Categories
Comic Books & Graphic Novels Marvel Comics

CAPTAIN CARTER # 4 (2022 MARVEL Comics)

Written by Jamie McKelvie.

Art by Marika Cresta; Matt Milla; & VC’s Clayton Cowles.

Cover Art by Jamie McKelvie.

SUMMARY:

Marvel Comics released this issue for September 2022.  In this present-day, alternate reality London, the recently unfrozen Captain Peggy Carter has allied with a cyborg Tony Stark facing off against a mysterious army of masked android assassins.  Reuniting with her British friends, S.T.R.I.K.E. operative Lizzie Braddock and hacker Harley, Peggy’s makeshift team deduces a deep-state HYDRA plot has now infiltrated both the British government and S.T.R.I.K.E. itself. 

Worse yet, Peggy deduces the insidious immortality behind the masquerading aristocrats, Jacqueline Falsworth and father John Falsworth, as to what they really are.  Publicly declared a dangerous fugitive, a framed Peggy goes solo to confront the high-profile, political identity John Falsworth is presently hiding behind. 

Notes: Though the image isn’t available here, artist Romy Jones produced the issue’s variant cover.  The issue has occasional profanities, but Marvel takes the classy approach of bleeping them out.

REVIEW:

Including a terrific likeness of actress Hayley Atwell, this issue’s art squad proves on their game.  Equal to the task is writer Jamie McKelvie, who takes welcome advantage of this reality’s fresh sense of unpredictability.  Suffice to say, McKelvie concocts an intriguing plot re-imagining Union Jack and Spitfire’s familial connection to Baron Blood.  For readers curious as to the publicity that What If’s animated Captain Carter and/or Atwell’s live-action version has generated, then Captain Carter # 4 won’t disappoint them.  

ADDITIONAL CONTENT:

The credits page includes a brief synopsis of the plot-to-date.  Included a quick summary, the last page is a cover preview of the potentially concluding Issue # 5.  

BRIAN’S ODD MOON RATING:              7 Stars

Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks

BATMAN – THE ADVENTURES CONTINUE: SEASON ONE (DC Comics)

Written by Alan Burnett & Paul Dini.

Art by Ty Templeton; Mark Morales; Sean Parsons; Monica Kubina; & Josh Reed.

Collection Cover Art by Dave Johnson.

SUMMARY:

In 2021, DC Comics released this 208-page paperback reprinting 2020’s Issues # 1-8.  Resuming the continuity of TV’s Batman: The Animated Series / New Batman Adventures, Batman’s never-ending crusade expands upon the Bat-Family consisting of Alfred Pennyworth, Barbara Gordon’s Batgirl, and Tim Drake’s Robin III.  Despite appearing on the back cover, Dick Grayson’s Nightwing doesn’t participate in these stories.

The first arc is “Hardware, Parts I-II.”  Lex Luthor returns to Gotham, with a destructive and seemingly indestructible giant robot as his new toy.  Batman senses all isn’t what it seems, as he counters Luthor’s armored power suit with his own.  Meanwhile, the Bat-Family realizes that a mysterious stalker is spying upon them.  Superman makes a brief guest appearance.

The next arc is “Mentors, Parts I-IV.”  Deathstroke is in town, seemingly on the trail of Firefly for a mysterious bounty.  As the stalker angle continues, Batman worries that he might lose an impressionable Tim Drake due to his unexpected hero worship of Deathstroke.  In a showdown with the Dark Knight, Deathstroke’s ulterior agenda is revealed.  “The Darker Knight, Parts I-II” has Batman & Azrael teaming up to recover a mystical item that Catwoman has swiped.  A showdown with Mr. Freeze is imminent, as he attempts to resurrect his late wife’s corpse.

“Red Son Rising, Parts, I-V” depicts an adult Jason Todd seeking vengeance on his own terms against both his ex-mentor and the Joker.  Todd’s origin and subsequent fate as Robin II are tweaked for a younger audience, but his savage near-death beating by the Joker is left intact. Meanwhile, others express interest in taking advantage of a now-compromised Dark Knight. 

Lastly, “Secret Santa” depicts Gotham’s Christmas season, as Batman monitors Arnold Wesker’s newfound independence from his partner, Scarface the dummy.  Girlfriends Poison Ivy & Harley Quinn, meanwhile, co-host an exclusive holiday party for Gotham’s costumed Arkham Asylum cretins and a few other guests.  Left off the guest list, the party-crashing Joker has made some explosive plans for New Year’s Eve.   

