Thursday, July 16, 2020

"The Reckoning" (The Mandalorian, Season 1, Ep 7)(2019)

Yes!  I am finally finishing my comprehensive contemplations of season one of The Mandalorian!  


Once again, PLEASE be aware that I am SPOILING THINGS all over the place in this review.  And some major stuff happens, so don't read this if you haven't watched the last two episodes yet because... you might not be glad that you did.


This episode kicks off with our beloved Mandalorian (Pedro Pascal) receiving a message from Greef Karga (Carl Weathers).


Greef says that he has a plan for taking down The Client (Werner Herzog), who keeps sending bounty hunters after the Little One.  And who is over-running Greef's town with ex-Imperial troopers. If Mando helps take The Client down, he and the Little One will be so much safer, especially since Greef will make all things right with the Bounty Hunter's Guild for him.  Mando says all right, let's do this, and heads off, not to Nevarro, but to Sorgan.


The first act of this episode is all about "let's put together a team."  Much like the beginnings of The Magnificent Seven (1960) or The Avengers (2012), which are two of my favorite movies, so yeah, I'm a fan of stories about assembling teams.  Part of why I dig this episode.


On Sorgan, Cara Dune (Gina Carano) has found a way to earn her keep by basically being a cage-fighter, only instead of being locked in a cage, she and her opponent are tethered together with an energy beam.  And this reminds me of Raiders of the Lost Ark (1981), where we're introduced to Marian Ravenwood when she's winning a drinking contest.  Very much has that vibe, with all the locals around them betting while the female character excells in a contest about something usually associated with men. Like Marian, Cara bests a man at his own game and has a great time doing it.


Mando offers Cara a job protecting the Little One and taking on The Client.  She's totally not interested.


Well, not until he mentions that their opponents are all ex-Imperial.  Then she's totally in.  Because not only was she a fighter with the Rebel Alliance, she's from Alderaan.  You know, Princess Leia's home planet that Grand Mof Tarkin blew up for kicks and giggles back in Star Wars: A New Hope.  It's no wonder she jumps at the chance to take down a few more Imperial troopers.  It's not business, it's personal.


So, Cara boards the Razor Crest, and off we go.  Once they're in hyperspace on the way to their next destination, the Mandalorian shows Cara Dune something we've never seen him show anyone else during this series.


Seriously, he has never opened the doors to his weapons cache FOR anyone before.  We've seen him open it for his own use a couple times, but usually other people are messing with his stuff and poking their noses into his cache, and he gets touchy about it.  Him opening it FOR Cara and telling her she can take anything from it that she wants clearly shows us how much he trusts her.  Beautiful storytelling that they set up so well in previous eps.


By the way, Little One is incredibly naughty in this episode.  Maybe he just turned his species' equivalent of a two-year-old or something.  I don't know.


When he sees that Mando and Cara are busy loading weapons and such, he grabs the ship's joystick controller and starts messing around with it, sending the Razor Crest into a lurching spin.  Man, oh man, do they need to get that kid a car seat with straps and buckles!!!


Anyway, we do make it safely to Arvala-7.  This picture is just here cuz it's pretty.


This one is here cuz it's pretty AND cuz it shows us who we've come back to Arvala-7 to get: Kuill (voiced by Nick Nolte).  He's gracious and hospitable as always.  Well, to Mando and Little One, anyway.  He and Cara don't get along so well because he was enslaved by the Imperials back in the day and worked on tech for them, and she really looks down on him as a result.


And then we get a big surprise!!!  Remember IG-11 (voiced by Taika Waititi), the droid bounty hunter that Mando teamed up with briefly back in episode one, then destroyed to protect Little One?  Well, here he is again, back on his feet and now serving tea in Kuill's home.


We all know Mando hates droids.  Turns out Cara doesn't care for IG units, since they're designed to be hunters and killers.  For a minute, it looks like IG-11 is about to get two new holes in his head.


But Kuill explains.  After Mando left with the Little One, Kuill went to the deserted compound to see what was left in it.  He found IG-11 and took him home.


Once home, he fixed up IG-11 and reprogrammed him to be a caretaker droid instead of a hunter.  Kuill convinces Mando to take IG-11 along too, and three blurrgs.  I couldn't get a shot of the interior of the Razor Crest filled with blurrgs, but it cracks me up so much.  And reminds me of that episoe of Firefly (2002-03) where they transport cattle in the Serenity.


