"Margin call" (2011)

Since I am known never to willingly switch on TV except when it comes to follow some documentary, it came as a nice surprise to accidentally see something really interesting - the reason why I even bothered with TV was third episode of documentary about Croatian rock "Naši dani – priče o hrvatskom rocku" that was truly enjoyable. Right afterwards on program was this US movie with excellent cast so I stayed tuned.

"Margin Call" deals with big, multi-million firm and countless anonymous little fishes who are satisfied with their jobs until disaster strikes. In space of 36 hours the whole empire collapses and we follow what happens to individuals involved in all this - what is the most interesting is how firmly movie keeps our attention although there is nothing in sense of "action" (no explosions, overturned cars, bullets or computer animation), we are glued to the screen by sheer power of story and presence of strong acting. From a recently fired Stanley Tucci who stumbled upon discovery that would alarm his young colleague (Zachary Quinto), to cold blooded executive Simon Baker and finally the biggest fish Jeremy Irons (who arrives in the middle of the night by helicopter and orders immediate meeting) acting is superb and there is hardly a wrong step in a movie - these people are not sentimental when it comes about outside world and what will happen to others, they are concerned about their own wealth and how will all of this affect them. There is a excellent scene where Baker and Demi Moore bicker in the elevator completely ignoring cleaning lady who is in the middle - for them she is invisible, she is perfect example of outside world they don't care about and I doubt they would even notice if she dropped dead there and than. Not so sure about Moore and why exactly she was needed for this movie except for her name power but Jeremy Irons brings everything on completely different level because his presence is so hypnotizing and yes scary, that he completely overshadows everybody else around - we sense this is important man who is completely above other mortals and even when everybody else is scared to death because of collapse of financial empire, Irons stands unconcerned because his own wealth is such that he can just shrug it off as something natural and cyclical. Jeremy Irons is God.

"Mystery Street" (1950)

Sometimes movies don't have to be earth-shaking, it is enough they are such escapism and good fun, "Mystery Street" is one of them.

It is a cutest little b&w movie from 1950. shot without big budget or biggest stars - final results, however, are first-class entertainment, good old fashioned crime story with police inspectors, unsolved crime, shadows, blackmail and even scientistic help from Harvard Medical School. Looking back, it could hardly been improved even with bigger budget - for this story we don't need big explosions, expensive costumes or cars, everything goes smoothly just like some detective novel.

Main protagonist here is Ricardo Montalbán ( young and photogenic Mexican actor) in a role of young policeman doing his research on skeleton recently found. For this case he is assisted by Harvard doctor who easily identifies body of a victim as young woman in her early 20es, probably blond, probably dancer. Searching for every young woman who might disappear around that time, Montalbán eventually discover her identity and the house where she lived - story than gets complicated because wrong guy gets arrested and more he protests and lies, more he sinks into trouble. Although we have some good acting here, the best of all is a role of nosey landlady who can't help but sniff around for some potential financial award for herself - its no one else but legendary "Bride of Frankestein" Elsa Lanchester and she is brilliant. Every scene with her is a pure joy and effortless acting, she is simply perfect as silly, greedy old woman who don't realise in what danger she puts herself poking her nose in serious crime. It is a pure old fashioned crime movie and I was surprised how much I enjoyed it, since its rarely mentioned today.

"The Killers" (1946) and "Forbidden planet" (1956)

Inspired by Ernest Hemingway short story "The Killers" turned out to be quintessential film noir and marvel for any lover of the genre - everything happens in half shadows, there is exciting crime story, bad guys (well, almost everybody here is a bad guy), detectives and policemen, sexy femme fatale and enough twists and turns to keep you glued to the screen until the end.

Very young Burt Lancaster is the main protagonist here - typical film noir character, a good guy who somehow gets involved in bad company - and he dies at the very beginning of the movie. From now its up to life insurance investigator to trace the story back in flashbacks, talking to everybody who might have known Lancaster and slowly trough all these stories and memories we get more or less clear picture why was Lancaster killed and why he never even resisted his murder. Its impossible not to feel sorry for Lancaster who was basically a good guy with lots of bad luck, he never had a chance involving himself with this crowd. There is a lot of strong supporting characters, notably Vince Barnett (ex prison cellmate) and stunning Ava Gardner as gangster moll who double crosses everybody and watches Lancaster like a black spider.

"Forbidden Planet" is a highly influential SF movie from 1956 and naturally since I am big "Star Trek" fan this had a huge appeal to me since its clear where Gene Roddenberry got his inspiration from. Apparently this was first SF movie made about humans visiting another planet and first where human crew flew in a spaceship. To me it all looks very much like early episodes of "Star Trek" but of course this all has a great charm, the more plastic props and scenography, more I love it.

The biggest surprise is the main actor whom I didn't even recognized until I read this is a very young Leslie Nielsen - my all time favorite comic from "The Naked Gun" series - surely I recognized his name but thought this must only be a coincidence. Later I watched him again and true, I recognized a certain characteristics of Nielsen's acting (angry outbursts for example) but he was so young that his features were unrecognizable. In the role of Dr.Morbius is excellent, dignified Walter Pidgeon - now, him I recognized immediately and even before I saw him. Pidgeon had very strong, authoritative baritone voice that simply booms when he spoke and the first moment I heard his voice (we hear him before he comes on screen) I knew he sounds familiar. Sure enough, he was Mr.Zigfeld in "Funny girl". Interestingly enough, the cutie who plays his daughter here (Anne Francis, dressed or should we say undressed to seduce all the spaceship crew) was also in "Funny girl" later, so its fun to recognize all these people. And there is a cutest robot, called " Robby the Robot".