Note: This book is also available digitally.

REVIEW:

Season One scores plenty of consumer points with consistently good storytelling, the art squad’s visual homage to the animated series, and an array of bonus materials.  Had an introduction from Dini and/or series producer Bruce Timm been thrown in, this package would be absolutely complete.  In that sense, the only vintage element otherwise missing is the magic of Kevin Conroy voicing Batman. 

However, there are a few parental caveats.  1.  There is a segment of Mr. Freeze cradling his wife’s decomposing corpse after evidently grave-robbing it from a cemetery — all that is seen is her feet under a blanket-like shroud; and 2. A flashback revealing young Jason Todd’s brutal torture by the Joker is visually toned down from the comics and the Batman: Under the Red Hood animated film.  Still, the dire inference of Todd being beaten to near-death with a bloody crowbar is plainly obvious.  Todd’s improbable escape is curiously explained, but not how he would have plausibly survived such extensive internal injuries.

Given the circumstances, the co-writers adapt Todd’s Robin/Red Hood storyline for a younger audience about as well as one could expect without cheating older readers.  As much as “Red Son Rising” dominates Season One, Todd’s presence isn’t its best asset.  Instead, “Secret Santa,” with its well-played blend of action, humor, and poignant character progression, is likely the worthiest of deserving an animated episode.   

Even if none of these stories are must-have reads, Bat-fans should still find Season One a welcome addition to the bookcase.

ADDITIONAL CONTENT:

In a full-page format, Templeton’s sketches for: an armored Batman (black-and-white); Deathstroke (color and black-and-white); Azrael in both his St. Dumas armor and Bat-armor (color); Jason Todd’s Red Hood (color); and Todd’s Robin (color).  There is a full-page leaping Batman pin-up from artist Dave Johnson seen four times in two alternating color schemes.  Also seen is a portrait of Alfred staring at a glass-encased Bat-suit from artists Paolo Rivera & Joe Rivera.

Preceding each story is its original full-page cover.  The cover artists are: Dave Johnson (Issue # 1); Sean Murphy & Matt Hollingsworth (Issue # 2); Joe Quinones (Issue # 3); James Harren (Issue # 4); Paola Rivera & Joe Rivera (Issue # 5); Khary Randolph & Emilio Lopez (Issue # 6); Becky Cloonan (Issue # 7); & Mirka Andolfo (Issue # 8).  Appearing in a half-page format is artist Randy Mayor’s covers used for the book’s digital chapters; each is designed to resemble The Animated Series’ title cards.

Lastly, as accompanied by Randolph & Lopez’s Batman pin-up, there is a full-page variant cover gallery.  The variant cover artists are: Dan Mora (Issue # 1); Dustin Nguyen (Issue # 2); Dan Hipp (Issue # 3); Ben Caldwell (Issue # 4); Sean “Cheeks” Galloway (Issue # 5); Kaare Andrews (Issue # 6); Justin Erickson (Issue # 7); and Ronnie Del Carmen (Issue # 8). 

BRIAN’S ODD MOON RATING:                 8½ Stars

Categories
CD's Music & Radio Shows Rock, R&B, Pop, Soul, & Metal/Symphonic

LET IT BE ME (by Audrey Wheeler)

SUMMARY:                          RUNNING TIME: 61:00 Min.

Capitol Records released this Soul/R&B album in 1987.  Audrey Wheeler’s eleven tracks are:  

                                               Running Time:

  1. “Irresistible”                                           5:11
  2. “Love on The Inside”                             4:57                                          
  3. “Forget About Her” (with Laundon Von Kendricks)   5:36
  4. “Somewhere in Your Life”                           3:58
  5. “Time for Passion”                                     5:13
  6. “I Miss You, Love” (with Larry Graham) 5:59
  7. “Don’t Lose Your Touch”                             5:02
  8. “Let It Be Me (Je T’Appartiens)”                 4:59
  9. “Irresistible” (bonus extended version)  6:10
  10. “Forget About Her” (bonus Club Mix)   6:37
  11. “Irresistible” (bonus UK Remix)             7:33

REVIEW:

Incorporating welcome jazz beats, “Let It Be Me” very much resonates as a template for mid-80’s R&B.  On most of these tracks, Audrey Wheeler’s vibrant sound surpasses what are otherwise mostly average tunes for the genre.  Case in point: her classy talents are on full display in Tracks # 1 and # 7, as they both might have been Top 20 hits. 