There's really no reason for this shot.  Except Mando looking handsome.  Is it weird that I think of his helmet as handsome?  Yeah, it probably is.  I do, though.


Anyway, Mando and Cara do a little friendly arm wrestling.  Which I find adorable.  "We're bored and it's taking a while to get where we're going.  And we're stuck on a ship with a bunch of blurrgs, a droid we don't trust, a farmer, and a trouble-making baby.  We're so bored.  Hmm.  Wanna arm-wrestle?"


Speaking of the trouble-making baby, Little One... Force-chokes Cara.


Why?  Why does he do this?  My initial take on it was that he misunderstood what they were doing, that it was a friendly contest, and thought Mando was in danger from this fierce fighter, so he tried to help.  Or maybe he thought Mando was going to lose?  Either way, he seems to be reacting to Cara's statement to Mando that she's "got you now."

Other people have suggested that perhaps Little One is actually on the Dark Side, since Force-choking was Darth Vader's favorite trick.  I'm not really leaning toward this, as nothing else we've seen him do has been harmful.  I think he's just trying to protect/help his guardian.

I do have one other theory, though.  I think Little One may be jealous.  When he sees Cara and Mando palling around in the ship earlier, arming themselves and discussing weaponry, he interrupts them by sending the ship spinning.  And now, when they're having a fun and friendly contest, definitely enjoying each others' company, he interrupts them again by attacking Cara.  Could it be that he misinterprets their camaraderie?  We all see so clearly that their friendship is platonic, but he's a kid.  Maybe he doesn't know that.  Maybe he's been abandoned before by a caretaker who got into a romantic relationship?  We don't know his past.  And here comes this woman taking up a lot of his guardian/father-figure's time and getting attention from him.  I do think this might be it -- that Little One doesn't want to share Mando.  Or is afraid of losing him.


Anyway, Mando picks him up, scolds him, and Little One releases Cara.  Whew.


Kuill spends the rest of the trip fashioning a new, better floating-bassinet-thingy.  With Little One watching, because Little One does love to watch stuff, like any kid.


We finally return to Nevarro, where Greef Karga and a few bodyguards meet up with us.


Mando, Kuill, and Cara ride out on blurrgs like they're big, bad, bold cowboys.


Which, basically, they are.  They're here to clean up this town, after all.  So many Magnificent Seven vibes going on in the first half of this ep, tbh.  Or maybe Silverado (1985) vibes, since there are four of them if you count Little One?


Pretty shot of Mando using the control panel on his greaves to operate the floating-bassinet-thingy.


I get kinda touchy when people pick up the Little One, do you?  Like, you better be careful there, buddy.  I'm watching you.  Even when it's a character I like, such as Greef Karga.


Love how Cara Dune cocks one leg up around the saddle horn, so casual and at ease.  Such an old-timey cowboy movie thing.  Makes me think of Harry Carey, Sr. in Angel and the Badman (1947).


Takes us a while to get to town, so we have to camp out for the night, and we make us a nice big campfire cuz that's what cowboys do out on the range.  Make a nice big campfire to keep away the bad critters.


Except this is Nevarro, not Nevada, and the campfire attracts bad critters instead.  Namely, mynocks.  You know, those things that chew on the Millennium Falcon in The Empire Strikes Back.  These ones are massive and carry off a blurrg :-(  They also either carry off or kill one of Greef's bodyguards.


One of them rakes Greef Karga's arm with its talons.  Cara Dune tries to bandage him up, and keeps reassuring him he's going to be fine (she's a terrible liar, it turns out), but the mynock poison spreads anyway.  He's not going to make it.


Or, he wouldn't if Little One didn't come over and heal his arm.  Which makes everyone both freaked out that Little One can do that, and also slightly awed.


That was a really hard scene to screencap cuz it was all at night, and I don't have anything to say about this image except that it's actually clear enough to see everybody, so I'm including it here anyway.


Next morning, we keep heading for town.  Mostly on foot, thanks to the mynocks.  We get to the edge of town, Greef turns around, nods to his two remaining bodyguards... and guns them down.


