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Amsterdam film
“The Adventures of Ozzie and Harriet: The Complete Season Five”
(MPI Media DVD)
The long-running family sitcom (1952-1966) took a decisive turn in Season Five (1956-1957) when Ricky Nelson began to display his musical abilities. Before long, the weekly show became a springboard for a hitmaking career than brought the teenage star to a recording career with guitarist James Burton and other luminaries. It started in the Season Five episode when Ricky sits in as the drummer for a touring band playing the Saturday night dance at the local women’s club. The music is interesting from a musical historical POV: the band was a ‘40s style dance orchestra, its members sat behind monogramed music stands playing sweet and swing—and some tunes that sounded like Bill Haley with a full horn section. Ricky’s dad, Ozzie, counseled, “Keep a good steady beat” and listen to the bassist.
Nowadays, “The Adventures of Ozzie and Harriet” could be called “meta.” The Nelsons were a real family, and they reference the past of mom and dad: Ozzie was a band leader, Harriet his singer. Their two boys grew up in real time season after season. Ozzie was depicted as a bit of an oldster yet sympathetic to the new sounds that were shaking up the culture. The odd thing about him? He was dressed for the office but was often lounging around the house or having lunch at the diner. Maybe he was living on royalties—or maybe the whole idea was that he worked as the star of his own TV show about his real, slightly fictionalized family in an idyllic, Eisenhower era Everytown America. Season One through Six are also available on DVD with good audio and visual quality. (David Luhrssen)
Amsterdam
(In Theaters Oct. 7)
Screenwriter-director David O. Russell sets this period piece during a fascinating time, fictionalizing numerous characters and events. The leads are portrayed by Christian Bale, Margot Robbie and John David Washington. Russell’s ensemble also includes Robert De Niro, Timothy Olyphant, Zoe Saldana, Chris Rock and more, all in supporting roles. The backstory occurs during World War I, when the three leads meet. By 1933, Burt Berendsen (Bale) is a wounded veteran and a New York doctor focused on treating veterans. Burt’s close friend is his attorney and fellow wounded vet Harold Woodman (Washington). The pair share history with a wartime nurse, now wealthy artist Valerie Voze (Robbie).
After Bill Meekins (Ed Begley Jr.), a retired Army general, dies mysteriously, his daughter asks Burt and Harold to find out what really happened. The pair’s investigation leads to Valerie, whom they haven’t seen in 15 years. The fictional story’s grain of truth centers around the 1932-33 controversial “Business Plot.” Eventually, we understand Russell intends to compare this suspected conspiracy to current events. Critics applaud several of the film’s performances but complain that both its tone and mission are compromised by its haphazard screw-ball comedy, mystery and social satire. (Lisa Miller)
“Ed Sullivan’s Rock & Roll Classics”
(Time Life DVD)
Stiff limbed Ed Sullivan was an unlikely TV personality. With his origins as a much-read New York entertainment columnist, Sullivan looked more comfortable scribbling in his notebook from the back row than as the man in the spotlight. And yet he held that spotlight from his television debut in 1948 through his final curtain call in 1971.
He also looked unlikely as a promoter for post-swing popular music. As the new 10-disc set show, he was into the music more deeply than the two televised events for which he’s most remembered: Elvis (1956) and The Beatles (1964). He was already on the nascent scene in a 1955 episode, before anyone knew what to call the new music, in his presentation of Bo Diddley. Sullivan began introducing Diddley by recalling that most major developments in American music came from Harlem and mentioned catching Diddley’s name on the Apollo Theater marquee. He pronounced the phrase “rhythm and blues” (a term seldom heard on network TV in those days) and introduced a Black DJ, who described Diddley as a “folk blues singer.” And out Diddley came, deep roots showing as he hammered on his electric guitar accompanied by bass, drums and maracas.
The array of talent Sullivan welcomed is little short of staggering, including multiple performances by Fats Domino and Buddy Holly in the ‘50s; the ‘60s brought Stevie Wonder, The Animals, The Rolling Stones, Martha and the Vandellas, The Byrds and even James Brown, dropping to his knees in a shrieking plea. Afterward, Sullivan shook Brown’s hand, saying, “you’re a fine young artist.”
Sullivan’s Sunday evening show was desegregated at a time when this was controversial in some circles. He was a little like the benign but old-fashioned uncle at Thanksgiving, introducing The Band as “the new recording sensation for youngsters.” Through it all, one sensed that he meant well. After Buddy Holly and The Crickets, he advised the “youngsters” to “be careful on the streets—get home safely.” (David Luhrssen)
Terrifier 2
(In Theaters Oct. 6)
The second chapter finally reveals the reason behind Art the Clown’s (David Howard Thornton) demonic killing spree. As in the original, numerous gruesome murders cluster around Halloween. This time, Art (a non-speaking mime), targets teenage Sienna (Lauren LaVera), and her younger brother Jonathan (Elliot Fullman). They have something Art wants, but prove to be worthy adversaries. During Art’s pursuit, those standing in his way (many, oh so many!), pay the ultimate price. This blood and guts franchise is the brainchild of writer-director Damien Leone, whose indie film origins, and black humor, garnered the franchise a legion of fans. The R-Rated film’s 140 minutes feature next-level violence that excites Leone’s followers, eagerly awaiting the three-quel said to be “in the works.” (Lisa Miller)
