Sunday, 28 August 2011

altI remember how intriguing I found the movie Scarface the first time I saw it in the theaters.

It was violent, gruesome and quite cheesy. The dialogue was often silly as was Al Pacino's exaggerated accent as Tony Montana, the cocaine trafficker who becomes a ruthless gangster. Who doesn't remember Pacino yelling, "Say hello to my little friend." Despite all that, I also was wrapped up in the movie.

Yet, sadly, at the same time director Brian De Palma's movie reflected what was going on in South Florida at the time.

I remember also being glad that Scarface was a movie my parents would never see as they were always a bit nervous about me living down here at the time.

The 1980s were indeed the time of the cocaine cowboy in South Florida.

altScarface wasn't some fantasy but real life. Drugs washed up on the beaches; bodies were found almost daily in the Everglades and a machine gun fight erupted in a suburban upscale mall, a place I had shopped at. There were news stories about shipments of flowers and soft drinks containing drugs. I once attended a party in Miami with a girlfriend, saw a pile of cocaine on a coffee table and we both promptly walked out.

No matter how anti-drug one was, the influence of drug dealers was all around us. I don't mean to suggest that every time you walked out of your home you were bombarded with drug dealers, but it was there and one would have to be blind not to see it.

Living in Fort Lauderdale kept that drug culture at bay somewhat, but not completely.

Scarface was like a traffic accident -- repulsive yet fascinating. And while it has recently been in rotation on the AMC network, there is nothing like seeing the spectacle that is Scarface on the big screen.

Audiences across the country will get a chance to see Scarface with restored high-definition picture and enhanced audio on Aug. 31 when it will be shown in more than 475 movie theaters nationwide. Check here for movie houses close to you. The screening also will show a 20-minute special feature with interviews with filmmakers and actors discussing Scarface.

Despite its flaws -- and it has many -- Scarface redefined the classic gangster movie. Its gritty, no-holds barred violence gave a view of gangsters and the drug culture that hadn't been explored before. No longer were drugs affected only users, but the aftermath of violence seeped into the lives of innocent bystanders.

Scarface also showed the underbelly of Miami.

Unfortunately, it made the world think that every refugee who came over during the controversial 1980 Mariel boatlift was a gangster in the making.

That could not be further from the truth.

Many professionals, doctors, lawyers, skilled workers, political prisoners who had fought against Castro and ordinary people came over during Mariel, seeking a better life away from Castro. They took advantage of the opportunity to leave Cuba unnoticed. Yes, Castro opened up his prisons, putting criminals on that boatlift, but they were in the minority; it's been estimated that only 2 percent of the Mariel refugees were "undesirables." The good people who came over on Mariel have added much to the United States and should not be tainted because of Castro's actions.

Scarface may not be a good movie, but it is one of those that is unforgettable. A guilty pleasure for many of us. Tony sitting behind a mound of cocaine that was bigger than he. Tony's creepy obsession with his sister. That gaudy, tacky mansion. Pacino gets through most of the movie with a sneer and a gun. And, oh, that over the top ending.

Scarface was nominated for three Golden Globe Awards (including Best Actor, Best Supporting Actor and Best Original Score), and was named one of the Top 10 Gangster Films of All Time by the American Film Institute.

The Aug. 31 showing is to promote the first Blu-ray release of Scarface on Sept. 6. For a limited time, the Blu-ray will include a DVD of the original 1932 Scarface.

Photo: Al Pacino in Scarface. Universal Studios photo

Scarface Back in Theaters
Oline Cogdill
scarface-back-in-theaters

altI remember how intriguing I found the movie Scarface the first time I saw it in the theaters.

It was violent, gruesome and quite cheesy. The dialogue was often silly as was Al Pacino's exaggerated accent as Tony Montana, the cocaine trafficker who becomes a ruthless gangster. Who doesn't remember Pacino yelling, "Say hello to my little friend." Despite all that, I also was wrapped up in the movie.