"Barbara Stanwyck - a biography" by Al DiOrio (1984)

Of course, true star of "The Strange Love of Martha Ivers " is sensational Barbara Stanwyck and after watching the movie again, I gulped her paperback biography written by certain Al DiOrio.

It is typical movie celebrity biography, very well researched, with tons of informations about every single step Stanwyck made in Hollywood, however actress was a famously protective about her private life so we don't really get a glimpse of the person behind the screen. If written today, author would probably engage a little bit more into this aspect but back in 1984. apparently this kind of fan publication was good enough - not that Stanwyck was a boring subject, far from it. She never was a great beauty of classic Holywood type, never won an "Oscar" (except decades later, honorary) and mostly appeared as Bette Davis clone who somehow successfully made a transition on TV but she was a great screen presence, according to the book was hard working and ambitious and at the end was the only actress ever who came from silent era and was working as late as in 1980s ("Dynasty").

Watching her again last night, I was mesmerized as always with her acting - Stanwyck was a great natural actress though her schtick were always "tough broads" with a heart of gold, audience could somehow always feel there is a human protected somewhere inside. The book is very informative about the huge scope of her acting work (comedy, musicals, dancing, film noir, western, TV soaps) though it quickly glosses over what made her such a person. Surely there must have been more to tell, judging from her hard climb from growing like an orphan in Brooklyn to a position of highest paid actress of 1940s but author is more focused on her professional life and who knows, maybe this was all there was for Stanwyck who found her life purpose in constant work, long after financially she was secured for life.

"The Strange Love of Martha Ivers" (1946)

Recently I wrote about the movie "The Act of Violence" and here's that guy again - Van Heflin (whom I always call Van Helsing) - its a great fun to recognize all those actors mingling from one movie to another and playing together. This time he is surrounded with some of all-time great actors and script is first rate, truly great movie.

"Strange love of Martha Ivers" must be one of my all-time favorite movies ever - one of those truly classics that I return to from time to time and watch in awe, always finding new details and enjoying it immensely. It has everything - b&w beautiful picture with lots of shadows, thunders, lighting, immoral characters, beautiful houses, shabby hotels, detectives, criminals, delightful slang expressions of the time, excellent actors and brilliant script. I could live in this movie.

After a long absence, Van Heflin stumbles by accident in his hometown (driving drunken sailor who is uncredited future director Blake Edwards!) where his unexpected return raises alarming suspicion of local big fish (Kirk Douglas in his first movie role!) now married to Heflin's old flame. Kirk Douglas and Barbara Stanwyck live in marriage from hell, one of those strange, sadistic relationships made only for the sake of appearance and their scenes are frightening and fascinating to watch - Stanwyck is cold as ice towards her intellectually inferior husband but he is snake as well. Stanwyck composure falls apart when she sees Van Heflin who is simply amused, while Douglas watches from a side, knowing her too well and understanding she is slipping from his grasp. I won't go into details about the story - it must be seen to enjoy properly - but trough the movie we actually feel a little bit of sympathy for Stanwyck who was caged in this prison of marriage hoping to escape somehow one day.Her role is negative in "moral" sense and still Stanwyck manages to appear human under that cold posture.

Acting is excellent - Kirk Douglas is weak alcoholic bowing in presence of strong wife but cruel otherwise, Stanwyck tough as nails and scared little girl in presence of love of her life, Van Heflin our good-guy-with-a-past who hides a good heart under tough exterior (and he can fight too, not afraid of any policemen or detectives sent to scare him away) and there is a excellent supporting role for Lizabeth Scott who is here as his love interest, balance for cruel Martha Ivers. However, this is film noir so even Lizabeth Scott is not exactly goodie goddie, she also has dark past and her own secrets however Van Heflin is ready to overlook this and take her under his wing the way she is, bruised butterfly and all. For years I have been fascinated with Scott's acting and role in this movie and although she is only a supporting role here, I always loved her. In fact, sometimes I watch the movie because of her - I admit its impossible to overshadow Barbara Stanwyck but Scott is darn close. Great movie, truly a classic.

Lizabeth Scott - film noir legend

In previous essay I had mention Lizabeth Scott and now I would like to pay my respect to this interesting, reclusive actress who is still around (she must be over 90 now) which in itself is strange as she had survived almost all of her more successful colleagues, while her own career was extremely short (a decade, more or less - but what a decade, the golden era of American movies).

I saw Scott in only two movies so far ("The Strange Love of Martha Ivers" and "Dead Reckoning") but she was lucky to work in movies at the time when film noir was in full bloom, during 1940s and 1950s and this was perfect time for her to enter industry - movies back than explored dark, shadowy thrillers where main protagonist (detective or someone entangled in crime web) was usually seduced by double faced femme fatale. One of the biggest stars back than was Bogart's young wife Lauren Bacall - slim, elegant, sharp and provocative, perfectly able to stand up to anybody - and Lizabeth Scott was her natural clone, equally stunning visually and very reminiscent to Bacall (both started as fashion models and were spotted in magazine covers). Many noticed this similarity and Scott was even teamed with Humphrey Bogart on the screen in 1947. in the movie I need to re-visit again.

