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Posts from the ‘TV’ Category

18
May

Friday Forgotten Song: Al Hirt’s Flight of the Bumblebee

As I mentioned some weeks ago, I remain a fan of the ahead of its time, little seen, and under-appreciated masked crime fighter TV series from the 1966-7 season, The Green Hornet. More so, the other thing that marked it distinctly was its theme song. The tune used reflected back to a time where such things were important in ways now long forgotten in today’s programming. Decades ago, it was a practice of sort to aspire toward a show’s signature tune to be liked enough that it’d make its way up the pop music charts. The Hornet’s would do just that and influence those that came afterward.

Back then, it wasn’t unheard of for television shows to employ classical music tracks as their theme songs. The Lone Ranger famously used the William Tell Overture as its musical prologue. And the long-time radio program for The Green Hornet, the one that preceded its 60s namesake TV series, used the orchestral interlude for Nikolai Rimsky-Korsakov‘s opera The Tale of Tsar Saltan, Flight of the Bumblebee, which was composed in 1899–1900, for its introduction.

This piece has long been enjoyed by classical music listeners (casual or serious) and it remains a popular melody because it’s simultaneously catchy and playful. You can imagine the flight of said large hairy bee as the notes zigzag through your ears and into your head. Despite that, the instrumental tune remains an obvious challenge by those playing it. And for the very same reason it draws listeners, the frantic pace and intricate melody make it so. Wikipedia may have explained why that is best:

“It is not so much the pitch or range of the notes that are played that challenges the musician, but simply the musician’s ability to move to them quickly enough; because of this and its complexity, it requires a great deal of skill to perform.”

However, for the television show version it was significantly rearranged for the television series by Billy May. That noted musician/arranger/conductor gave it a decided kick by incorporating a big band jazz style makeover that was nicknamed “Green Bee“. And with that, The Green Hornet theme became best known for the trumpet solo played by the New Orléans-bred music legend, Al Hirt. If skill with jazz and that particular instrument were ever needed to deliver on a musical piece, one that really demanded it, only someone in stature of this trumpeter and band-leader could carry through with the challenge. And he surely did that.

While Lionel Newman conducted the orchestra in support of the piece, Al Hirt’s solo is so exemplary it pops out and dominates once the song’s opening notes pass. Literally, Al’s virtuoso trumpet quickly pushes everything to the background. While his Java recording from 1964 endures as the trumpeter’s biggest chart hit, it’s safe to say Al Hirt’s version for Flight of the Bumblebee remains just about iconic for the eyes and ears of those old enough to remember the program and its signature theme. So much so, director Quentin Tarantino, in a clear homage to Bruce Lee and The Green Hornet TV program, re-introduced it to younger generations when he re-tasked the song for a transitional sequence in Kill Bill Vol. 1. Needless to say, it’s far from forgotten now.

25
Apr

Favorite Scene: Firefly

Firefly
Created by: Joss Whedon
Episode Title: War Stories
Episode #: 10
Production Code: 1AGE09
Season: Really? There was only one.
Original Air Date: December 6, 2002
Written by: Cheryl Cain
Directed by: James A. Contner

As I mentioned in a recent TMT, I came to the extraordinary science-fiction television series, Firefly, rather tardily. Like in almost three years late. I know what you’re thinking. Why show up at all, then? Well, it was worth it. The show, one that the Fox Network completely and utterly mishandled by screwing up the episode order and playing havoc with air dates, was unique in a way some stellar genre programs often are. It was original, well-written, and had a cast of obscure or little-known actors littering the show and showcasing unexpected talent or personality as the producers presented smart material. Of course, such programs usually pay a high price for being so creative and ahead of the curve: low ratings and early cancellation being their usual reward (Star Trek, Brimstone, Millennium, The Adventures of Bristol County Jr. anyone?).

Still, as much as this series is now looked upon as one the greatest shows cancelled before its time I’ve found I wasn’t alone in missing out on its initial run. Credit those who found, cherished, and went on to champion it online. For without them, along with its tireless creator Joss Whedon, the 2005 film Serenity never would have happened, and thus not spur my, and others, conversion as a latter-day dedicated fan. I think my colleague Jamie Helton from the Filmverse blog captured the essence of the show best in a comment offered up in that same TMT post:

“The thing about “Firefly” is that it’s essentially a western in a science fiction setting. Also, the characters are just so much fun to watch as they are very cleverly written. You never truly know where they stand or what they are likely to do, which is highly unusual for a TV show, which usually has extremely predictable characters and situations.”

Nailed it. Joss Whedon has a talent for delivering such things whether they’re successful on television/film (like Buffy The Vampire Slayer and contributing to the Toy Story script) or not exactly (Titan A.E. or Alien Resurrection — films friends and I continue to defend, often; J.D.’s for the former and me with the latter for its unique character development of the iconic Ripley). Even though the film hooked me to the characters, it was viewing the entire short series, all during one weekend after I picked it up on DVD, that infatuated me with the program. As I’ve a tendency to do, all of this can be crystallized in one particular episode and specific scene from Firefly. Read more »

22
Mar

Favorite Scene: The Green Hornet

The Green Hornet
Episode Title: The Preying Mantis
Episode #: 10
Season: One
Original Airdate: November 18, 1966
Production Code: 9810
Written by: Charles Hoffman
Directed by: Norman Foster

Normally, twenty-six episodes doesn’t make for much of a television series, especially in this day and age. That’s even more certain if it’s a mere 30-minute show dismissed as some kids program. Then again, 1960s and The Green Hornet were far from normal or even ordinary. Based upon George W. Trendle‘s famous character in the radio serial that originated in the 30s, this program was given its television adaptation in the 1966-7 season on the ABC network mainly on the success of the Batman series. I, and the kids my age, instantly became enthralled by it — most of us were born in the 50s when that radio program ended and had no inkling whatsoever to its history. No matter, nothing comparable existed in that era of TV, let alone film.