Yet, the repetitiveness factor kicks in too soon, as she relies heavily on “Irresistible” – it’s included a whopping three times.  Even if it meant resorting to an industry cliché, Wheeler ought to have tried at least one nostalgic R&B cover; at least, it would have better showcased her vocal range vs. hearing the same song yet again. 

Overall, Wheeler’s appealing presence ensures that her album delivers the necessary goods.  The insurmountable problem facing “Let It Be Me” is that it doesn’t overcome similar-sounding competition from the same era.       

PACKAGING:

Without running times, the tracks are listed on the back cover.  Wheeler’s husband, Will Downing, presents an introduction to the album.  Along with the musical credits, Wheeler includes her thank-you’s. 

BRIAN’S ODD MOON RATING:            6½ Stars

Categories
Comic Books & Graphic Novels Marvel Comics MARVEL's Hardcovers & Paperbacks

EPIC COLLECTION: THE AVENGERS, VOLUME 4 – BEHOLD … THE VISION (MARVEL Comics)

Written by Roy Thomas.

Art by John Buscema; Sal Buscema; Gene Colan; Barry Windsor-Smith; Frank Giacoia; & Howard Purcell.

Collection Front Cover Art by John Buscema & Paul Mounts.

Collection Back Cover Art by Sal Buscema; Sam Grainger; & Paul Mounts.

SUMMARY:

In 2015, Marvel Comics released this 456-page compendium reprinting 1968-70’s Avengers # 57-76, along with the debut of Dane Whitman’s Black Knight in Marvel Super-Heroes # 17.  Starting with the Vision’s own debut, he leads the Avengers (Hawkeye; Wasp; Giant-Man; & new member Black Panther) into a showdown with Ultron.  Captain America & Iron Man join the team’s investigation into the Vision’s past. Also explained is Hank Pym’s amnesia linked to his creation of Ultron. 

The next arc has the brash Yellowjacket emerge in a sudden romance with the Wasp, as several guest stars attend their wedding.  Hank Pym’s ongoing identity crisis is seemingly resolved. Doctor Strange then accompanies Black Panther, Vision, Hawkeye, & the Black Knight on an adventure into Wakanda that gives Black Panther’s teammates some valuable insights. 

Black Widow’s abduction motivates Hawkeye to try his hand as ‘Goliath; (the team’s new Giant-Man).  Hawkeye’s murky past with hoodlum brother Barney Barton and mercenary ex-mentor, the Swordsman, is also revealed.  Thor’s vast might is sorely needed in the Avengers’ subsequent rematch with Ultron.  Forced into playing games with Kang the Conqueror means the team faces both the debuting Squadron Sinister and the Golden-Age Invaders.

Tag-teaming with the Kree’s Captain Mar-vell, Rick Jones resurfaces to help the team challenge Scorpio.  It’s then up to the Black Panther to thwart the Sons of the Serpent once they’ve targeted his private life.  Quicksilver seeks out the Avengers to rescue his sister, the Scarlet Witch, following  her abduction by Arkon (a mystical warrior from another dimension).  In closing, the supernatural origin of Dane Whitman’s Black Knight is revisited. 

REVIEW:

In blazing color, exploring these Silver Age exploits of The Avengers becomes an old-school Marvel fan’s dream.   Behold … The Vision delivers well-packaged nostalgia and lives up to all expectations.  This collection is highly recommended!          

ADDITIONAL CONTENT:

The original covers are presented in a full-page format.  Another full-page cover is from 1969’s King-Size Avengers Annual # 3 (by John Buscema & Frank Giacoia), though there apparently isn’t any story material in this particular volume.   Also provided is full-page, unused cover art for Marvel Super-Heroes # 17 (from Howard Purcell & Dan Adkins). 

There is also a black-and-white, full-page photo taken of artist John Buscema’s artwork from the first page of Avengers # 58.  Other black-and-white visuals are sampled from pages 19-20 from Issue # 58 (by John Buscema & George Klein). 