Watched Scott again last night in "The Strange Love of Martha Ivers " where focus was of course on excellent Barbara Stanwyck in title role, but Scott held her own even in this intimidating company - her role is relatively small and only serves as some kind of counter balance to Stanwyck, however Scott is excellent whenever she gets place to shine. As I get older, my perspective on this movie changes - first time around I found her hypnotising, last night I occasionally cringed and even laughed at her obvious over-acting (is this what director wanted?). Scott occasionally milks the script with lots of pouting and making sullen grimaces and I still love her.

There were lots of film noir in her filmography and hopefully I will have chance to see at least some more of them - she even recorded LP album of torch songs which I got and listen occasionally (she sounds just like I imagined, like Lauren Bacall singing in some smoky bar) but some time in mid-1950s her career was finished after some publicised scandals involving prostitution ring in Hollywood and her alleged lesbianism. The fact that "Paramount" publicity machine couldn't protect her and that she quickly retired after that suggest that perhaps there must have been some grain of truth in it - or perhaps she had stepped on someone's foot and was punished, who knows. In any case, at the age of 35 this beauty stopped making movies and became recluse. However, movie fans all over the world never forgot her and internet is full of people who adore, idolise and talk about her. At this point in her 90-es, Scott started to re-appear in public, usually on public screenings of her famous film noir movies and it seems that pendulum of time had erased all the negative publicity, in fact Scott looks happy with herself.

Joan Baez in the 1960s

Chances are, if you liked her debut album, you would like this one as well.

It opens with a capella piece and it follows with a collection of ancient, traditional songs covered with same magic dust, played with only a guitar and sung by THAT voice - the subtle news are bluegrass background by "Greenbriar Boys" that fits perfectly with the whole timeless atmosphere (her "Lily of the West" is one of the highlights of the album). Yes, most of the songs are tragic one way or the other but this is usual subject of this material, besides who was not obsessed with death at that age (Baez was in her early 20-es) and as always, her singing is so graceful that it defies any criticism. Perhaps its a little too similar to previous album, but this is also a good thing and probably what listeners expected from her at that point.

Where the Queen of Folk songs turns her attention to current song writers like Bob Dylan, Johnny Cash, Phil Ochs and Richard Fariña, giving them same respectful treatment as to any of traditional material she had recorded before. The biggest surprise is haunting classical piece by Heitor Villa-Lobos where she is backed by full blown classical orchestra- it is a well known soprano aria and probably most famous composer's work, even my friend who is a singing teacher was deeply impressed saying it was recorded faultlessly, although now in retrospective it seems it has nothing to do with the rest of the album except showing off what Baez can do. However, hat off to choice of material and conscious decision to ignore anything that was banal or commercial.

Title song (poetic, cowboy tune by Bob Dylan) points at Baez's infatuation with young "unwashed phenomenon" - four of the songs were written by him and Dylan's hero Woody Guthrie is also included, along with Dylan's UK imitator Donovan. Opinions are divided between those who think she interpreted Dylan's songs too seriously ("prettify them") and those who appreciate the fact that she brought his songs to wide audience that didn't care for original interpretations. I tend to go for later group, since Dylan's singing has always been acquired taste and does not appeal to everybody, while Baez's soaring soprano was hugely popular, followed and imitated at that time - she helped his career and it can't be ignored.

Music-wise it sounds very much like a pretty folkie album of 1960s - there are very subtle traces of country here and there, occasional traditional song, very simple music accompaniment and even a German version of anti-war song by Pete Seeger. Her version of classic country hit "Satisfied Mind" shows that Baez could have been a great country singer had she been inclined so.

Joan Baez of the 1960s was much more than a singer - she was a symbol of serious, deeply committed young woman who inspired thousands of followers around the world. What she was not, was a "pop singer" and nobody expected from her some bubblegum music (not even that she would consider that option) so this quasi-classical album of Christmas songs is not such a huge departure from her 1960s work that heavily relied on traditional folk songs.

Surroundings are new - everything is arranged by Peter Schickele who places Baez's angelic soprano in the middle of almost medieval orchestration of flutes, lutes, mandolins, harpsichord and such. It sounds like something of "Robin Hood" movie and its not really so far removed from "Come all ye tender ladies" music Baez built her fame on. Under all that cellophane singer is still unmistakably herself and that recognisable voice sound actually very good in this setting, though how much listener likes it depends on his/hers preference for Christmas music or simply to the fact do you find her voice appealing - personally I always found her an exceptional singer (even with admittedly a certain lack of humour back than) and most surprisingly, I actually like short instrumentals that came as a break from her somber tone.

