So, I’m thinking about going to Iran this summer.

Seinfeld

1.2: Male Unbonding

The Premise

Joel, an old school friend, visits a reluctant Jerry; Jerry tells him they have nothing in common but is then overcome with guilt when his friend gets upset.

Observational

Another aspect of the stand-up bits is that, while Seinfeld’s act is based on common touchstones and broad generalisations (“This is what all guys do”), his writing with Larry David distills these points and feeds them through quirky and distinct individuals. What they do may be easily identifiable with but the exaggeration involved is what makes it really work. I’ll go on about the framing bits less and less, because there’s usually little to say about them content-wise that’s not covered in the episodes. There are a few memorable lines here about “breaking up with a guy”, though.

Kevin Dunn, a readily recognisable film and TV supporting player, excels as Jerry’s boorish best friend, and some of the series’ tropes are already fully formed. Jerry speaks his mind, and then his better nature causes him to backtrack. Kramer always comes out on top despite blithe indifference to proprietorial norms (here he ends up going to the Knicks game with Joel, with tickets that Jerry gave to Joel to ease his conscience).

Kramer’s already getting the pick of the dialogue, and it’s easy to see why studio audiences quickly started cheering whenever he made his hipster-doofus entrances (to rigourous Richards ‘chagrin; that wouldn’t happen now, of course…) Whether it’s offhandedly imparting sage commentary (“They’ve got a cure for cancer, you see. It’s all big business!”) or trying to get his business venture off the ground (“A pizza place where you make your own pie” – which the series will revisit in due course), he makes an indelible impression.

George’s miserliness makes itself known (taking a jar of coins to the bank), but the real event of this episode is the introduction of Julia Louise-Dreyfus as Elaine. She’s a delight from her first scene, showing upmost ease and enjoying effortless chemistry with Seinfeld (“You made a man cry? I never made a man cry!”)

This is still nascent stuff, not yet confident enough to take in other plots except obliquely. I guess the difference is that in this show even the material where characters just stand around talking was innovative, but in terms of the series it’s still exploring and finding its groove.

Quotable:

George: I know a guy who took a vacation on his change.

Jerry: Yeah? Where did he go? An arcade?

Verdict:

Comments

She was addicted to Tums for a while.

Marriage Story (2019)
(SPOILERS) I don’t tend to fall heavily for Noah Baumbach fare. He’s undoubtedly a distinctive voice – even if his collaborations with Wes Anderson are the least of that director’s efforts – but his devotion to an exclusive, rarefied New York bubble becomes ever more off-putting with each new project. And ever more identifiable as being a lesser chronicler of the city’s privileged quirks than his now disinherited forbear Woody Allen, who at his peak mastered a balancing act between the insightful, hilarious and self-effacing. Marriage Story finds Baumbach going yet again where Woody went before, this time brushing up against the director’s Ingmar Bergman fixation.

You can’t climb a ladder, no. But you can skip like a goat into a bar.

Juno and the Paycock (1930)
(SPOILERS) Hitchcock’s second sound feature. Such was the lustre of this technological advance that a wordy play was picked. By Sean O’Casey, upon whom Hitchcock based the prophet of doom at the end of The Birds. Juno and the Paycock, set in 1922 during the Irish Civil War, begins as a broad comedy of domestic manners, but by the end has descended into full-blown Greek (or Catholic) tragedy. As such, it’s an uneven but still watchable affair, even if Hitch does nothing to disguise its stage origins.

We live in a twilight world.

Tenet (2020)
(SPOILERS) I’ve endured a fair few confusingly-executed action sequences in movies – more than enough, actually – but I don’t think I’ve previously had the odd experience of being on the edge of my seat during one while simultaneously failing to understand its objectives and how those objectives are being attempted. Which happened a few times during Tenet. If I stroll over to the Wiki page and read the plot synopsis, it is fairly explicable (fairly) but as a first dive into this Christopher Nolan film, I frequently found it, if not impenetrable, then most definitely opaque.

The protocol actually says that most Tersies will say this has to be a dream.

Jupiter Ascending (2015)
(SPOILERS) The Wachowski siblings’ wildly patchy career continues apace. They bespoiled a great thing with The Matrix sequels (I liked the first, not the second), misfired with Speed Racer (bubble-gum visuals aside, hijinks and comedy ain’t their forte) and recently delivered the Marmite Sense8 for Netflix (I was somewhere in between on it). Their only slam-dunk since The Matrix put them on the movie map is Cloud Atlas, and even that’s a case of rising above its limitations (mostly prosthetic-based). Jupiter Ascending, their latest cinema outing and first stab at space opera, elevates their lesser works by default, however. It manages to be tone deaf in all the areas that count, and sadly fetches up at the bottom of their filmography pile.

