Review of Frederick Wiseman's "High School" (1969) and Jean-François Caissy's La Marche à Suivre (2014)

I am a teacher, so I am familiar with the strained relationship students sometimes have with authority. And most teachers — especially the best ones — are in tune with this tension between youth and adult, between power and submission, obedience and freedom. However, taking a psychological view, High School is also an exciting time when teenagers are becoming self-reflective, and the adults in the room have a front-row seat to their pupils' ongoing development. I use the word becoming on purpose. Adolescence is a messy progress.

La Marche à Suivre (2014)

High School (1969)

Eating Peanut Butter and Onion Sandwiches and the 1989 American Hollywood Film Little Monsters

In 1989, Richard Greenberg, a Hollywood film director, made a movie for Vestron Pictures called Little Monsters. The movie had a limited run in theaters and did not gross over a million dollars in ticket sales even though the picture cost about seven million dollars to make. I am also certain that the producers and writers of this glitzy Hollywood movie had no intention of including gay subtext - but it is still interesting (to me, at least) to peel back a few layers. So permit me to be a little gay and read this movie as a gay love story. As I point out in the following review, the movie is very heterosexual (as most Hollywood movies are) which perhaps makes it even more interesting to think about with a non-heteronormative reading.

I read Little Monsters as a tween same-sex love story

Fred Savage (Kevin Arnold!)
In the 1990s, the movie gained wider distribution on American cable television which is how I most likely saw it for the first time. The movie stars the boyish actor Fred Savage. He plays Brian, a sixth grader who discovers that there are really monsters under his bed. As a kid, I liked the juxtaposition between a monster world and the real world - and I was transfixed by the way in which the film jumped back and forth between a staid Middle America suburban landscape and the carnivalesque world of the monsters.

About twenty years have elapsed since the movie was released; and I'm interested about what Little Monsters was telegraphing about what it means to be male, to be interested in "adult things," but to also remain a kid. It's obvious now - but movies like Little Monsters were remarkably heterosexual. In the film's preamble, Brian sneaks into the kitchen when everyone is asleep to watch (what looks like the Playboy channel) and makes a peanut butter and onion sandwich to eat in front of the TV. 

Brian has a thing for peanut butter and onion sandwiches

I suppose the scene sets up Brian's loneliness as a kid (i.e., eating a snack in the middle of the night all by himself) and to highlight his burgeoning curiosity in women (i.e., ogling a female actress wearing a bra). As writers like Jeffery P. Dennis have pointed out, boys going girl crazy at twelve-years-old is a relatively new feature of Hollywood films. It almost feels necessary in a film today - the boy protagonist has to have some younger (or older) female foil - he has to be interested in girls - or so we are led to believe. Just look at any film targeted to younger audiences, even the most family-oriented films like Goonies (which was made in 1985) and you can see this narrative element play itself out - Sean Astin's character Mikey is mistaken in the dark by his older brother's girlfriend and makes out with her off-screen. It's a gag - and it is meant to make viewers laugh - but it also presents Mikey, who is about the same age as Brian - as primed and ready for girl-craziness.

White Middle-Class America
I'm fixated on race in American movies older than twenty years. If I am not mistaken, the only character of color in Little Monsters is a short cameo by Magbee, a black actor, who plays Brian's school bus driver. Brian's classmates are typically middle class, his school is fairly caucasian, and the film's adult characters seem to inhabit the mostly yuppie world the late 80s and early 90s seemed to project - material wealth and strategic brand placement. For example, don't you want to eat a bag of Doritos after watching this movie?

As an adult, it is unsettling for me to watch a movie like Little Monsters, because when I watched it as a kid I was not looking at the film with a critical view. However, looking at it now, I must have been influenced in the way the film shapes a narrative about masculinity. I think it matters to think critically about movies we watched as children because as adults or nostalgia for the films of our youth can cloud our judgment. I'm amazed by how many of my peers who have children love having their kids watch the same movies we grew up with as kids. It's funny how the passage of time makes a Hollywood sacred. What's so great, for example, about Brian?  I certainly was not the same as Brian. But I knew kids like Brian and privately I wanted to be like the Brians of the world. They were not especially academically minded but the Brians of my youth had a masculine charm that Fred Savage was certainly able to market - which is why he has become a teen star icon. 

