Showing posts with label Susan Sarandon. Show all posts
Showing posts with label Susan Sarandon. Show all posts

Friday, August 14, 2015

Doing the Time Warp



"I'm just a sweet transvestite from Transsexual, Transylvania."

Dr. Frank N. Furter (Tim Curry)

On this day in 1975, I don't think anyone really noticed the debut of "The Rocky Horror Picture Show." I have no memory of it having a traditional theatrical run — of course, it's possible that the two–screen theater that served my hometown in those days chose not to show it when it had the opportunity — and it might have slipped into movie obscurity altogether had it not been for someone's inspiration to turn it into a cult movie with midnight showings on Friday and Saturday nights.

I don't know who thought of doing that — but whoever it was really earned a bonus for that one. In the late '70s and early '80s, a majority of the theaters in the United States had midnight showings of "The Rocky Horror Picture Show" at some point — and nearly everyone in his/her late teens and/or early 20s in those days went to see "The Rocky Horror Picture Show" at least once. I was in college around that time, and it was a social event on campus — as it was elsewhere. People dressed in costumes inspired by the movie and brought appropriate props with them — toast, rice, umbrellas, newspapers. You probably needed to see the movie once before joining the audience participation — if only to have some idea what was going on.

I don't think it would be an exaggeration to assert that most people probably went to see it dozens of times. That doesn't mean it was a good movie — it certainly was not — but it had a campy appeal that was decidedly its own.

In fact, the more I think about it, a good way to judge the honesty of people of that generation would be to ask them how many times they went to midnight showings of "The Rocky Horror Picture Show." You'll know they're lying if they give you a specific number. If they are truly honest, their answers will be somewhat vague — "Oh, I don't know. Several."

After all, who could be precise after being exposed to all the marijuana smoke those midnight showings always had?

However, there are always those who expect precision of a sort. Film critic Roger Ebert wrote, "It's one of those movies," he wrote, "you have to use a lot of hyphens to explain. A horror–rock–transvestite–camp–omnisexual–musical parody. It's about two clean–cut kids from the 'Ike Age,' Janet and Brad, who stumble through a time warp and into a sinister Gothic mansion where the annual Transylvanian Convention is taking place (pardon me, boys, is this the Transylvanian orgy?). The mansion is presided over by the bizarre Dr. Frank N. Furter, who is, he explains, a transvestite from the planet Transsexual in the galaxy Transylvanian."

And that, in a nutshell, is the plot.

Janet was played by Susan Sarandon, an actress in her 20s but already a veteran of some half a dozen movies. Brad was played by Barry Bostwick, an actor who was about 30 and who probably hasn't had as noteworthy a career as Sarandon. Dr. Frank N. Furter was played by Tim Curry — who always seems to land outrageous roles (and really hit the jackpot with this one).

No one who saw "The Rocky Horror Picture Show" could ever forget the titles of the songs — "The Time Warp," "Dammit Janet," "Sweet Transvestite," just to name a few.

I keep thinking that, in today's hopelessly politically correct culture, "The Rocky Horror Picture Show" would be mercilessly hammered as insensitive — not the generational event that it was.

Saturday, June 15, 2013

Worshipping in the Church of Baseball



"I believe in the Church of Baseball. I've tried all the major religions and most of the minor ones. I've worshipped Buddha, Allah, Brahma, Vishnu, Siva, trees, mushrooms and Isadora Duncan. I know things. For instance, there are 108 beads in a Catholic rosary, and there are 108 stitches in a baseball. When I learned that, I gave Jesus a chance. But it just didn't work out between us. The Lord laid too much guilt on me. I prefer metaphysics to theology."

Annie (Susan Sarandon)

It's been 25 years since "Bull Durham" premiered in America's theaters, but I can still remember when I first saw it.

I was working at the Arkansas Gazette on the sports copy desk, which required me to work nights and weekends. I had been doing that for nearly 4½ years, and at this time in 1988, I was making plans to move to Texas to pursue my master's degree.

In hindsight, it wasn't the best time to be starting a new relationship. Nevertheless, that is what I was doing.

On one of my nights off, I took a girl named Mary to see "Bull Durham" at a theater in Little Rock. She had seen it before, but she didn't mind seeing it again. She liked it. I hadn't seen it.

It was a delightful movie. The sports genre is rather crowded, but "Bull Durham" brought a fresh quality to its subject, perhaps because it managed to combine sports, drama/romance and comedy almost seamlessly.

Mary was already a baseball fan — the topic accounted for the vast majority of our conversation on our first date — but even if she had no interest in the sport, I think the drama/romance and comedy would have kept her interested in the movie.

The love story part was pretty easy to grasp (and, I must say, Mary was a sucker for a love story). Veteran catcher Crash Davis (Kevin Costner) and young hotshot pitcher Nuke LaLoosh (Tim Robbins) were vying for the affections of Annie, the team's groupie who made a habit of picking one player each season as her personal project. I always thought it was interesting that the on–screen fireworks were strongest between Sarandon and Costner — but, off screen, it was Sarandon and Robbins who had a long–term relationship.

Actually, I suppose, the movie was really about life and love and relationships. It just happened to be set against a sports backdrop. Personally, I found it to be a rather routine kind of love story — albeit with better writing than most — but, like any story, it needed a good hook, and sports provided the hook.

In spite of some marketers' attempts to present it in a different light, "Bull Durham" wasn't really a sports movie. That was a shortcoming that some moviegoers may have found unforgivable. It didn't really bother me at the time because I understood what it was.

Still, it helped to have some knowledge of the game in order to fully appreciate the often–crackling byplay between Crash and Nuke. As any baseball fan will tell you, pitchers and catchers often hold brief conferences on the pitcher's mound, usually to discuss strategy. But the mound conferences in "Bull Durham" were a little different.

Like when Crash and Nuke met on the mound to discuss Nuke's burning desire to "bring the heater" — i.e., throw a fastball. Crash, who had been signed to tutor Nuke, resented his attitude — and told the opposing batter to expect a fastball. The batter, of course, crushed it.

When they met on the mound while the batter was rounding the bases, Nuke muttered in wonder, "That sucker teed off on that like he knew I was gonna throw a fastball!"

"He did," Crash replied.

"How?" wondered a bewildered Nuke.

"I told him," Crash confided to Nuke.

Another time, after Crash told a batter what to expect and the batter drilled the ball over the fence to ruin Nuke's shutout, Crash remarked, "Anything that travels that far ought to have a damn stewardess on it."

But the funniest mound conference probably came when virtually the entire lineup was gathered at the mound, each player with his own crisis to resolve. Nuke thought his eyelids were jammed, one player wanted a live rooster to take the curse off his glove, and no one knew what to give a teammate for his upcoming wedding.

"We're dealing with a lot of shit," Crash told the assistant coach ...

Who replied, "Well, candlesticks always make a nice gift, and maybe you could find out where she's registered and maybe a place setting or maybe a silverware pattern."

I'm quite sure that mound conferences aren't like that in the majors, but in the minors, who knows?