"Majko Zemljo" by Tihomir Pop Asanović (1974)

Wow, this is really good.
More or less same guys who played on album "Time" (1972) but this time music has far better focus, songs are actually memorable and although musicians got place to shine, there is enough radio-friendly vibe to make the whole album more listenable. Hammond organist Tihomir Pop Asanović creates what is probably his best work that actually sounds very good even today - he also gets help from some prominent vocalists but on his own terms (instrumental "Berlin I") there is enough of excellent jazz-rock to almost overshadow guest stars.

Everybody raves about "Dnevnik jedne ljubavi" as greatest local all-star album of early 1970s but on its own merits this album is darn close - in sound almost like mirror image of it. I love Asanović's playing and think he was brilliant musician, wish he recorded much more.There is a very interesting interplay between him and almost big-band orchestra that actually sounds timeless and strangely current now. It is very strange that I never saw CD reissue of this album and today it seems to be known only to music connoisseurs, but its definitely worth searching for, its truly that good.

"Time" by Time (1972)

Recently screened TV documentary about beginnings of Croatian rock ("Naši dani") reminded me of this early 1970s band that I almost forgot - they were big deal somewhere between clumsy, early steps of rock music in Croatia (1960s, mostly sunny covers) and mid-1970s when groups like "Bijelo dugme" managed to actually reach wide audience and made rock truly popular music of young generation.

"Time" had a very strong weapon in musicians - everybody involved here was young, rebellious and eager to show off which is evident from a head-banging opener "Istina mašina" that rocks like best of anything recorded in than-current international scene. Music vision is apparent in the whole concept, where songs sound more like a extended jams (with very vague lyrics) than chart-topping singles that actually might reach the audience. In fact, the only song that actually sound memorable is wordless, energetic  "Hegedupa upa" which is pity because Dado Topić was excellent singer with presence and charisma that could greatly improve with help of some talented lyrics writer. Without interesting lyrics, without strong songs, the album sounds like unrepentant exercise in virtuosity of players who - as TV documentary clearly shows - were all ballsy, young punks set to conquer, but perhaps some guidance from record company would result in different album. I must note here excellent playing of Vedran Božić (guitar), Branislav Živković (piano) and Tihomir Pop Asanović (Hammond organ) who all got a place to shine in extended solos and guys were truly great musicians who were dead set on giving their best, without a passing glance at what might sell (ironically, decades later producer Vladimir Mihaljek Miha went on to work in completely commercial route). It IS a very strong musician's-music album that still sounds impressive on its own merits (virtuoso playing) but I wish there was a focused single or two that would actually lift it up into another, more approachable level (ironically, it might also be the reason why the album sounds timeless and frozen in time, like some jewel from prog-rock era). Not sure did wide mainstream audience warmed up to this album, because there was nothing to sing along to - later bands like "Bijelo dugme" would successfully merge virtuosity and commercial aspect of music.

Everybody involved here played later on debut album by up-and-coming rock queen Josipa Lisac on her "Dnevnik jedne ljubavi" (1973) that had a strong concept, focus and music frame - this time around vocalist and lyrics were in the first row, with (excellent) musicians providing simply a background, making the album far more approachable in process. Same team can also be found on brilliant solo album "Majko zemljo" by Tihomir Pop Asanović that I actually prefer to this one.

'Naši dani - priča o hrvatskom rocku'

I watch TV very, very rarely but recently found myself seriously enjoying TV documentary titled "Naši dani – priča o hrvatskom rocku" (Our days - stories about Croatian rock) that to my biggest surprise was done in excellent manner of the best foreign documentaries, not to mention this is the subject I always loved - history of popular music and the effect it had on listeners back than.

It is directed with greatest care by Andrija Vrdoljak using lots of archive material, original footage and interviews with surviving rockers who are almost all elderly citizens by now (its great fun to watch 1960s dancers who must be grandfathers and grandmothers now) and from technical/visual point of view it is in the same league as any BBC or "Discovery" production I always loved so much. The first two episodes were brilliant - they followed change from "family entertainment" to music of angry, young people who consciously or unconsciously used this music as form of rebellion against parents and society (but as ex-rocker Siniša Škarica notes, not against politics, that was too dangerous - all those angry young rockers who loved Jimmy Hendrix, for example, stayed clear from student demonstrations in early 1970s). The beginning of this documentary follows first "beat groups" like "Bijele Strijele" who idolised "Shadows" and were mostly clean cut, nice young men with slightly longer hair and our first rock star Karlo Metikoš who emulated Presley and drove girls crazy. The second episode explains the start of serious "author's work" or should we say beginning of original rock music as opposed to previous cover versions and this happened in early 1970s with Drago Minarec (first rock LP), excellent group "Time" and all-star musicians who backed young Josipa Lisac on her debut LP - composed by same Karlo Metikoš from previous episode - Lisac is curiously enough the only woman  in the story so far (along with some occasional back up singer) and lone female in the bunch of guys who actually matters. It is good to be reminded how important she was in the whole story because we simply don't have anybody else except Lisac as our own rock heroine.

Just saw a third episode and enjoyed it very much - it dealt with our first rock opera "Gubec beg" and all the nonsense its creators had to go trough while trying to get it on the stage, beginnings of some really successful Croatian rock bands and how everything changed when "Bijelo dugme" came along. "Bijelo dugme" were of course from Sarajevo (Bosnia) but they signed a contract with savvy recording company based in Zagreb since everybody else rejected them, so they somehow fall under umbrella of this title. Very good documentary.