Robin the Boy Wonder Celebrates His 78th Year As a Costumed Superhero Sidekick

Robin the Boy Wonder Made His Debut in Action Comics On this Day in 1940

"Later, Gator!"
So, I am a Robin the Boy Wonder fan. Who doesn't like the Boy Wonder? I especially like him in his yellow-cape costume get-up from the 1968 animated television series Batman with Robin the Boy Wonder.

The show aired on CBS and was produced by Filmation Studios. I have no idea which episode from the series this particular GIF originates but maybe one of you knows?

Let me know in the comments section.

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Image Source: chuber channel

That Day I Spoke to Margaux Hemingway When I Was Twelve Years Old

A Woman's Secret (1992)

It was Summer. I think. Somewhere around 1992 - I'm not sure. Mom and Dad were still together - and we were driving through Madisonville, Louisiana. The town hugs the Tchefuncte River - dotted with wood-paneled houses, an abandoned lighthouse, a swing bridge, a dozen churches, a feed store, seafood restaurants galore, and a Piggly Wiggly - not to mention a scenic riverfront landscape and an old Southern feel. A whitewashed stately two-story building houses the public library. And Higgins boats - the amphibious assault vehicles used to storm the beaches of Normandy - were assembled not too far from town. 

Swing Bridge in Madisonville © 2016 Kim Chatelain

We were driving through that day - like we usually did when I was growing up. Dad liked to take long road trips through the backwoods. So it was nothing unusual. We stopped at the Tchefuncte Feed & Seed on Louisiana Highway 21 (locally called Covington Street). The road is a nondescript stretch of highway - however, it is an unusual bend of the road, turning left and right as it stretches along - basically connecting the town of Mandeville (where I lived at the time) to the town of Covington. So it gets a fair amount of traffic.

Holy Moly! That's Madisonville, Louisiana on the silver screen!

I don't remember who noticed it was a film shoot. It may have been Dad. But we parked our car across the street in the Hibernia National Bank parking lot. We stepped outside the car and there was Margaux Hemingway stepping out of a Mercedes Benz right before our eyes! "Shhhh!" my dad said. "They're filming a movie." We stood there for about an hour watching what I soon learned was the incredibly boring process of filming a movie. In that time, waiting, we parsed that it was a "European director" filming a movie in the United States and the actress was Margaux Hemingway! I never felt so proud to be a Louisiana boy witnessing movie-making in action! Damn. 

I'm almost certain that's a real Madisonville cop!

Being all of twelve and considering myself an astute cinephile, I blurted out to Dad, "Hey, Dad. That's Margaux Hemingway! She starred in the Superman movie!" Not really knowing what the hell I was talking about I somehow managed to knock on the camper trailer where supposedly Margaux was staying. Her handler answered and told us to leave her alone. But I persisted. Finally, Margaux Hemingway stepped out and greeted us with a plastic grin. The girl was none too pleased that a couple of local oglers wanted to talk to her. "Hey!" I gushed. "You're Margaux Hemingway! I loved you in the Superman movie!"

Today is the 55th Anniversary of the Release of To Kill a Mockingbird

Scout Finch isn't talking to Boo Radley in this scene. She's just saying, “Hey, Boo!

On Christmas Day December 25, 1962, To Kill a Mockingbird was released in theaters in the United States.

Image Source: Tenor
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A Monster Calls (2016) - Movie Review

A boy learns to face his fears (© Focus Features)

Wanna see a movie that gives us a twenty-first-century version of a Grimm's fairy tale?

In the book Uses of Enchantment, Bruno Bettelheim lays out a psychological argument that fairy tales are useful in helping young children understand adult fears. Fairy tales are couched in childlike verse, but beneath the surface lies deeper, troubling psychological truths.

