In 1968, if you were off from school in Detroit on a weekday, you might start the day at 8:30 am with Rita Bell’s Prize Money Movie where she would dial for dollars during commercial breaks from black-and-white-movies. It just had to get you to 10:30. Time for Jeopardy.
Last night, Jeopardy completed its “Greatest of All Time Tournament” in riveting fashion as nearly 20 million viewers watched a trio of America’s fastest trivia buffs duke it out for a million dollars. It’s strange to think that you’d spend much of your life watching a particular show, seeing the drama of life play out in questions and answers, risky wagers and eye-popping pull-out-of-your-fundament responses. The players have aged; the hosts have aged; I’ve aged. This is no longer television. This is mythology.
The Game Before Alex
It may seem like a tangent to go back to the first rendition of Jeopardy, which ran on NBC from 1964 to 1975, then again from 1978-79. But, in a way, Jeopardy saved the quiz show, bringing respect back to fact-based questions following the scandal of the 1950s, where contestants were fed correct answers in order to boost TV ratings. In the early 1960s, game shows had switched to focusing away from trivia, where contestants guessed dollar amounts (Price is Right), played simple games (Concentration), or performed silly physical challenges (Beat the Clock.) Jeopardy was the first where contestants had to demonstrate knowledge more than luck and where the answers were more interesting than the banter between barely known celebrities.
Shakespeare is my jam, which is why I particularly like summer with its Shakespeare Festivals popping up in every district park and on every street corner. I also just finished a class, which knocked me on my ass, filled my head with iambic pentameter, and turned a lot of my bardic understanding upside down. Isn’t that just like a comedy?
There’s nothing like a good lusty Elizabethan comedy – boy falls in love with girl at first sight, girl dresses up as a man, twins get mistaken for each other, bears and donkeys gambol in the forests, and they all get married in the end. Eighteen of Shakespeare’s 38 plays had the comedy label slapped on them by the playwright’s buddies who helpfully subdivided his plays the early folios. We all learned about those divisions in school: comedies end in marriages and no (usually) deaths; tragedies center around a protagonist whose flaw causes mayhem and his own death; and histories were about the kings.
Yet comedies aren’t so easy to categorize. In fact, the last five chronologically are often recategorized by modern scholars as “romances” because they contained tragic elements. But, then, there are the three middle comedies, written before the romances, which have also been called “problem plays.” They are problematic indeed.
I had the opportunity to watch both the 1963 Cleopatra and 2019 Godzilla, King of the Monsters this month and found myself loving them both. They share eerie parallels. Both are expensive movies, which also were wildly popular despite getting horrid reviews. Both reflect on the past and are engrossing films, even if you bring no prior knowledge to the viewing. But both really pay off if you know the history outside the story and let that backstory clothe your experience, almost like an extra dimension. Trashy pinnacles of cinema; perfect for summer watching.
History shows again and again How nature points out the folly of men…
Blue Oyster cult
The 26th Most Expensive Movie Ever Made
By the time Cleopatra premiered in 1963, the film had overspent its $5 million budget by somewhere between $20 and $39 million. The lavish Roman epics that were popularized in the 1950s were driving up costs, but films like Ben Hur, which were costly and well-received, paved the way for Cleo. Variety puts the ultimate cost of the 1963 Fox epic at $44 million, so even before it came to the screen, it was rumored to be a disaster. Cleopatra was a huge box office success, the highest-grossing film of the year at $57 million, but was considered to have lost money. As you watch the scene where Cleopatra enters Rome on a giant barge, flanked by hundreds of costumed dancers, you can’t help but hear *ca-ching* with every painted golden trumpet.
There’s a temptation with sports movies to call them derivative, Rocky knock-offs, as if Rocky invented the concept of striving, training, working past obstacles, and succeeding. All good sports stories—and today’s blog is about two of them—reflect life, which is striving, working past obstacles, building courage, and succeeding. Then struggling again. Lather, rinse, repeat.
The key element to well-made movies about athletics isn’t just about the success at the end, but about the development of character by the participants along the way. How they get there is really the story. Two films I recently watched, 2011’s Best Documentary Undefeated and the recently-released Fighting With My Family, both did an exceptional job of demonstrating how this works.
What a favor I have done you, my gentle readers and Dickens lovers! I have taken it upon myself, in keeping with the situation, to evaluate the universe of versions of “A Christmas Carol.”
This was no easy task. There are four or five widely known versions of this holiday classic, but the off-versions, the non-Scrooge versions–the American, Scottish, musical, Rankin-Bass, Disney, Pixar, pop star, African-American, Canadian, mobster, Susan Lucci, British, and trailer trash versions have become plentiful, indeed!
Since the Seymour Hicks first non-silent ACC (“A Christmas Carol”) film debuted in 1935, another 43 film and television-based versions of Scrooge’s story have been produced, not counting several live once-on-TV teleplays done in the 1950s and also not including every single skit or sitcom-inspired takeoffs ever done. (Ref. see Alex P. Keaton and French & Saunders). My universe included anything recognized on IMDB (or Rotten Tomatoes) or on a Scrooge ten best list. Interestingly, at least five sites purported to have the complete list, but none did. Even Wikipedia under the heading “Adaptations of ‘A Christmas Carol’ only listed 25 of these 43 adaptations of “A Christmas Carol.”