Next up is unused sketch work for the Avengers # 66 cover (by Barry Windsor-Smith & Syd Shores).  Black-and-white artwork featuring Ultron on page 11 of Avengers # 68 (by Sal Buscema & Sam Grainger) is provided.  Lastly, there is a Black Panther scene from page 17 of Avengers # 74 (by John Buscema & Tom Palmer).

BRIAN’S ODD MOON RATING:              10 Stars

Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks

FABLES, VOLUME 1: LEGENDS IN EXILE – 10TH ANNIVERSARY EDITION (DC Comics/Vertigo Comics)

Written by Bill Willingham.

Art by Lan Medina; Steve Leialoha; Craig Hamilton; Sherilyn van Valkenburgh; & Todd Klein.

Collection Cover Art by Mark Buckingham.

SUMMARY:

First published in 2002, for its Vertigo Comics imprint, DC Comics re-released this 10th Anniversary edition of Fables, Volume 1: Legends in Exile in 2012.  Like before, 2002’s Issues # 1-5 have been compiled, but multiple extras (as listed below) are now included.  Hence, the page count is now 160 pages.

In New York City’s secret Fabletown community, an ultra-bloody crime scene sends Jack (of old Beanstalk fame) rushing to its security chief’s disheveled office claiming his girlfriend, Rose Red, is missing.  Supervised by Rose’s estranged sister, Snow White (Fabletown’s Deputy Mayor/Director of Operations), an insightful Bigby Wolf begins his hunt for the perpetrator. Among his potential homicide suspects are: a scorned Bluebeard; the perpetually-conniving Jack; Snow White’s sleazeball ex-husband: Prince Charming; and possibly even Snow White herself. 

Meanwhile, a high-profile lottery for Charming’s supposed riches from the lost Homelands is set for this year’s Remembrance Ball.  Under increasing pressure, it’s up to Bigby to reveal the ugly truth scandalizing Fabletown.  He senses full well that all isn’t what it seems.

REVIEW:

Despite resorting to excessive profanities, writer Bill Willingham conjures up an intriguing murder-mystery.  Bigby Wolf, as Fabletown’s world-weary, Sam Spade/John Constantine-esque gumshoe, dominates Volume 1, exactly as Willingham intends. 

Providing Bigby a welcome pendulum is Snow White as his politically savvy tag-team partner, no matter how reluctantly (and emotionally) involved she is.  Their crime-solving, ‘odd couple’ chemistry concocts this book’s most traditionally appealing asset.  As to the mystery’s twist ending, Willingham’s revelations are fair game when Bigby explains the assorted visual clues.

Padded with bonus materials, Fables, Volume 1: Legends in Exile delivers an excellent first journey into Willingham’s long-running saga.    

ADDITIONAL CONTENT:

A table-of-contents is provided.  Willingham slyly pens a two-page introduction.  In a full-page format, artists James Jean’s original covers are included, as is Alex Maleev’s variant for Issue # 1.  Jean also supplies the double-page cover accompanying the initial release of Fables, Volume 1: Legends in Exile

Entitled “A Wolf in the Fold,” in traditional fable-like prose, Willingham’s eight-page prequel reveals Bigby & Snow White’s first encounter centuries before, along with why the Wolf later assumed human form to accompany her overseas to The New World.  Willingham supplies two full-page black-and-white illustrations.  

There’s also three previews:

  • From Peter & Max, A Fables Novel: The eight-page “The Price of a Happy Ending” depicts the raven Clara’s wartime recruitment of Little Bo Peep and Peter as black ops assassins on Fabletown’s behalf.  Written by Willingham, he is joined by artist Steve Leialoha & letterer Todd Klein.
  • From Fables, Volume 2: Animal Farm: In an eight-page excerpt, Snow White & Rose Red visit Fabletown’s private sanctuary amidst talk of an imminent revolution to seize their long-lost Homelands.  Written by Willingham, he is joined by artists Mark Buckingham & Steve Leialoha.
  • From Fairest # 1: A seven-page excerpt depicts a nocturnal twist on the Sleeping Beauty tale.  Written by Willingham, he is joined by artists Phil Jimenez & Andy Lanning, with cover art from Adam Hughes.

BRIAN’S ODD MOON RATING:                8 Stars

Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks

INJUSTICE – GODS AMONG US: YEAR ZERO (DC Comics)

Written by Tom Taylor.