For example, why is every stepmother in fairy tales evil? Well, according to Bettelheim it is because it is all about the fear children have that our parents don't love us. But. This is too much to bear for the children, so the storyteller replaces this fear with a substitute - the stepmother.

In J.A. Bayona's fantasy flick, A Monster Calls, the logic works similarly. However, the metaphor is not as thickly veiled. There are no evil stepmothers; but, there is a strident grandmother (Sigourney Weaver).

The story, based on a novel of the same name by Patrick Ness, centers on a young boy named Conor (played sensitively by Louis MacDougall), a waifish boy attuned to the visual arts but prone to being bullied at school. He is dealing with the impending tragedy of his mother's death. 

While his family seemingly falls apart all around him, Conor falls deeper and deeper into a sullen depression. In one scene, he destroys his grandmother's sitting room, tearing the furniture apart. The boy is distraught and anger is an easy anodyne.

In order to help Conor deal with the reality of his grief, every night around midnight an anthropomorphic yew tree monster voiced by Liam Neeson) uproots itself from a nearby cemetery to dole out three fairy tales to the lad. The tales - à la Bettelheim - are meant to help the young boy deal with the very real fear of his mother's death.

That's all fine and dandy. There are lots of films and books that help children deal with the reality of death - take My Girl and Bridge to Terabithia as potent examples.

A Monster Calls is a little different because the plots rend open a deeper and more destructive fear. The inevitable death of Conor's mother also triggers within Conor a kind of death drive. The yew tree monster's stories are meant to help the boy realize his own wish to die and to counteract this drive with a life-giving "yes" living.

So it's intense material. I won't go into the content of the tales - but suffice it to say the film's visuals are stunning and I think the movie succeeds in driving home its central psychological thesis.

I am not one to censor films; however, I would caution against viewing this film with young children. I think the deeper themes of destruction and not-so-subtle hints about suicidal ideation should give parents pause. However, if parents know the content of the film deals with these themes, it could prove to be an enriching experience for both child and adult.

If Bettelheim is right, then fairy tales are meant to ease the more horrific facts of life - death, murder, suicide, decay, entropy, and estimated taxes - and, thus; films just may be our twenty-first-century version of sixteenth-century Grimm's fairy tales.

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A Monster Calls (2016)

Focus Features

Directed by J.A. Bayonna

Starring Sigourney Weaver, Liam Neeson, Felicity Jones, and Lewis McaDougall

Written by Patrick Ness (Screenplay) and based on his book.

Adult/Teenager Banter in Manchester by the Sea

Nephew Patrick and Uncle Eddie squabble in Manchester by the Sea © 2016 Amazon Studios

I must admit one film that slipped by me was Manchester by the Sea - produced by Amazon Studios and a contender in the 2016 awards season. 

The movie is good and it has lots of witty examples of adult/teenager banter. I can see why it won an award at the Oscars for its writing.

Underneath the banter between Casey Affleck's character and his on-screen nephew, lies a serious and moving story. However, it's a hilarious movie even though it is about a man who is wracked with guilt over the accidental death of his three children and who is now faced with the prospect of raising his teenage nephew. For example, the conversations between Patrick, the nephew, who just lost his father, and his Uncle Eddie (Casey Affleck) are well-written and funny. A recurring string of dialogue is the nephew's hilarious pointed questions that undermine his Uncle's crotchety humanism - and poke fun at his complete lack of social aplomb. 

At one point a stranger overhears the two arguing. He says something critical - like, "Good parenting," and Uncle Eddie - as he does throughout this movie when he perceives a slight to his character - goes ballistic and Patrick tries to defuse the situation and then, hilariously, whips around and says "Uncle Eddie, are you fundamentally unsound?" and, later, "Are you brain damaged?"