Yet, sadly, at the same time director Brian De Palma's movie reflected what was going on in South Florida at the time.

I remember also being glad that Scarface was a movie my parents would never see as they were always a bit nervous about me living down here at the time.

The 1980s were indeed the time of the cocaine cowboy in South Florida.

altScarface wasn't some fantasy but real life. Drugs washed up on the beaches; bodies were found almost daily in the Everglades and a machine gun fight erupted in a suburban upscale mall, a place I had shopped at. There were news stories about shipments of flowers and soft drinks containing drugs. I once attended a party in Miami with a girlfriend, saw a pile of cocaine on a coffee table and we both promptly walked out.

No matter how anti-drug one was, the influence of drug dealers was all around us. I don't mean to suggest that every time you walked out of your home you were bombarded with drug dealers, but it was there and one would have to be blind not to see it.

Living in Fort Lauderdale kept that drug culture at bay somewhat, but not completely.

Scarface was like a traffic accident -- repulsive yet fascinating. And while it has recently been in rotation on the AMC network, there is nothing like seeing the spectacle that is Scarface on the big screen.

Audiences across the country will get a chance to see Scarface with restored high-definition picture and enhanced audio on Aug. 31 when it will be shown in more than 475 movie theaters nationwide. Check here for movie houses close to you. The screening also will show a 20-minute special feature with interviews with filmmakers and actors discussing Scarface.

Despite its flaws -- and it has many -- Scarface redefined the classic gangster movie. Its gritty, no-holds barred violence gave a view of gangsters and the drug culture that hadn't been explored before. No longer were drugs affected only users, but the aftermath of violence seeped into the lives of innocent bystanders.

Scarface also showed the underbelly of Miami.

Unfortunately, it made the world think that every refugee who came over during the controversial 1980 Mariel boatlift was a gangster in the making.

That could not be further from the truth.

Many professionals, doctors, lawyers, skilled workers, political prisoners who had fought against Castro and ordinary people came over during Mariel, seeking a better life away from Castro. They took advantage of the opportunity to leave Cuba unnoticed. Yes, Castro opened up his prisons, putting criminals on that boatlift, but they were in the minority; it's been estimated that only 2 percent of the Mariel refugees were "undesirables." The good people who came over on Mariel have added much to the United States and should not be tainted because of Castro's actions.

Scarface may not be a good movie, but it is one of those that is unforgettable. A guilty pleasure for many of us. Tony sitting behind a mound of cocaine that was bigger than he. Tony's creepy obsession with his sister. That gaudy, tacky mansion. Pacino gets through most of the movie with a sneer and a gun. And, oh, that over the top ending.

Scarface was nominated for three Golden Globe Awards (including Best Actor, Best Supporting Actor and Best Original Score), and was named one of the Top 10 Gangster Films of All Time by the American Film Institute.

The Aug. 31 showing is to promote the first Blu-ray release of Scarface on Sept. 6. For a limited time, the Blu-ray will include a DVD of the original 1932 Scarface.

Photo: Al Pacino in Scarface. Universal Studios photo

Wednesday, 24 August 2011

altThe 1950s were a heady time for the world, especially for America and Great Britain.

WWII was the past; the Cold War was the present. Spies lurked around every corner.

And journalism, especially that new product TV journalism, was changing.

BBC America's The Hour powerfully portrays this changing world with vivid storytelling and realistic characters.

The six-part series airs at 10 p.m. Wednesdays on BCC America with frequent encores; it also is On Demand. The DVD will be released in mid-September.

The Hour mixes Broadcast News with the era of Mad Men and a smidgeon of Lou Grant. Government conspiracies, espionage, a hit man and a couple of crusading journalists make this first-class drama, the kind we've come to expect from BBC America.

Set in 1956, The Hour concerns the launch of an investigative news show, a newfangled idea for a burgeoning medium. Intelligent journalist Freddie Lyon, played to perfection by Ben Whishaw, is frustrated by what he calls the "brisk banality" of TV news. He gripes that martial law has been declared in Poland but the lead news item is of Prince Rainier with "a showgirl." It's a good thing Freddie isn't seeing what passes for TV news coverage in the 21st century.

