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Streaming VOD TV Guide for Today 4 Mar 2020 : Youtube Edition
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Great Directors Series : Walter Hill’s EXTREME PREJUDICE
“Hell you can buy me Cash, you always could. But you can’t buy the badge. And one without the other ain’t no damn good.”
I LOVE This film.
See my previous review about how my initial disinterest the first time I saw this film, turned to absolute adoration the 2nd time I saw it. Every time I have seen it in the years since, my love for this film deepens.
“Sarita we’ve gotta give it a rest. The talk. All of it.”
“You don’t want to be with me any more?”
“No I didn’t say that. I just said we gotta give the talk a rest. That’s all. You, me and Cash. It’s too hard. It’s going to get too goddamned complicated.”
“For you Jack. But what about me?”
It is an imminently quotable film. Every line is a poetry of sorts. Not the poetry of Shakespeare’s HENRY V , but in its way the dialogue here is every bit as iconic and memorable and haunting.
“I’m just a poor ass dirt farmer. Nobody ever gave me nothing. And nobody’s gonna take it away!”
It is the culmination of Walter Hill’s filmic soliloquy on masculinity and violence and relationships.
And it stars some of the greatest character actors of the day, in arguably their finest roles.
“I don’t want to see you around here anymore.”
“Hell no Deputy. You can color me gone.”
The late great Rip Torn (who by all reports was a fun, rebel raising bad ass, here in this role gets to be closest to the bad-ass he was), Michael Ironside, the late great Powers Booth (who delivers an award worthy performance), Larry B. Scott, Maria Conchita Alonzo, William Forsythe (who steals every scene he is in) , Clancy Brown and Nick Nolte all deliver for me, some of the finest performances of their respective careers.
“State Legislature??!! Shit, Jack! !Only thing worse than a politician is a child molester.”
I learned a valuable lesson that day many years ago, that first impressions while unavoidable are seldom solid ground to stand on. What matters is informed opinions.
My informed opinion is this Walter Hill ode to his love of Peckinpah and Ford, driven by a torrential, act of god script by the great John Milius, transcends its inspirations and influences to be one of the greatest films ever made. And arguably the best modern day western ever made.
There is unfortunately no DVD or BluRay that does a great job on this film. No cast or director’s commentary. Probably your best best currently is the beautiful German mediabook Bluray edition. But even then, the Bluray is obviously just taken right from the DVD. with no mastering done. Picture wise you might as well stick with the DVD, however, the mediabook, has beautiful photographs to accompany the Bluray. The text is in German, but any online translator can help with that.
Still I do hope for a worthy well mastered Bluray someday soon, complete with commentary by the surviving cast and crew. ShoutFactory (a well known Bluray special edition producer)… make it happen!! 🙂 .
Until then to get the Bluray MediaBook, go HERE!
“He died going forward. That means a hell of a lot down here. “
Artist of the day: Edwin Lord Weeks and The Hour of Prayer
I had the great pleasure to see an Edwin Lord Weeks painting in person recently, and in a museum filled with artwork of the ages from Innes to Tanner to Sargent to Parrish, the Weeks painting remained the highlight. His paintings are oft of incredible scale, particularly the one I saw that took him a year to finish. Just a glorious painting.
I would be roaming the museum, in other rooms of that section, and the painting was positioned so that, even from a distance, it commanded attention. There are no decent pictures of it online, and even the best picture I’ve found, can’t really reproduce colors or brightness (typically too dark, poor contrast in the images) or the brush strokes or the gravity of looking up and into this painting of oil on canvas, that has seen the fall and rise of two different centuries.
The painting does not just capture a moment of culture and history that is quickly being westernized and bombed away, the painting is culture and history.
The painting I am describing, it is called THE HOUR OF PRAYER. Its full title is ‘The Hour of Prayer at Muti-Mushid (Pearl Mosque), Agra’,
I am quite enamored of it, one of the best paintings from Edward Lord Weeks, one of the preeminent American artists of the Moorish and the Oriental.
Here’s a bit of the history on the painting, with some specifics regarding dates courtesy of Heritage Auctions.
Edwin Lord Weeks, born 1849, began work on what would become his most celebrated painting sometime in 1888, at the modest age of 39. He would begin, early in 1888, tossing oils on a canvas that, measured the insane size of 118 1/2″long by 79″ high. It was a monstrous and daunting empty space to have to fill, even by one of the acclaimed painters of his day. A year later in 1889, he would put his last bit of oil in place, and the endless painting, would be ended.
Edwin Lord Weeks, now 40, after a year of fighting oil and canvass and God and man, would step back from the painting that many thought would be his folly, and found it good.