Here is another funny exchange - but this time it is Uncle Eddie. He tells Patrick that "if you're going to freak out every time that you see a frozen chicken I think we should go to the hospital."
#funny

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Stones of Erasmus's 2017 Alternative Academy Awards

Hey, since everyone is talking about alternative this-and-thats - I put together my own alternative Academy Awards:

Film of the Year
- Moonlight (2016)

Kevin and Black reconnect after a long estrangement 

Source: A24

Wisdom from the Animated Feature Film "The Sword in the Stone"

The animated GIF is my favorite type of digital file. It's been around forever, right? It's been around longer than Vine has been a platform for short video clips - that's for sure.* And, what is a Vine but a glorified GIF?

So, here is a favorite of mine - some words of epistemological wisdom on the difference between knowledge and understanding — from the young King Arthur in Disney's animated adaptation of T. H. White's children's literary classic The Sword in the Stone:

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source: Disney

*The GIF (Graphic Interchange Format) was created by a Compuserve engineer in 1987.

Ira Sach's "Little Men" Improvisation Scene

Michael Barbieri in Ira Sach's Little Men  

Ira Sach's Little Men (2016) is about how children are more mature in their emotional expression than the adults -- as well as better listeners.

The film tells a story about two friends who must suffer the consequences of a business dispute between their parents. While the adults bicker and put up their defenses, the two boys roam the streets of Brooklyn, an image of the borough that is a stitched together pastiche of different neighborhoods. While it seems the kids live in the Greenpoint or Williamsburg neighborhood, the setting shifts between Sunset Park and Bay Ridge. We see the Verrazano Bridge in one sequence, and in another, a view of Lower Manhattan from Sunset Park. I am not sure whether Sachs was attempting to make a statement about the ever-shifting landscape of New York City, or simply painting a colorful, albeit nostalgic, portrait of several neighborhoods mashed into one.

But, I want to talk about my favorite scene in the movie. A quarter of the way through, it features a creative, energy-infused scene with one of the young protagonists Tony, played by Michael Barbieri. 

The scene is great on many levels -- and it's hilarious to watch, especially as it pops out at you when watching the movie in the cinema. On the website Vulture, Kyle Buchanan made a thoughtful interpretation of the scene, as it relates to the larger story arc of the film. He mentions how Ira Sach's "explosive, funny sequence" nicely ties together the theme of silence and listening. While the adults fail in resolving conflicts, the two boys respond by making their friendship stronger. The two stage a protest by not talking to their parents. 

Having done improvisations with young people, and having done improvisations myself as a young person, the scene reminded me of how truly transformative acting can be. Or, how acting out in an improvised way -- structured play -- brings out raw, creative energy. And that's what we see in Tony as he naturally mimics and expands on his Theater teacher's (Mauricio Bustamante) verbal phrasing and intonation of voice.

Here's the clip!

Media Credit: Magnolia Pictures

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Advice on Priorities from François Truffaut's 1973 Classic Film "Day for Night"

François Truffaut's film Day for Night

Transcript of the Scene (for context)

Julie: Liliane ran off with the stuntman. 

Joëlle: Does Alphonse know?  

Julie: I had to tell him. 

Joëlle: With the stuntman? I'd drop a guy for a film. I'd never drop a film for a guy!

While the quote is not an advertisement for self-imposed celibacy, it is a funny take on priorities. I interpret this quote as choosing art over carnal pleasure. Also, Joëlle's comment, "I'd drop a guy for a film. I'd never drop a film for a guy!" is an accurate barometer of Truffaut's feelings - and passion for - filmmaking. 

Have I ever ditched a guy to go to a movie instead? In New York, where there are dozens of select film screenings of the world's best cinema - yes - I have chosen movies over men. 

Have you ever ditched a guy (or a girl) so you could pursue your love of movies (or anything resembling art and artmaking)? Let me know in the comments.
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Image Source: François Truffaut's La nuit américaine (Day for Night) © 1973

Movie Review: Le Petit Amour (Kung-Fu Master!)