Cara and Mando are naturally a little upset over learning that Greef Karga was planning to have his bodyguards kill them and take the Child to the Client.


Oh, I love the classic westerny vibes here!!!! I want to eat this picture for breakfast.


Greef explains that he had a change of heart because Little One saved his life last night, and now he's willing to make a new plan with them.  Cara is still super untrusting of him, and who can blame her?


There's something really poignant about the sight of this empty floating-bassinet, isn't there?  Like, this is what's at stake here.  If we can't beat The Client and his ex-IMP troops, Little One will be gone.


This shot also hits me hard.  Kuill takes Little One away, and we have to wonder how much of this the baby understands.  Does he know Mando intends to come back for him?  Is he feeling abandoned?  Does he get that this is all about protecting him?  Or is he just... confused and going along with what the grown-ups say, because that's what kids do?


Away go the gunfighters, striding toward their destiny. Or their doom.


Annnnnnd here we meet the comic relief for the last two episodes.  Two speeder-bike troopers (played by Jason Sudeikis and Adam Pally) who are exceedingly bored with their jobs.


As you can see by the fact that Mando is cuffed, we're trying a variation on the trick that Han, Luke, and Chewie played back in Star Wars: A New Hope (1977).


Cara is VERY uncool with how things go.  Because the town is positively crawling with troopers.


Most of them also have that gross, rusty, manky armor we saw in the first few eps.  Blech.  They remind me of the toilets in a seedy gas station.


Okay, so.  Greef is like, "Hi, I brought you a present."


And then... it's so awful, I just want to punch something.  The Client strokes Mando's helmet.  It's sooooooooooooooo icky!  I feel violated on my Mando's behalf!  Get your nasty hands off my hero's face!


Ugh.  The Client (Werner Herzog) is so disgusting.  I mean, wow, they do a brilliant job of making me despise him.


So we all hang out in the cantina a while because of course we do.  And, as Cara points out, Greef said there would be four guards, but there are a heckuva lot more than four guards.  At least Greef manages to slip Mando a blaster under the table.


And then, we have our Big Reveal.  The Client is working for someone else.  Someone he doesn't name, but who Mando recognizes.


This charming character is Moff Gideon (Giancarlo Esposito), who I guess figures into some of the Star Wars animated shows?  I need to watch those.  Well, Moff Gideon is one of those ultra-nice guys who orders his troops outside to just kill everyone in the cantina, including The Client (whew, I'm so glad he's dead, the creep).


Obviously, they don't kill EVERYONE because we have another episode of this season left.  But they kill most everyone, and Mando and Cara and Greef hit the rest.


But we are in serious trouble.  Those aren't wanna-be storm troopers in yucky armor.  They're not even ex-IMPs.  They are Death Troopers.


Death troopers in shiny, evil black armor with big blaster rifles.


And they're accompanied by scores of shiny, well-trained storm troopers in clean new uniforms.  It seems some people haven't gotten the memo that we killed the Emperor and destroyed the Empire a few years back.


Kuill and Little One are on their way back to the Razor Crest, though.  And Moff Gideon somehow knows this.


For some reason, he sends those two bored speeder-bike dudes after them.  I would have sent a lot more than that, honestly.


So, Moff Gideon makes a big, splashy entrance with his very own TIE-fighter.


It has fold-up wings.  Isn't he special.


Well, he thinks he's special, anyway.


Kuill almost makes it to the Razor Crest.  He's so close.


But he doesn't make it.  We're left with the sight of the Little One getting scooped up by the speeder-bike guys, and then the episode ends on this:


Dang it.  I liked Kuill a lot.  Somebody's going to pay for this.  And it better be those stupid speeder-bike troops in their ugly long-faced helmets.

Monday, July 13, 2020

Introducing Once Upon a Western MUGS!!!

Wait, did I say mugs???


I did!  It's true!  The inestimably talented Vanessa Rasanen has collaborated with me to bring lines from my books Cloaked, Dancing and Doughnuts, and One Bad Apple to you on these gorgeous camp mugs.  You can buy them today from Crabapple Books and More! (WARNING: her shop is full of amazing bookish mugs, shirts, notebooks, and more. You might become addicted to her products the way I am.)

Want a closer look?  I am happy to oblige!  (Thank you for permission to share these, Vanessa!)