Art by Rogê Antônio; Cian Tormey; Rain Beredo; & Wes Abbott.

Collection Cover Art by Julian Totino Tedesco.

SUMMARY:

In 2021, DC Comics released this 152-page hardcover publishing 2020’s digital fourteen-chapter prequel to the video game: Injustice: Gods Among Us.  Just twelve months before Superman’s fateful corruption, terminally ill inmate Andre Chavard makes a devil’s bargain to escape Gotham’s Blackgate prison to finally meet his adult grandson.  In exchange for his help, the Joker demands from Chavard a long-lost mystical amulet that can mind-control anyone, even gods.

The Justice League, meanwhile, celebrates their illustrious predecessors: the surviving (and now-elderly) members of the Justice Society and their heroic legacy.  Elsewhere, Superman and his wife, Lois Lane, poignantly contemplate starting their own legacy.  Possessing the jewel-like amulet, the Joker unleashes a reign of terror on both the JLA and JSA, as the JSA’s worst failure comes back to haunt them.  The motivation for the Joker’s final vengeance months later is revealed.    

Notes: This title is also available in digital and paperback formats.  Continuity-wise: 1. Wonder Woman is a dual member of the JLA and the JSA; reflecting DC’s post-Rebirth shift, this Alan Scott/Green Lantern is gay; and Inza Cramer (also called Inza Nelson) is this reality’s Doctor Fate.

REVIEW:

As one might anticipate, the art squad’s visuals are consistently this franchise’s best asset.  The storyline, however, is a mixed bag, despite writer Tom Taylor’s initially promising homage to classic JLA/JSA team-ups.  Expecting the cover’s inference of a JLA/JSA civil war isn’t what one gets, as far as the Joker’s amulet possibly decimating both rosters. 

While Taylor concocts some intriguing plot twists, such unpredictability tends to be negated by his reliance on shock value violence (i.e. brutally killing off or maiming characters for supposedly dramatic value rather than the sadism it simply is).  For that matter, spelling out exactly why a pregnant Lois Lane is targeted a year later isn’t welcome entertainment.  In a nod to good taste, leaving Joker’s motivation as ambiguous would have been a better creative choice.

For Injustice’s long-time fan base, Year Zero will likely be a satisfying and action-packed read.  More casual readers, however, may find the storyline’s violence quotient not explicitly graphic but still disturbing.    

ADDITIONAL CONTENT:

In a full-page cover gallery format, Julian Totino Tedesco’s covers for Chapters One, Three, and Five are included.  Shrunk to half-page images are his cover sketches for these same chapters.  

BRIAN’S ODD MOON RATING:             5½ Stars

Note: Another DC title worth considering is Elseworlds: JSA – The Liberty Files where the book’s second half has the team facing the Nazis’ ultimate weapon: a Zod-like Superman.

Categories
Music & Radio Shows Novelty Albums (CD's, Digital Music, & Records) Records/LP's

THE CHIPMUNKS GO HOLLYWOOD

SUMMARY:         APPROXIMATE RUNNING TIME: 30:23 Min.

In 1982, Bagdasarian Productions released this cover album through RCA Records on vinyl and cassette tape.  Including one original song, “E.T. & Me,” there are ten tracks.  These tracks are:

                                                                  Running Time:

            SIDE A

  1. “Eye of The Tiger” (from Rocky III)                      4:05
  2. “Tomorrow”  (from Annie)                                    2:30
  3. “9 to 5” (from 9 to 5)                                           2:44
  4. “You’re the One That I Want” (from Grease)         2:46
  5. “Believe It or Not” (from The Greatest American Hero)  2:52

  SIDE B

  1. “E.T. & Me” (Inspired by E.T. the Extraterrestrial) 3:21
  2. “The Dukes of Hazzard (Good Ol’ Boys)”  (from The Dukes of Hazzard) 2:32   
  3. “Arthur’s Theme (The Best That You Can Do)” (from Arthur)  2:52
  4. “Fame” (from Fame)                                              3:22
  5. “Chariots of Fire” (from Chariots of Fire)              3:10

Uncredited are the original artists being spoofed: Survivor (Track 1); actress Aileen Quinn (Track 2); Dolly Parton (Track 3); actors John Travolta & Olivia Newton-John (Track 4); Joey Scarbury (Track 5); Waylon Jennings (Track 7); Christopher Cross (Track 8); Irene Cara (Track 9); and Vangelis (Track 10).