Jane Birkin and Mathieu Demy in Le Petit Amour (Kung Fu Master!), Dir. Agnès Varda (1988)

I recently saw Le Petit Amour (Kung-Fu Master!) (1988), directed by Agnès Varda, on Mubi. I am familiar with her most famous work, Jacquot de Nantes, and her exquisite short documentary films.
The movie tells the story of Mary-Jane, a recently divorced older woman (Jane Birkin) who unwittingly falls in love with her daughter's (Charlotte Gainsbourg) younger teenage classmate, Julien (Mathieu Demy). In real life, Demy is Varda's son, and Gainsbourg is Birkin's daughter. Birkin conceived the story, and Varda wrote it (also it is quite the cinematic family-affair, considering the real-life relationships among Varda, Demy, and the Birkin clan).
The plot concerns a taboo subject of intergenerational love, but I thought the film was redeemed (and Roger Ebert agrees) by its ability to capture feelings without the use of overwrought words, or a display of gratuitous sex. While the story is fantasy-driven, it touches upon the feeling of passionate love and how it can come upon you when you least expect it.

List of 100 Favorite Movies

I make no claim to a cinematic canon. These are my favorite movies. Subjective. No claim to objective standards of taste. Drum roll please:

1. Les Quatre Cents Coups (The Four Hundred Blows), Dir. François Truffaut (1959)

2. The Wizard of Oz, Dir. Victor Fleming (1939)

3. Billy Elliot, Dir. Stephen Daldry (2000)

4. Psycho, Dir. Alfred Hitchcock (1960)

5. Au Revoir Les Enfants, Dir. Louis Malle (1987)

6. Kes, Dir. Ken Loach (1969)

7. Eternal Sunshine of the Spotless Mind, Dir. Michel Gondry (2004)

8. Los Olvidados, Dir. Luis Buñuel (1950)

9. Vertigo, Dir. Alfred Hitchcock (1958)

10. Where the Wild Things Are, Dir. Spike Jonze (2009)

11. Nuovo Cinema Paradiso (Cinema Paradiso), Dir. Giussepe Tornatore (1988)

12. Dekalog (The Decalogue), Dir. Krzysztof Kieslowski (1988)

13. Det Sejunde Inseglet (The Seventh Seal), Dir. Ingmar Bergman (1957)

14. Rear Window, Dir. Alfred Hitchcock (1954)

15. Some Like it Hot, Dir. Billy Wilder (1959)

16. The Kid With a Bike, Dir. Jean-Pierre and Luc Dardenne (2011)

17. Welcome to the Dollhouse, Dir. Todd Soldonz (1995)

18. Citizen Kane, Dir. Orson Welles (1941)

19. The Tree of Life, Dir. Terrence Malick (2011)

20. Un Chien Andalou (The Andalusian Dog), Dir. Luis Buñuel (1929)

21. Fahrenheit 451, Dir. François Truffaut (1966)

22. The Mirror, Dir. Andrey Tarkovsky (1975)

23. The Graduate, Dir. Mike Nichols (1967)

24. Le Souffle au Coeur (Murmur of the Heart), Dir. Louis Malle (1971)

25. Jeux Interdits (Forbidden Games), Dir. René Clement (1952)

26. Salò, or the 120 Days of Sodom, Dir. Pier Paolo Pasolini (1975)

27. Orpheus, Dir. Jean Cocteau  (1950)

28. The Phantom of Liberty, Dir. Luis Buñuel (1974)

29. The Firemen’s Ball, Dir. Milos Forman (1967)

30. Midnight Cowboy, Dir. John Schlesinger (1969)

31. La Strada (The Road), Dir. Federico Fellini  (1954)

32. Mulholland Drive, Dir. David Lynch (2001)

33. Habla con Ella (Talk to Her), Dir. Pedro Almodovar (2002)

34. Stella Dallas, Dir. King Vidor (1937)

35. Olivier, Olivier, Dir. Agnieska Holland (1992)

36.  Battleship Potemkin, Dir. Sergei M. Eisenstein (1925)

37. 晩春 Banshun (Late Spring), Yasujirō Ozu (1953)