From One Bad Apple:



From Dancing and Doughnuts:



From Cloaked:


I think they're simple, elegant, and completely wonderful.  I hope you do too!

I had a really great time finding just the right lines from my books for these, and I can hardly believe how gorgeous they turned out.  Thank you so much, Vanessa!

Monday, July 06, 2020

Announcing Legends of Western Cinema Week 2020


Howdy!  Didn't mean to sneak up and ambush you or anything, but Heidi (of Along the Brandywine) and I are all set to co-host Legends of Western Cinema Week again this year!  It'll be August 17-21, and you can consider this post your official invite!


In case you're new to these parts, I'll tell you a little about what Legends of Western Cinema Week is like.  It's kind of like a blogathon and kind of like a blog party, in that there will be lots and lots of ways for you to participate.  Basically, it's just an excuse for people all across the blogosphere to celebrate western films and TV shows for five days straight.


What can you contribute?  Anything whatsoever that has to do with western cinema, be it on the big or small screen.  Movie or TV show reviews, top ten lists, a tribute to your favorite cowboy or cowgirl movie star, musings on western film scores, whatever you can dream up!

Want to do more than one post?  Totally allowed!  Want to post about the same movie or other subject as someone else?  Totally allowed!  This is a party, not a blogathon, and we welcome as many posts by as many people as possible.

If you can't figure out anything to write about, but still want to participate, fear not!  Heidi and I are coming up with a blog tag you can fill out, plus we'll both be posting some blog games for you to play.


You can sign up for this event in the comments on my post here or on Heidi's post.  There's no official "roster" to get added to until the event actually starts.  We're being real laid-back about this, can you tell?

Many thanks to Olivia (of Meanwhile, in Rivendell...) for creating these spiffy blog party buttons.  Share them with your friends and neighbors on your own blog/site to spread the word!

Thursday, July 02, 2020

Sign Up for the "One Bad Apple" Virtual Book Tour

I will be going on a virtual book tour to celebrate the release of One Bad Apple at the end of July!  This tour will run from Monday, July 27 through Friday, August 7.

Just like the tour I did for Dancing and Doughnuts, this will be very flexible.  Would you like to interview me on your blog?  Host a video chat on your Instagram or YouTube channel?  Post a book review on your blog or Instagram?  Contribute some totally different thing I haven't imagined?  I am open to ideas!

You can sign up using this Google form, and I will contact you via the email address you provide to that form to discuss dates and so on.

If you are already signed up to receive an advance copy of One Bad Apple, know that you'll be getting that by the end of the week.  Your book review would be a perfect way to participate in the book tour!

All book tour participants will be eligible for extra entries into the giveaway I'll be hosting starting on release day, July 28.  Just my way of thanking you!

Wednesday, July 01, 2020

"A Midsummer Night's Dream" (1935) -- Initial Thoughts

I have come to realize that I actually don't like A Midsummer Night's Dream very much.  The story and characters don't grab me, and I find several characters and much of the story preposterous, even grating.  However!  This filmed version is a fascinating watch, worth it for the special effects and the luminous Olivia de Havilland alone.


Because this is supposed to be High Art, or Important Theatre, or whatever, we have an Overture, and an Intermission.  They used Felix Mendelssohn's Overture and Incidental Music for A Midsummer Night's Dream, but with additional music by Erich Wolfgang Korngold (who wrote such wonderful scores as The Adventures of Robin Hood [1938]).


The opening credits alert us that this is going to be a magical, effects-laden film.  I have no idea how they did this swooshy effect to get the credits to swirl into being.  I tried to capture it with a gif:


It's so cool.  (I'm terrible at making gifs, btw -- I just film a little snippet with my phone and then use it to make the gif.  At least it gives you an idea of what I'm talking about.)


The costumes department must have come to blows over what era this is supposed to take place in, and settled the question by including ALL the eras.  We've got Elizabethan costumes.


We've got Ancient Roman costumes.


We've got medieval peasant costumes.  Oh well.  This is supposed to be a fantasy, so why not mix all the time periods together when it comes to clothes?  Certainly saves a lot of money on making everything match up -- just use whatever the wardrobe department already has and it'll be fine!  Save some money for the special effects!