"Homer's daughter" by Robert Graves

Of course I know Robert Graves from his "I Claudius" novel (and 1970s TV serial) but it wasn't until last night that I suddenly realized I know him actually much longer as he also wrote "Greek Myths" that I loved and cherished as a child raised on Greek mythology - it was probably thanks to him that I could rattle names of every hero and supporting character in front of our unsuspecting visitors and my proud parents. It all evaporated from my brain at this point but it didn't took me long to grab this book the moment I saw it and finally finished it last night with lots of skipping and mumbling to myself. Apparently I have really changed since than.

This time around Graves was not so interested in story itself - although there is a very exciting story to tell - as to theory how all those memories and oral traditions probably became interwoven into what we know today as "Odyssey". The novel is set in ancient kingdom on Sicily where princess Nausicaa has to somehow maneuver group of young rascals who in absence of her father plan to swiftly take over the rule and her hand - remember Penelope and her suitors? - along the way she connects previous stories, legends and myths together with her own. It is curiously dry book, intentionally written as ancient epic (lots of empty talk and declamations, long serious speeches and talks about Gods) that stop the story in tracks and often almost sideline the potentially exciting story with so much academic theorizing. If Graves wanted to present this as some ancient Greek play the way they were usually presented thousands of years ago in theatre, he definitely made his point but I found myself skipping a lot of empty talk and was relieved when I finally finished the darn book. I still love Graves but maybe I should give this another chance when I am in different frame of mind.

Back to black: "Film noir"

Just in case it was not already clear from these pages, I LOVE old black and white movies - the older, the better. It sure has to do something with all those Sunday afternoons of my childhood when I was glued to TV adventures of whoever was performing back than and curiously the new, ultra modern technology leaves me cold while these old dreamy black and white movies suck me in even now immediately. From the start, from the very introduction when title appears over some foggy city panoramic view, I purr with pleasure.

My first choice this time was 1950. "Where danger lives" by John Farrow (Mia's father).
It is actually not earth-shattering as I expected - the main reason to watch this is Robert Mitchum in curious role of a doctor but he had such charisma and presence that I would enjoy watching him in anything.Mitchum and Sean Connery are men I want to be when I grow up. He is somehow drawn into affair with wealthy young woman who naturally is not what she appears to be and in fact she almost destroys him until the end of the movie, but I'm not here to explain or tell the plot. There is very interesting role play between them as strong, silent Mitchum slowly becomes a puppet in hands of initially soft and unprotected woman who (in memorable scene set in a shabby hotel room) turns into tiger. There is a very good cameo by Claude Rains who should have more space because he was excellent and lots of interesting small roles of strangers who more or less dwarf any plan couple has to escape the country. Somehow the final results are not really that brilliant and it turns into two-people stage play but thanks to Mitchum it somehow stands the test of time.


If previous movie was comforting-but-not-essential experiment in "film noir" genre, "Act of violence" (1948) was gripping and really exciting. I don't know why it took me so long to finally check this movie,probably because I disliked silly title but once I started to watch it I simply couldn't believe my eyes what an excellent jewel this is.

Fred Zinneman directed this and apparently it was forgotten and impossible to find for decades but I can whole heartedly recommend it to anybody who love "film noir" genre - instead of being just another, nice old black and white movie, this turned out to be such a good, strong thriller that I ended up fully alert and awake until the very end. Zinneman weaves excellent story where the all american good guy is haunted by some mysterious limping man but as the movie progresses we suddenly realize that roles are changing and viewer can't help but start questioning some really important moral issues here - contrary to simply passive watching, we started to THINK " hey, who is really a bad guy here?" - there is not much to talk about female characters here (wives and girlfriends are terribly one-dimensional in their "goodness" and meekness) until in the second part of the movie story proceeds into a criminal underworld where we meet elderly, tired prostitute played by brilliant Mary Astor (previously known for her elegance and aristocratic poise) who almost steals the whole movie with her realistic, powerful acting. Her character "Pat" is worlds away from all these wives and girlfriends who live protected from anything unpleasant, here is a woman living on her own by her own wits and still possessing far more humanity than anybody around her. Excellent, excellent movie.

"The Times They Are A-Changin" by Bob Dylan (1964)

It would have been easy to explain this album with political upheavals happening in the world back than and describe it as folk-protest collection of songs by angry young troubadour - its all true but listening it carefully now half a century later it is still a powerful, almost Gothic, stark and dark music that either gets listener's complete attention or whizz by without leaving a trace on ones consciousness. If you are into "pretty music" that cheerfully plays in the background without any brain activity this is definitely not for you. If there IS any brain activity going on, chances are this might stop you in your tracks.

Contrary to my expectations (again) while bravely attempting to - for the first time ever - plow trough Dylan's massive discography with open ears and heart (and minimum outside influences and informations) I got completely stuck on this album and listening it now several times in a row. "Ballad of Hollis Brown" is pure voodoo and it gets me every time - and its just one of the many songs here. At this point I must say that everything about (than young) Dylan seriously started to make me bow in awe - the eloquence of his poetry, the powerful imagery, the timelessness of simple-but-effective music (that sounds as something people from mountains might have sung centuries ago) and even the weary sound of this old-soul voice have a huge appeal to me and somehow unconsciously I understand it speaks to lover of literature in me. Across the time (half a century later!)  this album has found a new fan.