Freddie has little hope for The Hour , especially when the lead anchor is Hector Madden (Dominic West), whom Freddie is convinced is hired only for his good looks and his family connections. He's right, of course.

Still he is drawn into the new show to be called The Hour by his friend Bel Rowley (Romola Garai), a brilliant producer and one of the few women in management. Freddie and Bel have a close friendship with a strong undercurrent of sexual tension. They call each other Moneypenney and James, a nod to the Cold War and that new novel by Ian Fleming.

Following a meeting with a childhood friend, Freddie is drawn into a series of murders that may be connected to a government conspiracy.

The Hour intelligently hits all the key social and political situations of the time with a subtle hand. Bel is respected for her work but also runs into sexism at every turn. She and Mad Men's Peggy Olson would have much in common, including each's habit of getting involved with "unavailable men," as Freddie calls them. The view of early TV journalism is more than just nostalgia.

Each character is well developed and supported by strong actors. Garai and Whishaw are favorites of British and PBS viewers.

Dominic West is best known for playing Jimmy McNulty in HBO's brilliant The Wire. And West's accent in The Hour is closer to his own than the Baltimore accent he had in The Wire; he was born in Yorkshire. Lix Storm, a celebrated war correspondent, is played by Anna Chancellor, who American audiences may recognize from Four Weddings and a Funeral and MI5.

Photo: In front from left: Anna Chancellor, Ben Whishaw, Romola Garai, Dominic West, Oona Chaplin. BBC America photo

The Hour on Bbc America
Oline Cogdill
the-hour-on-bbc-america

altThe 1950s were a heady time for the world, especially for America and Great Britain.

WWII was the past; the Cold War was the present. Spies lurked around every corner.

And journalism, especially that new product TV journalism, was changing.

BBC America's The Hour powerfully portrays this changing world with vivid storytelling and realistic characters.

The six-part series airs at 10 p.m. Wednesdays on BCC America with frequent encores; it also is On Demand. The DVD will be released in mid-September.

The Hour mixes Broadcast News with the era of Mad Men and a smidgeon of Lou Grant. Government conspiracies, espionage, a hit man and a couple of crusading journalists make this first-class drama, the kind we've come to expect from BBC America.

Set in 1956, The Hour concerns the launch of an investigative news show, a newfangled idea for a burgeoning medium. Intelligent journalist Freddie Lyon, played to perfection by Ben Whishaw, is frustrated by what he calls the "brisk banality" of TV news. He gripes that martial law has been declared in Poland but the lead news item is of Prince Rainier with "a showgirl." It's a good thing Freddie isn't seeing what passes for TV news coverage in the 21st century.

Freddie has little hope for The Hour , especially when the lead anchor is Hector Madden (Dominic West), whom Freddie is convinced is hired only for his good looks and his family connections. He's right, of course.

Still he is drawn into the new show to be called The Hour by his friend Bel Rowley (Romola Garai), a brilliant producer and one of the few women in management. Freddie and Bel have a close friendship with a strong undercurrent of sexual tension. They call each other Moneypenney and James, a nod to the Cold War and that new novel by Ian Fleming.

Following a meeting with a childhood friend, Freddie is drawn into a series of murders that may be connected to a government conspiracy.

The Hour intelligently hits all the key social and political situations of the time with a subtle hand. Bel is respected for her work but also runs into sexism at every turn. She and Mad Men's Peggy Olson would have much in common, including each's habit of getting involved with "unavailable men," as Freddie calls them. The view of early TV journalism is more than just nostalgia.

Each character is well developed and supported by strong actors. Garai and Whishaw are favorites of British and PBS viewers.