Notes: Track 4 is a duet between Alvin & The Chipettes’ Charlene.  The voice actors portraying Alvin, Simon, Theodore, Dave Seville, & Charlene aren’t credited.

REVIEW:

Blending kiddie humor with light-hearted movie soundtrack satire, The Chipmunks Go Hollywood is an all-ages nostalgic treat.  More specifically, the album’s good production values ensures that these tunes aren’t merely chintzy rip-offs.  Even the comical banter between The Chipmunks (not to mention, Alvin & surrogate dad/boss Dave) somehow still holds up forty years later.  Suffice to say, for undemanding listeners, this wacky concept album delivers the necessary goods.

PACKAGING:

On the album’s back, there is an original ‘snapshot’ representing each track. 

BRIAN’S ODD MOON RATING:             7 Stars

Categories
DVD Movies & Television (Videos) THREE STOOGES-Related TV Series (Specific Episodes)

THREE STOOGES: “HALF-SHOT SHOOTERS” (1936)

SUMMARY:    RUNNING TIME: 19:00 Min. (Black & White)

Directed by Jack White (under the pseudonym of Preston Black), this early Three Stooges comedy for Columbia Pictures was written by Clyde Bruckman. 

In 1918, the Three Stooges are literally asleep on the job overseas as U.S. soldiers when World War I ends, mid-battle.  A round of nasty bullying from an infuriated Sgt. MacGillicuddy (Blystone) includes single black eyes for Curly & Larry, and a deliberately dislocated or broken arm for Moe.  After their subsequent discharge from the Army, the Stooges retaliate with triple-teaming as MacGillicuddy’s ‘farewell gift.’ 

Seventeen years later, now hungry, destitute, and homeless, the Stooges are haplessly suckered into re-enlisting in the Army.  Much to their chagrin, guess who their vindictive drill sergeant is?  Assigned to a coastal artillery unit, miscommunication sets up Moe, Larry, & Curly to enthusiastically commandeer an Army cannon with live ammo to commence target practice.  Even an admiral’s flagship can’t evade the Stooges’ immense stupidity.     

Moe: Moe Howard

Larry: Larry Fine

Curly: Jerry “Curly” Howard

Sgt. MacGillicuddy: Stanley Blystone

Man in Restaurant: Vernon Dent

Examining Officer: Edward LeSaint

Other Unnamed Officers: Harry Semels, Lew Davis, & Bert Young

Additional Known Cast Members: Eddie Laughton, Johnny Kascier, & Heinie Conklin

REVIEW:

“Half-Shot Shooters” is utterly defenseless in its poor taste, and, worse yet, is hard-pressed to score even a single chuckle.  Whatever dubious post-war satire screenwriter Clyde Bruckman sought is lost in a series of unfunny gags, including the climax where Stooges annihilate military property multiple times.  What isn’t spelled out but can only be presumed is a mass number of innocent casualties, given MacGillicuddy’s superiors don’t bother halting his final act of vengeance. 

It’s unfortunate that the Stooges and a capable supporting cast are squandered in such mean-spirited dreck spoofing the U.S. military.  Including co-stars Edward LeSaint and Harry Semels in hilarious reaction-heavy roles, one should instead see the Stooges’ subsequent Columbia release: “Disorder in the Court.”  Spoofing Hollywood’s murder trial melodramas, “Disorder” is a wacky comedy gem.  “Shooters,” on the other hand, qualifies as nothing short of cinematic sludge.       

BRIAN’S ODD MOON RATING:                 1½ Stars

Categories
CD's Classical, Electronica, & New Age Music & Radio Shows

A JOURNEY (by Pretty Yende)

SUMMARY:                   RUNNING TIME: 77:00 Min.