38. 2001: A Space Odyssey, Dir. Stanley Kubrick (1968)

39. My Night at Maud’s, Dir. Eric Rohmer (1969)

40. The Royal Tenenbaums, Dir. Wes Anderson (2001)

41. A Trip to the Moon, Dir. Georges Méliès (1902)

42. Close Encounters of the Third Kind, Dir. Steven Spielberg (1977)

43. Au Hasard Balthazar (Balthazar, At Random), Robert Bresson (1966)

44. Angst essen Seele auf (Ali: Fear Eats the Soul), Dir. Rainer Werner Fassbinder (1974)

45. Harold and Maude, Dir. Hal Ashby (1971)

46. E.T. the Extra-Terrestrial, Dir. Steven Spielberg (1982)

47. La Belle et la Bête (Beauty and the Beast), Dir. Jean Cocteau (1946)

48. The Squid and the Whale, Dir. Noah Baumbach (2005)

49. Spoorlos (The Vanishing), Dir. George Sluizer (1988)

50. La Cite des Enfants Perdus (The City of Lost Children), Dir. Jean-Pierre Jeunet (1995)

51. Mighty Aphrodite, Dir. Woody Allen (1995)

52. La Stanza del Figlio (The Son’s Room), Dir. Nanni Moretti (2001)

53. Y Tu Mamá También (And Your Mother Too), Dir. Alfonso Cuarón (2001)

54. 雨月物語 Ugetsu, Dir. Kenji Mizoguchi (1954)

55. 羅生門 Rashomon, Dir. Akira Kurosawa (1950)

56. The Night of the Hunter, Dir. Charles Laughton (1955)

57. Le Plaisir, Dir. Max Ophüls (1952)

58. Being John Malkovich, Dir. Spike Jonze (1999)

59. Synecdoche, NY, Dir. Charlie Kaufman (2008)

60. High Noon, Dir. Fred Zinnemann (1952)

61. Hiroshima, Mon Amour, Dir. Alain Resnais (1959)

62. The Lady Eve, Dir. Preston Sturges (1941)

63. Lost in Translation, Dir. Sofia Coppola (2003)

64. The Up Series, Dir. Michael Apted (1964 - Present)

65. Weekend, Dir. Andrew Haigh (2011)

66. Who’s Afraid of Virginia Woolf?, Dir. Mike Nichols  (1966)

67. La Mala Educación (Bad Education), Dir. Pedro Almodovar (2004)

68. Lord of the Flies, Dir. Peter Brook (1963)

69. The Dangerous Lives of Altar Boys, Dir. Peter Care (2002)

70. Andrei Rublev, Dir. Andrey Tarkovsky (1966)

71. Amour, Dir. Michael Haneke (2012)

72. Inglorious Basterds, Dir. Quentin Tarantino (2009)

73. Empire of the Sun, Dir. Steven Spielberg (1987)

74. A.I. Artificial Intelligence, Dir. Steven Spielberg (2001)

75. The White Ribbon, Dir. Michael Haneke (2009)

76. Margaret, Dir. Kenneth Lonergan  (2011)

77. Wild Tigers I Have Known, Dir. Cam Archer (2006)

78. Alice, Dir. Jan Švankmajer(1988)

79. Through a Glass Darkly, Dir. Ingmar Bergman (1961)

80. Passion of Joan of Arc, Dir. Carl Theodor Dreyer (1928)

81. Arabian Nights, Dir. Pier Paolo Pasolini (1974)

82. 千と千尋の神隠 (Spirited Away), Hayao Miyazaki (2001)