Dominic West is best known for playing Jimmy McNulty in HBO's brilliant The Wire. And West's accent in The Hour is closer to his own than the Baltimore accent he had in The Wire; he was born in Yorkshire. Lix Storm, a celebrated war correspondent, is played by Anna Chancellor, who American audiences may recognize from Four Weddings and a Funeral and MI5.

Photo: In front from left: Anna Chancellor, Ben Whishaw, Romola Garai, Dominic West, Oona Chaplin. BBC America photo

Sunday, 21 August 2011

altI miss Law & Order.

That must seem strange since Law & Order, both the original and its spinoffs, seem to be aired at least 23 1/2 hours a day, seven days a week.

But I miss the new stories that sometimes against my will would pull me in week after week.

OK, truth be told, I am easily riveted even by episodes I have seen 4,322 times.

altMy latest Law & Order fascination is Law & Order: UK, which just launched its third season at 9 p.m. Wednesdays on BBC America. It's also available On Demand. And, of course, the first season of Law & Order: UK is now on DVD.

The set up is the same with the U.K. version: detectives and prosecutors work to solve crimes and bring the criminals to justice in London. Not that much different from the American versions; even Dick Wolf is the creator and executive producer.

But British detectives operate under different rules than their American counterparts as do the prosecutors. This brings Law & Order: UK a different texture that goes beyond the wigs worn in court.

Two friends who also are avid Law & Order: UK fans have told me the episodes are ripped not from the headlines as much as from the original Law & Order. I have no doubt that may be true but to me the British setting makes the episodes seem fresh and new.

altThe new season of Law & Order: UK features Ronnie Brooks (Bradley Walsh), a cop from the East End whose partner is the younger Matt Devlin (Jamie Bamber). They report to Natalie Chandler (Harriet Walter).

Courtside is crown prosecutor Alesha Phillips (Freema Agyeman, left), whose new partner is Jacob Thorne (Dominic Rowan), a gifted and uncompromising criminal prosecutor. Peter Davison (Doctor Who, Unforgiven) plays their new boss Henry Sharpe.

And just like the American version, that two-note music is part of Law & Order: UK.

Photos: Top, Bradley Walsh, center front, Jamie Bamber, left, and Harriet Walter. Bottom: Freema Agyeman BBC America photos

Law & Order: Uk Returns
Oline Cogdill
law-a-order-uk-returns

altI miss Law & Order.

That must seem strange since Law & Order, both the original and its spinoffs, seem to be aired at least 23 1/2 hours a day, seven days a week.

But I miss the new stories that sometimes against my will would pull me in week after week.

OK, truth be told, I am easily riveted even by episodes I have seen 4,322 times.

altMy latest Law & Order fascination is Law & Order: UK, which just launched its third season at 9 p.m. Wednesdays on BBC America. It's also available On Demand. And, of course, the first season of Law & Order: UK is now on DVD.

The set up is the same with the U.K. version: detectives and prosecutors work to solve crimes and bring the criminals to justice in London. Not that much different from the American versions; even Dick Wolf is the creator and executive producer.

But British detectives operate under different rules than their American counterparts as do the prosecutors. This brings Law & Order: UK a different texture that goes beyond the wigs worn in court.

Two friends who also are avid Law & Order: UK fans have told me the episodes are ripped not from the headlines as much as from the original Law & Order. I have no doubt that may be true but to me the British setting makes the episodes seem fresh and new.

altThe new season of Law & Order: UK features Ronnie Brooks (Bradley Walsh), a cop from the East End whose partner is the younger Matt Devlin (Jamie Bamber). They report to Natalie Chandler (Harriet Walter).

Courtside is crown prosecutor Alesha Phillips (Freema Agyeman, left), whose new partner is Jacob Thorne (Dominic Rowan), a gifted and uncompromising criminal prosecutor. Peter Davison (Doctor Who, Unforgiven) plays their new boss Henry Sharpe.

And just like the American version, that two-note music is part of Law & Order: UK.

Photos: Top, Bradley Walsh, center front, Jamie Bamber, left, and Harriet Walter. Bottom: Freema Agyeman BBC America photos