In 2016, Sony Classical released this album showcasing South African operatic soprano Pretty Yende.  Backing Yende is the RAI National Symphony Orchestra conducted by Marco Armiliato.  The eight selections are:

  1. II Barbiere di Siviglia (The Barber of Seville), Act 1, No. 5

Composer: Gioachino Rossini        Running Time: 6:08

2. Lakmé, Act 1, No. 2

Composer: Leó Delibes                   Running Time: 6:13

3. Lakmé, Act 2, No. 10

Composer: Leó Delibes                   Running Time: 8:08

4. Beatrice di Tenda, Act 1, Scene 6

Composer: Vincenzo Bellini           Running Time: 12:36

5. Le Comte Ory, Act 1, Scene 8, No. 4

Composer: Gioachino Rossini         Running Time: 9:46

6. Lucia di Lammermoor, Act 1, No. 3

Composer: Gaetano Donzetti           Running Time: 12:59

7. I Puritani (The Puritans), Act 2

Composer: Vincenzo Bellini           Running Time: 15:2

8. Roméo et Juliette (Romeo and Juliet), Act 4, No. 17

Composer: Charles Gonoud            Running Time: 5:57

REVIEW:

A Journey is a treat channeling old-school Italian opera through Pretty Yende’s youthful and undeniably vibrant sound.  Reminiscent of Cecilia Bartoli, Yende excels as a vocal storyteller, as far as shifting from one dramatic emotion to another, let alone playing light-hearted comedy.  Hence, this album offers a wonderful chance to inspire a new generation of aspiring opera buffs.  The same applies attracting experienced listeners in need of a fresh jolt of energy.

Showing off Yende’s creative versatility without going overboard, Sony Classical effectively blends familiar opera tracks with some of the more obscure.  Ultimately, Yende’s Journey proves a musical gem for any age. 

PACKAGING:

Unsurprisingly, Sony Classical’s quality control is first-class.

BRIAN’S ODD MOON RATING:                      10 Stars

Categories
Digital Movies & TV Movies & Television (Videos) Online Videos THREE STOOGES-Related

TED HEALY & THE THREE STOOGES: “BEER AND PRETZELS” (1933)

SUMMARY:     RUNNING TIME: 20:00 Min. (Black & White)

In 1933, MGM released Beer and Pretzels, as the second of its comedy short series starring Ted Healy, the future Three Stooges (Moe Howard, Larry Fine, & Jerry “Curly” Howard), and Healy’s off-screen girlfriend, Bonnie Bonnell.  The plot is meant to loosely spoof Healy’s real-life reputation as a ‘ladies’ man.’  Jack Cummings directs The Stooges’ first two-reel comedy, with original music written by Al Goodhart & lyricist Gus Kahn. 

Ted’s incessant womanizing costs them the quartet their gig as performers at the Happy Hour variety theater. Hence, the unemployed Stooges press their leader into getting them all jobs as waiters at a swanky nightclub.  The club’s glamorous singer becomes the latest of Ted’s would-be romantic conquests. 

Mayhem ensues, as Ted and his hapless buddies harass the clientele while inviting themselves into the club’s featured entertainment.  An ironic finish awaits the gang, as Ted can’t seem to keep his promises. 

Ted: Ted Healy

Moe: Moe Howard

Larry: Larry Fine

Curly: Jerry “Curly” Howard

Nightclub Singer (Bonny Latour): Bonnie Bonnell

Singing Bartenders: The Three Ambassadors (Jack Smith, Martin Sperzel, & Al Teeter)

Theatre Manager: Ed Brophy

Nightclub Manager: Fred Malatesta

Tap Dancing Trio: Uncredited

Undercover Cop: Uncredited

Nightclub Patrons: Uncredited

REVIEW:

Great premise, lackluster execution.  Wasting the Stooges in unfunny gags, Beer and Pretzels is definitely a swing and a miss.  Despite the film’s welcome sprinkles of old Hollywood charm, what’s obvious is how superfluous a smooth-talking Healy is to the Stooges. 

Looking remarkably youthful, the Stooges merely hint at the legendary slapstick material they would unleash (without Healy) at Columbia Pictures only a few years later.  With perpetual straight man Healy setting up most of their cues here, the Stooges try their thankless best to make him look good.  Frankly, given this uninspired script, it’s all for naught.     

From start to finish, neither Healy nor the Stooges conjure up anything remotely hilarious – i.e. smacking each other with a palm to the forehead isn’t worth a chuckle.  Even a big fight scene is just that – a barroom brawl that sets up the final scene and nothing more. 

The finish saves the film’s best potential gag for last; invariably, what ought to have been an outrageous Groucho Marx-style visual twist becomes a weakly low-key cop-out.  It’s really no wonder that Beer and Pretzels utterly fails to exploit the fun opportunity it has on tap.   

BRIAN’S ODD MOON RATING:                 3 Stars

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