wanna see something truly amazing? Check out this cover of the Beatles’ “Eleanor Rigby” by jazz guitarist Stanley Jordan. Watch his hands. They’re tapping the strings … not strumming. And he’s getting a very, very intense sound out of his instrument from what seems like very little effort … but not quite.  Because you know that someone has to know their instrument really really well in order to pull something like this off. Really mind-blowing stuff.