83. La Pianiste (The Piano Teacher), Dir. Michael Haneke (2001)

84. George Washington, Dir. David Gordon Green (2000)

85. Niki Ardelean, colonel în rezerva (Niki and Flo), Dir. Lucian Pintille (2003)

86. Der Himmel über Berlin (Wings of Desire), Dir. Wim Wenders (1987)

87. Der Blaue Engel (The Blue Angel), Dir. Josef von Sternberg (1930)

88. Equus, Dir. Sidney Lumet (1977)

89. The Best Years of Our Lives, Dir. William Wyler (1946)

90. 4 luni, 3 săptămâni şi 2 zile (4 Months, 3 Weeks and 2 Days), Dir. Cristian Mungiu (2007)

91. Mon Oncle, Jacques Tati (1958)

92. Copie Conforme (Certified Copy), Dir. Abbas Kiarostami (2010)

93. Hedwig and the Angry Inch, John Cameron Mitchell (2001)

94. Louisiana Story, Dir. Robert J. Flaherty (1948)

95. Black Orpheus, Dir. Marcel Camus (1959)

96. The Rocky Horror Picture Show, Dir. Jim Sharman (1975)

97. Dancer in the Dark, Dir. Lars von Trier (2000)

98. Silver Linings Playbook, Dir. David O. Russell (2012)

99. Ordinary People, Dir. Robert Redford (1980)

100. The Silence of the Lambs, Dir. Jonathan Demme (1991)

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Aesthetic Thursday: Surrealism in Film

Perhaps one of my favorite films of all time: Luis Buñuel's The Phantom of Liberty (1974). 
Interpret this nonsensical "dream sequence" however you want - I think it is pure brilliance. Compare this scene to Buñuel's other dream sequence in Los Olvidados (1950). Interesting, right? 

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TV Review: I Like Girls

The following post is a deep dive into Girls, Lena Dunham's HBO dramedy about young privilege in NYC. Reflections on its unapologetic storytelling, intimacy, and cultural impact.

My roommate asked me today if I liked girls. My other roommate laughed. "No," my roommate said, this time more emphatic, "the show - Girls."
"Oh. Yeah," I said, I like that show. My roommate looked at me in that way I knew demanded more context, more explanation, a sort of impromptu lit crit discussion by the kitchen sink. He said, encouraging me, "I've watched it too. It's very popular, the show. That's why I watch it."

Lena Dunham in Girls

We then proceeded to talk about Girls in a way that everyone is talking about Girls: white privilege, young up and coming white girls living in a neighborhood in Brooklyn where only a certain kind of youth inhabit - and yes, the girls have trouble paying the rent, but, hey, it's real life, yada yada yada. Is it the same as Two Broke Girls? But that show stars Kat Dennings (what is not to like?) And why is James Franco ranting about this show? Why am I ranting about this show? If you Google Girls a ka-jillion hits pop up - the show is viral. Even my Dad watches it. Just kidding. I didn't ask.

Lyrics: Science-Fiction Double Feature

Rocky Horror Picture Show (1975)

Michael Rennie was ill the day the earth stood still
But he told us where we stand
And Flash Gordon was there in silver underwear
Claude Raines was the invisible man
Then something went wrong for Fay Wray and King Kong
They got caught in a celluloid jam
Then at a deadly pace it came from outer space
And this is how the message ran:

Science Fiction - Double Feature
Dr. X will build a creature
See androids fighting Brad and Janet
Anne Francis stars in Forbidden Planet
Oh-oh at the late night, double feature, picture show.

I knew Leo G. Carroll was over a barrel
When Tarantula took to the hills
And I really got hot when I saw Janet Scott
Fight a Triffid that spits poison and kills
Dana Andrews said prunes gave him the runes
And passing them used lots of skills
But when worlds collide, said George Pal to his bride
I'm gonna give you some terrible thrills, like a:

Science Fiction - Double Feature
Dr. X will build a creature
See androids fighting Brad and Janet
Anne Francis stars in Forbidden Planet
Oh-oh at the late night, double feature, picture show.
I wanna go, oh-oh, to the late night double feature picture show.
By RKO, oh-oh, at the late night double feature picture show.
In the back row at the late night double feature picture show.

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source: lyrics

film: imdb