The world agreed. As it was a painting that, unlike many works that meet with derision or indifference upon first viewing, was from the first… acclaimed.
THE HOUR OF PRAYER, from the first its brilliance by all who viewed it… could not be denied.
I quote from its auction description in May of 2007:
“The Hour of Prayer at Muti-Mushid (Pearl Mosque), Agra, is one of five monumental scenes of India which secured [Edwin Lord Weeks] reputation as America’s most celebrated Orientalist painter of the late nineteenth century. Based upon the artist’s second of three extended trips to India, in 1886-1887, ‘The Hour of Prayer at Muti-Mushid (Pearl Mosque), Agra’ won a medal at the 1889 Paris Salon where it was displayed to enviable advantage. Six years later, Weeks chose this expansive sun-drenched view of the inner courtyard of the Pearl Mosque to represent him in the colossal “Empire of India” exhibition in London in 1895, where his achievement as the premier painter of Indian scenes was lavishly acknowledged with a medal of distinction, a monetary prize, and a special display of 78 of his works. From the time it was sold by the artist’s widow in 1905, the Salon-scale Hour of Prayer at Muti-Mushid has had only two owners-the Brooklyn Museum of Art (1905-1947), which deaccessioned it at a time when academic painting had fallen sharply out of fashion, and a private American collection (1947-present).”
In May of 2007 The painting THE HOUR OF PRAYER, went up for sale for only the third time in the 114 years of its existence, selling for the very healthy sum of $850,000 (including buyer’s premium,taxes and fees). Less than a couple hundred thousand shy of a million.
The painting can currently be viewed in all its glory at the Virginia Museum of Fine Art. And it is a trip worth making if just to see that painting in person. Because failing that, owning it would seem to be a possibility for only the wealthy few, and even then you are talking about, if history be our guide, a wait of decades before it next goes up for auction.
And I’d be willing to wager that in a future world where so much precious art, particularly of or depicting the Moorish influence has been lost, the painting will sell for astronomically more than its 2007 sale price.
I do wish however the Richmond Museum would put the painting behind glass. As much as I adored being able to see the painting at close proximity, it is a painting of some import and fragility, I noticed some damaged areas on the massive painting, and I, as a security minded person, would really feel better if it was behind glare-free and acid-free glass.
But that to the side, onto the final words on the painting.
in summation Edward Lord Weeks’ THE HOUR OF PRAYER is one of the most striking paintings I’ve seen in person in years, I’d think I’d have to go back to my first time seeing a Caravaggio or Rubens to get that same sense of… captivation. It is something of a reminder to those of us who are sometimes made unfeeling in this world of metal, and bombs, and death and indifference, that if we can not be cured by art, we can at least be… refreshed by it.
I’ll leave you with a few other striking Weeks images:
And for books about and by Edwin Lord Weeks, see the following:
The Art of Edwin Lord Weeks (1849-1903)
From The Black Sea Through Persia And India…
And for more on the Virginia museum of Fine Art go here!
Forgotten Soundtracks! The brilliant, the demented and the obscure! QUINCY JONES: IN COLD BLOOD!
Today’s INTERESTING soundtracks!
Most disturbing thing I heard today:
“The young Japanese girl can go to the same place she might have gone to to have her eyelids westernised or her breasts enlarged and here she can have herself surgically… reflowered.” Man that just made me queezy and not in a good way. That sentence is wrong on so many levels. That line comes from the soundtrack TEENAGE REBELLION.
Most brilliant thing I heard today:
Quincy Jones’ soundtrack to IN COLD BLOOD is my discovery of the day.
I was never that taken with Truman Capote or the film made from his award winning book… IN COLD BLOOD, but I listened to a track from the soundtrack today and was BLOWN AWAY!
I immediately went looking for it on CD, and you know what… IT IS NOT AVAILABLE!! Has never been issued on CD!!! That is a crime, because as RATSO RUSSO, the mastermind behind the GROOVY SOUNDTRACKS radio show and podcast where I listened to these tracks stated, this is Quincy Jones at his darkest.
And from what I heard, I would argue at his most brilliant. A masterpiece.
It is a crime, A CRIME I SAY that this soundtrack was never made available on CD. If you’re lucky you may come across the original 1968 LP, but cheap it is not. LP ranges from $50 to $250.
But to get a sampling of these tracks (try before you buy) and many more check out Ratso’s great GROOVY MOVIES PODCAST here, and tell Ratso that HT sent ya!
Check the below link for availability of the LP:
IN COLD BLOOD (ORIGINAL SOUNDTRACK LP, 1968)
Thanks and good listening!
Heroic Times 