"Freewheelin' Bob Dylan" by Bob Dylan (1963)

The album that made Dylan a household name - ubiquitous cover versions and all - and proved that "Hammond's folly" might in fact be actual new voice worth hearing.

As opposite to Dylan's debut album, here we have lots of original material that sounds at the same time contemporary and ancient,like some ancient traditional folk songs that he used for inspiration. Music wise, here is this angry young man with basically ugly voice and minimal musical background (of course, it was all intentional, the whole package would not work if "Columbia" surrounded this raw, new voice with a strings and backing choruses as they did on their commercial releases by Johnny Mathis and others) talk-singing about topics that could be explained in hundreds of ways. Although Dylan of course only follows the path of artists who came before him, he somehow twists it in his own new perception and true art here is that his songs appealed to so many listeners around the world who heard a message in them. Everything about this album, from singer's voice to the topics (and even the cover photo) is a break from than current crooner's tradition of "entertainment" and its not possible to underestimate the effect it had to generations of listeners (The Beatles wore the record out, Van Morrison was shocked, poet Allen Ginsberg wept) and its future totemic status.

Personally, I find "Masters of War" the most chilling song here but new manager made sure that other songs were covered by commercial artists and had a huge chart visibility.
Not sure how many kids buy this album nowadays when music industry had turned into completely opposite direction and technological special effects, gimmicks and visual hedonism seemingly completely overshadowed the lyrics, but who knows, the tide of times might turn again.

"No direction home" by Martin Scorcese (2005)

Last night I watched excellent two-part documentary about early years of Bob Dylan titled "No direction home".
Now here is where I must explain that all these years Dylan somehow never appealed to me - to my biggest regret and embarrassment (what was I thinking?) he used to be annoying presence from 1960s that I never bought or perhaps it was huge idolatry that always followed him that I disliked. However, it was last year that I carefully started to explore his discography and since I am still under fresh impressions of his first few LP albums from early 1960s it was the perfect moment to see this documentary that basically covers this period.

Martin Scorcese "directed" or should we say "tailored" original footage pieces (in many occasions black-and-white snippets) into cohesive story that gives a glimpse into a world back than, Dylan's background and early influences. Dylan himself talks about these times and he comes across as clear-headed, witty and faintly intimidating - he skips completely any mention about his family, like they never existed and goes straight into arrival in New York where Greenwich Village was a centre of folk music and this is where instantly he found his natural place between hungry but enthusiastic beatniks, poets and all sorts of artists who embraced him for who he was, one of them. Although Dylan's motives for arrival in New York were completely different (he wanted to visit his idol Woody Guthrie) somehow destiny placed him right where he belonged and just watching the atmosphere around him in this eccentric centre of all kinds of creativity is a huge thrill to see.

There were literary a hundreds of young folkie artists around at this time so its a miracle that young, skinny and defiantly unglamourous Dylan got attention of "Columbia records" that eventually gave him chance to record and catapulted him into stardom. Not some private owned, independent company without distribution but "Columbia records" that charted huge hits behind commercial artists of the day, usually backed with angelic choruses and strings. Surely there was a whole team of people involved, including savvy manager who made sure that Dylan's songs were also covered and recorded by many pop artists but eventually listeners and record buyers would come back to the source. Folk queen Joan Baez became his biggest champion and proudly introduced him to her audience, for a while they were THE couple of 1960s. The documentary makes clear that Dylan could go on like a protest singer forever but something inside of him itched for a change and he had to follow his artistic muse that led him to completely another direction, so he left Baez and protest songs and moved into blues rock  that alienated a lot of followers - reaction of the audience is stunning as they would literary take this change very personally and yell at him on a stage. At certain point of the movie the whirl around him (specially on tours) becomes truly uncomfortable with thousands of people having their own expectations and becoming frighteningly hostile, from autograph seekers to a journalists ("suck your sunglasses" somebody with a camera orders during a press conference) - this literate, clever and artistic young man faced a mass hysteria mixed with amazing patronising and deliberate misunderstandings. The movie ends in 1966 when motorcycle accident literary stops him in his tracks and forced him to re-think his next steps. Amazing not only because of historical perspective of politics, music industry and atmosphere at the time but also because lots of colleagues testify their experiences and views.

"Aida" by Giuseppe Verdi

This epitome of bombastic, heroic, spectacular and larger-than-life theatrical circus has long been one of the biggest audience draws in the history of opera.
Although I was raised in a working class family that had no connections with classical music whatsoever, "Aida" was in fact the very first of my theatre experiences but the only thing I remember from that evening is that it was loud and I was bored.