This is a case where the roundly damning verdicts have sadly been largely on the ball. What’s most baffling about the picture is that, after a reasonably engaging set-up, it determinedly bores the pants off you. I haven’t enco…

Seems silly, doesn't it? A wedding. Given everything that's going on.

Harry Potter and the Deathly Hallows Part I (2010)
(SPOILERS) What’s good in the first part of the dubiously split (of course it was done for the art) final instalment in the Harry Potter saga is very good, let down somewhat by decisions to include material that would otherwise have been rightly excised and the sometimes-meandering travelogue. Even there, aspects of Harry Potter and the Deathly Hallows Part I can be quite rewarding, taking on the tone of an apocalyptic ‘70s aftermath movie or episode of Survivors (the original version), as our teenage heroes (some now twentysomethings) sleep rough, squabble, and try to salvage a plan. The main problem is that the frequently strong material requires a robust structure to get the best from it.

You know what I think? I think he just wants to see one cook up close.

The Green Mile (1999)
(SPOILERS) There’s something very satisfying about the unhurried confidence of the storytelling in Frank Darabont’s two prison-set Stephen King adaptations (I’m less beholden to supermarket sweep The Mist); it’s sure, measured and precise, certain that the journey you’re being take on justifies the (indulgent) time spent, without the need for flashy visuals or ornate twists (the twists there are feel entirely germane – with a notable exception – as if they could only be that way). But. The Green Mile has rightly come under scrutiny for its reliance on – or to be more precise, building its foundation on – the “Magical Negro” trope, served with a mild sprinkling of idiot savant (so in respect of the latter, a Best Supporting Actor nomination was virtually guaranteed). One might argue that Stephen King’s magical realist narrative flourishes well-worn narrative ploys and characterisations at every stage – such that John Coffey’s initials are announcement enough of his…

When I barked, I was enormous.

Dean Spanley (2008)
(SPOILERS) There is such a profusion of average, respectable – but immaculately made – British period drama held up for instant adulation, it’s hardly surprising that, when something truly worthy of acclaim comes along, it should be singularly ignored. To be fair, Dean Spanleywas well liked by critics upon its release, but its subsequent impact has proved disappointingly slight. Based on Lord Dunsany’s 1939 novella, My Talks with Dean Spanley, our narrator relates how the titular Dean’s imbibification of a moderate quantity of Imperial Tokay (“too syrupy”, is the conclusion reached by both members of the Fisk family regarding this Hungarian wine) precludes his recollection of a past life as a dog.

Inevitably, reviews pounced on the chance to reference Dean Spanley as a literal shaggy dog story, so I shall get that out of the way now. While the phrase is more than fitting, it serves to underrepresent how affecting the picture is when it has cause to be, as does any re…

Haven’t you ever heard of the healing power of laughter?

Batman (1989)
(SPOILERS) There’s Jaws, there’s Star Wars, and then there’s Batman in terms of defining the modern blockbuster. Jaws’ success was so profound, it changed the way movies were made and marketed. Batman’s marketing was so profound, it changed the way tentpoles would be perceived: as cash cows. Disney tried to reproduce the effect the following year with Dick Tracy, to markedly less enthusiastic response. None of this places Batman in the company of Jaws as a classic movie sold well, far from it. It just so happened to hit the spot. As Tim Burton put it, it was “more of a cultural phenomenon than a great movie”. It’s difficult to disagree with his verdict that the finished product (for that is what it is) is “mainly boring”.

Now, of course, the Burton bat has been usurped by the Nolan incarnation (and soon the Snyder). They have some things in common. Both take the character seriously and favour a sombre tone, which was much more of shock to the system when Burton did it (even…

He tasks me. He tasks me, and I shall have him.

Star Trek II: The Wrath of Khan
(1982)
(SPOILERS) I don’t love Star Trek, but I do love Star Trek II: The Wrath of Khan. That probably isn’t just me, but a common refrain of many a non-devotee of the series. Although, it used to apply to The Voyage Home (the funny one, with the whales, the Star Trek even the target audience for Three Men and a Baby could enjoy). Unfortunately, its high regard has also become the desperate, self-destructive, song-and-verse, be-all-and-end-all of the overlords of the franchise itself, in whichever iteration, it seems. This is understandable to an extent, as Khan is that rare movie sequel made to transcendent effect on almost every level, and one that stands the test of time every bit as well (better, even) as when it was first unveiled.

Anything can happen in Little Storping. Anything at all.

The Avengers 2.22: Murdersville
Brian Clemens' witty take on village life gone bad is one of the highlights of the fifth season. Inspired by Bad Day at Black Rock, one wonders how much Murdersville's premise of unsettling impulses lurking beneath an idyllic surface were set to influence both Straw Dogs and The Wicker Mana few years later (one could also suggest it premeditates the brand of backwoods horrors soon to be found in American cinema from the likes of Wes Craven and Tobe Hooper).

Now In Full Color, with a Happier Ending

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