The plot, in case you aren't aware, is this: Theseus (Ian Hunter) the Duke of Athens and Hippolyta (Verree Teasdale) the Queen of the Amazons are going to get married.  How should they celebrate their nuptials but by watching a play enacted by commoners with zero acting experience or talent?  Totally makes sense, right?

One plot is not enough for Shakespeare right now, so we've also got a young woman named Hermia (Olivia de Havilland) who loves and is beloved by a guy named Lysander (Dick Powell).  That's great, but Hermia's dad wants her to marry this other guy, Demetrius (Ross Alexander).  Hermia doesn't like Demetrius at all, especially because her friend Helena (Jean Muir) loves him.  So Hermia refuses to marry Demetrius, and her dad takes her to see Theseus and Hippolyta about it, to see if he can just have this wretched daughter killed for being so disagreeable.

As it turns out, two plots is not enough for Shakespeare today either, so we've also got King Oberon (Victor Jory) and Queen Titania (Anita Louise) battling each other over this random little kid Titania has adopted, but Oberon wants as his servant.

Now, mix those all together so that the fairies use magic to mess with the humans and each other, and everyone except Theseus and Hippolyta (who wisely remain in Athens and don't go wandering around any enchanted forests) are in for a very bad and confusing few days.  Which somehow is supposed to be funny.


Weirdly enough, Victor Jory makes a really cool King Oberon.  They give him this creepy crown, they superimpose spangly glimmers over all his shots, and he has such an unusual face anyway that it just works.


Anita Louise is a mystifyingly beautiful Queen Titania. She's ethereal without being twee, which is a hard line to walk.  I was surprised by how well I liked her.  Honestly most of my favorite parts of this film involved the fairies.


Oberon has these demonic bat-like fairies that follow him around, which get really creepy.


Titania has gauzy, glittery fairies that accompany her.  Their costumes are juuuuuuust this side of scandalous, but they're very pretty.  Unfortunately, whenever they appear, they tend to dance around for several minutes on end while the whole story stutters to a stop, which I could definitely have done without.  If you're a fan of glittery fairies dancing, though, you'll dig those parts.  These dances sometimes involved more very good special effects:


I mean, this movie is almost a hundred years old, and that's some pretty spectacular stuff even now.  Must've wowed the socks off audiences in its initial run.


Rounding out the fairies, we have Puck (Mickey Rooney).  Puck is always played exactly the same way in every single production of this story I've ever seen (granted, I've only seen 3, two live and this filmed version).  He's mischievous and squeaky and capers a lot and makes weird noises and is generally irksome.  Just once, I'd love to see him played as bored with the whole plot and totally done with Oberon's crap.  A sarcastic, annoyed Puck would be so amazing, I think.  As opposed to the rampant overacting every director seems to expect and encourage.


Speaking of overacting, oh my word.  James Cagney, what were you ON?  He never actually quite chewed on any scenery as Bottom, not even when he had a donkey head, but he might as well have.


I'm also not sure if he was supposed to break the fourth wall here and look directly at us, or if it was kind of accidental, or what, but it cracked me up.

The donkey head thing was another excellent effect, though:


Once Puck gave him that donkey head, I started to really like Bottom.  Cagney toned everything down and was really expressive and pitiable.  Very much liked him from then on.


His utter confusion over Titania falling madly in love with him was quite charming.


Of course, once Oberon gets what he wants, he reverses almost all the love charms.  Titania loves him again.


Lysander and Hermia get to get married after all.


Demetrius I guess gets to stay under a love spell forever so that Helena will be happy, and I don't know why Helena is totally cool with this sort of pretendy love, but I don't actually like either of them anyway, so whatever.


Theseus and Hippolyta have lots of fun laughing at the commonors' play-acting, which we have to sit through, and which I am just never amused by.  But it ends eventually.


Whew.


Olivia de Havilland was just 19 years old in this film, and she's wonderful to watch.  Sweet, happy, unhappy, confused, angry, fearful -- she gets the best range of emotions to run through of anyone in the film, and she nails all of them.  Which is why I decided to review this for the Olivia de Havilland Blogathon hosted by Charity at The Sacred in the Secular in honor of Ms. de Havilland's 104th birthday today!

Happy birthday, Ms. de Havilland!  It's so wonderful that we still have you with us.


Check out the blogathon for the list of other blog posts in her honor!