Fast forward some 30 years forward and this is where I started seriously exploring and researching the world of classical music. It was Gluck, than voices, than instrumentalists that got my attention before I decided that in order to understand what is all the fuss about Callas and others, I might as well hear original recordings from pre-WW2 era and slowly make up my way to present time. Wrong - just as I enjoyed early 1920s blues and jazz recordings, I loved these early opera stars so much that for a long time I was stuck right there and perhaps in a way I still am. The very first "Aida" I purchased was 1946. recording conducted by great Tullio Serafin with Maria Caniglia in title role and golden-voiced Beniamino Gigli as Radames. I loved and cherished this recording for many years, loved beauty of Gigli's voice (to my ears far prettier than Caruso, if I might say so), poise of Caniglia and her stage opponent, wonderful Ebbe Stignani (Amneris) and it was trough this recording that I memorised some parts of Verdi's masterpiece.

Recently I purchased another "Aida" - curiously it was again conducted by same Tullio Serafin but some ten years later with Maria Callas and Tito Gobbi as lovers. As much as I love the music and naturally 1955. recording sounds much fresher and real than the old one, this time I am affected more with music than singers. Orchestration is lovely, sound much,much better and since I know the music, I can easily hum along. But - and this is purely subjective - Gobbi cannot replace Gigli in my memories and as for Callas, she had a particular, peculiar sound that I don't care much for. I know that she is considered a bench mark against many female singers and phenomenon that crossed into myth, however there is a "hollowness" in her tone that does not appeal to me, no matter how instantly recognisable it is.

Recently viewed 1989. live performance from Metropolitan opera was revelation because now for the first time I could connect music to a visual spectacle and what a spectacle it was! Conducted by James Levine and staged with mind-blowing scenography, hundreds of extras and even horses, this "Aida" was truly a show - Placido Domingo was excellent as expected but the biggest surprise was Met's darling Aprile Millo who as Aida showed excellent power of heroic voice mixed with exactly right tenderness of "pianissimo" that I had not heard from either Caniglia or Callas. Watching her Amneris, excellent Dolora Zajick I wondered who is the real heroine here, because her role has actually far more depth and characterisation than Aida - great acting as well.

Next time - my opinion about Italian 1953. movie with Sophia Loren singing "Aida" on Renata Tebaldi's voice. Clash of voices and tits!

"Moj Život Moja Istina" by Jovanka Broz

Somehow accidentally, another book I purchased on "Interliber" book market was about Jovanka Broz, Tito's widow. There is of course, no connection between her and Eva Braun except that both of these women were connected with country leaders and both suffered because of it.

I must make clear here that figure of Tito was a prominent part of my childhood, as I grew up in 1970s Yugoslavia when his portraits watched from the walls of many public institutions and we all saw him as a father figure. Because the country was young and he held unprecedented length of leadership (he was elected president for life) generations were raised (and some died,like my parents) believing in Tito as semi-God and affectionate "old man" who was very close to every man's heart. His death in 1980 deeply distressed and saddened millions who lived in Yugoslavia back than (we all remember exactly where we were on that day) because not only he was loved as a close family member but people were worried that without his country might eventually fall apart. Which is exactly what happened. I always get surprised when foreigners ask me about Tito expecting stories about  tyranny or dictatorship - on the contrary, I remember the country idolising him and from contemporary TV interviews he emerges as a extremely likable grandfatherly figure.

But human nature is such that people love to torn down everything from pedestals, so in decades after his death, with country first falling down into economic crisis, than going into brutal civil war, it seems that same citizens who adored him earlier took sadistic pleasure of dragging his memory trough the mud and blaming him for everything. Listening to all these people who claim they opened Champagne bottles when he died, I wonder who were those millions of saddened faces I saw standing miles and miles as the train with his coffin passed by. Did everybody suddenly got Amnesia and forgot how country was overwhelmed with sadness? I was there and I remember.

Jovanka Broz was his wife and for decades she embodied the first lady of Yugoslavia. Generations of people loved her and watched as she slowly changed from stunning beauty by his side into mature, matronly figure always smiling and charming foreign politicians. From what I remember, she was impeccably dressed and coiffured presence on many public events (when older, she became much heavier and that bun became her trademark) and yes, as Tito was untouchable so was his wife. There were some allusions of her meddling into politics and being completely cut away from him in the last year's of Tito's life, however nobody knew "for sure" what exactly happened after his funeral. Some said she was under house arrest and for last 30+ years she was taboo and "persona non grata". Jovanka herself did not gave any interviews. Until now.

"Moj život, moja istina" (My life, my truth) is a slim volume (some 200 pages) based on interviews she gave to novelist and journalist Žarko Jokanović shortly before she died this year at the age of 89. Some parts of these interviews were published in newspapers and they were sensation, it seems people were more than curious to find out first hand experiences of someone who was almost royalty for them. Of course I was excited and purchased this book without thinking twice, though I somehow expected "poor me" perspective of its subject and Jokanović's idolising writing style. In a surprisingly dry and dour tone Broz talks with a voice of an old person, kind of voices I almost forgot from my childhood - provincial people who always asked about my family background and tried to pigeonhole everybody by where they came from. She obviously puts a great deal of importance of her own family background and almost third of the slim book is about her own roots, village and relatives. As a young, new generation born in a Croatian capitol I never cared less for these things and still don't think it really matters. For Jovanka Broz (and many of her readers) its still a big deal. So the book covers her family roots in a detail, than shortly describes WW2, very vaguely describes marriage of 28 years and than goes on about last 33 years she suffered poverty and isolation under new Serbian government. Not that she was Imelda Marcos, but she definitely lived lavish lifestyle and had everything taken away from her before she was officially placed in a house arrest.

I still don't understand why - Broz herself claims she was suspected as politically dangerous person because she knew "too much" and various fractions claimed she was either western or soviet spy. The person emerging from these pages is bitter, vindictive and obviously scarred with these experiences - on the other hand, I am aware of gleeful pleasure certain number of population felt with her circumstances and fall from grace. Maybe with time the tide will turn the other way and future generations might see her differently but as for the book itself it is a extremely short, vindictive (she calls certain politicians "pigs" and "bastards") and somewhat disappointing read full of self congratulations and claims of blamelessness.

Goebbels family suicide

One of the most chilling things about Eva Braun biography is casual tone author uses when mentioning WW2 victims and atrocities as comparing with idolising tone when writing chapters about Braun's heroism, loyalty and dignity (?). While using Eva Braun as symbol of all German women who were ignorant of genocide, Lambert simultaneously tries to clear up the conscience of her own German mother who refused to talk about those subjects. I don't accept the version Lambert serves and although surely there were no Internet, TV and so much media connections like today, people must talk even if just between themselves - surely there were neighbours who disappeared and school friends who were "sent away".

One short but unforgettable sentence describes true fact about something that happened in the middle of WW2 - Nazis took around 90 Jewish orphans (aged up to 6 years!) and shoot them in the forest near Kiel. This butchering and slaughter of poor, scared little children who must have been crying and did not understand why this is happening to them is still haunting me and I can't help but imagining the picture - honest to God, I would give my own life if somehow I could be transported there and save them. I could strangle Nazi officials (together with Hitler and Eva Braun) with my own hands knowing this. But right after this short sentence, author goes on about idyllic life Eva Braun had on that darn hill there on Hitler's countryside property where wife's of Nazi officers sunbathed and had blonde haired children playing on the terrace. Did Eva Braun and all those women knew about Jewish orphans killed in forest? Did they cared as long as their little lives were protected?

One of those women was Magda Goebbels, wife of propaganda minister. By all accounts a beautiful, elegant woman, true Nazi-mother and jewel of Nazi parties (she presided over lavish parties where Eva Braun was not allowed, since she had to stay hidden in her rooms) she had six children with Goebbels and one grown up son from first marriage. Her stepfather used to be a wealthy Jew who was later killed in Buchenwald concentration camp and Magda was known to never help anybody who would ask for help, explaining her husband's antisemitism with ""The Führer wants it thus, and Joseph must obey". At the very end of the war, Goebbels family hid in Hitler's bunker and after Hitler and Eva committed suicide, Goebbels decided to rather kill themselves and their children than fall into hands of Soviet soldiers who were already entering Berlin and coming close every hour. There is a letter that Magda sent to her son Harald (who was prisoner in North Africa) where she explains herself in completely brain-washed, Nazi terms and asks him for understanding. Never for a second there is a sense of guilt or passing thought about horrors Nazi victims must have experienced, Magda only thinks about herself and her own loyalty to Hitler. She refused offers from others to have children smuggled out from Berln and rather chose suicide - or should we say murder - of her children with cyanide capsules that kids took not understanding what is happening, just like echo of those little Jewish orphans killed in a forest.

This is a photo of Goebbels family with older son from Magda's first marriage inserted in a picture.

"The lost life of Eva Braun" by Angela Lambert

In previous post I had mention about book market "Interliber" and how surprisingly busy & crowded it was there.
In a such crowded area it is necessary to be somewhat selective and browse stalls with interesting choices - I avoided everything where too many giggling teenagers were grouping or titles about fictional "romantic historical" novels, cookbooks, astrology or whatever else is "popular" and tried to have a good look at things that interest me. Somehow I noticed biography of Eva Braun and this particular book is in fact the first one I started reading on my vacation now.

Fascinating subject but oh, what a biased author. Even with a tons of research into contemporary biographies, memoirs, Braun's own diary, letters and home movies, Lambert constantly feels its important to somehow connect her own family history into all this - her own mother was German born in the same year as Eva Braun so every time when story should follow or explain Braun, we got sidetracked by similar experiences about author's mother (who never even met Braun in the first place). Lambert simply assumes that same age and background should probably connect these two, it gets predictable, annoying and tiresome. Lots of amateur psychoanalysing and she even connects German character with Brother Grimm's brutal fairy tales (she's obviously not familiar with the fact that these stories are read everywhere in continental Europe without having Nazi effect on people).

As for the main subject, even with Lambert's best efforts (she turns over backwards to portrait Braun as heroic) she emerges as self-obsessed, navel-gazing opportunist Bimbo who accepted luxury as payment for her silence, obedience and life in shadows. The question is not "did she known what was going on around her?" but "did she care?" - her own parents were silenced with gifts and Braun herself was mostly concerned only with changing clothes, experimenting with hairstyles and new nail polish. The only time ever she had approached Hitler was when she heard about possible ban on female cosmetics! We are talking about adult woman here. As the story progresses, contrary to author's intention, Braun comes up not as "ordinary young woman" but as someone who consciously switched off when necessary and was willingly brain-washed into the final end. I really wonder what would be her reaction had she lived long enough to face Nürnberg trials.