Though the same company produced both The Green Hornet and Batman, they had little in common beyond that aspect. With the comic books in circulation at the time, everybody I knew waited on bated breath for the arrival of Batman. However, what we got was loaded with heavy camp and semi-comedic storytelling. The TV show was better than nothing, we thought. However, The Green Hornet‘s entry soon after brought with it, as TV.com noted, “… a more serious and realistic approach to masked crimefighting.” While we put up with Batman, which in many ways with its 60s psychedelia played much better for adults than those just entering their teens, we utterly ate up The Green Hornet on its weekly run. The production company even thought a cross-over episode between the two would somehow enhance both series. It didn’t.

As mentioned in my previous post, the reasons for our excitement then, and the enduring love for this program in the decades since, was very clear. In conjunction with that more serious style, it was primarily for the likes of Kato (as portrayed by Bruce Lee) in the cast. Sidekicks were a well-known commodity in comics, yet none came close to this character on the small screen. You simply couldn’t your eyes off of Kato, or Lee for that matter. On the schoolyard back in the day, everybody emulated Kato (no one even attempted to imitate Burt Ward’s Robin). Additionally, though both series had iconic cars, we’d take the Hornet’s weapons-strewn Black Beauty Chrysler hands down. You could imagine the uproar the show’s cancellation after only one season had on us. ABC didn’t have the decency to do re-runs afterwards, a travesty fans of the show hold against them to this day.

For me, all of this can be crystallized in one particular episode and specific scene from The Green Hornet. Read more »

20
Mar

Reprise: Lee or Li?

Recently, Spike TV rolled out its two-hour “I Am Bruce Lee” documentary special (with more than passing references to the Ultimate Fighting Championship stable) earlier this month. It made me think back to the original and iconic Bruce Lee, someone I’ve long admired (and still ponder about from time to time). Then, I thought of the more recent martial arts movie hero (even though he’s pretty much kicking back from big screen martial arts film these days), Jet Li. Both are favorites in my martial arts movie collection (of which my wife complains on storage grounds). Similar in some ways, and very different in others. Jet, as a youth, once performed a demonstration for President Nixon during a tour of the Beijing Wushu Team in one of his first China visits in the early 70s. Near and around that, Bruce was trying to make his mark in Hollywood and the realm of martial arts in general. Both made their careers, and stamp, in their own (very different) times and became action icons of the movie screen. Who would you choose then as the best between them? For me…

It’s Bruce, easy

Kato (The Green Hornet)Having a childhood that stretched through the 60′s, I don’t think I could have avoided not being exposed to this man’s talent and drive while growing up. Ask anyone near my age when they first noticed this charismatic and mesmerizing figure, and dollars to donuts they’d mention it was when they watched The Green Hornet on television. And as good as the lead masked crime fighter was (as a character), everybody’s favorite from the show was Kato (as portrayed by Lee). I have no doubt that he picked up fans after his death when they watched the syndicated repeats of the show. Kids, my age, would talk among ourselves after every show, in awe. Granted this was decades before any internet access and its speed of light news or rumor ability, but the talk (and whispers) were always flying around and about Bruce Lee. And it didn’t matter who you were. He attracted the attention of everyone. He cut across all ethnic lines at a time when cultural barriers were only beginning to be breached.

The fact that Bruce was, above all else, a martial artist, inspired many my age. People of small stature with the ability to kick butt has the tendency to grab your attention (whether you’re big or small your physique). That certainly came across when you watched Kato on TV. So when he talked, people listened. His personality was infectious, and his drive to succeed was only slightly higher than his willingness to share his knowledge and teachings (this at a time his own community’s martial art establishment did not do such things, and mainstream America was in the midst of its own historic change). Regardless, his dynamism and persona was going to get heard, one way or another. His presence and impact on that short-lived weekly show may have been the vehicle that started it all (for a sadly too short career), but it’s had lasting reverberations.

Fist of Legend Still, this is not to slight Jet Li’s career or popularity in any way, shape, or form. There are films of his that I’d pick over a couple of Bruce’s on watchability alone. Breaking into the Hollywood (Western) film-making mainstream has not normally been via a China or Hong Kong route. Back in 60s/70s, being Asian in Hollywood meant swimming against many currents, and the thinking behind it. Perhaps, it’s better now (I don’t walk in either’s shoes to be a good judge). All the same, Jet’s body of film work is gargantuan (“You know, I’ve always liked that word… ”gargantuan”… so rarely have an opportunity to use it in a sentence.“) compared to Bruce’s, though. Most of it in the Eastern film market (which is growing in scale and importance compared to others). And, Jet Li’s following is worldwide, deservedly. But, so was Bruce Lee’s, and his was acquired more so across the decades starting right after his death. Plus, he was a pioneer in the truest sense of the word. Without him arriving on the scene when he did, the latter martial arts action stars would have been delayed (not prevented, they would have arrived anyway, just later). I believe Jet Li followed a path clear-cut by someone who was a human buzz-saw of an individual.

Not that it’s a bad thing (okay… it is, somewhat), but for me today’s action stars reek of corporate, public relations management and their handlers, in their career branding, touring, and publicity. I don’t believe one could ever have said that about Bruce Lee [at least, not without King Kong having their back ;-) ]. And why did I think of Bruce when UFC was mentioned in PCN’s post? Given his martial arts skills and philosophy, he believed and espoused a mixed martial art (MMA) discipline way decades before it was ever popular to promote it in fighting systems (and their schools) or corporate boardrooms. IMO, the seeds behind the MMA/UFC craze of late were those planted by Bruce and the likes of a Hélio Gracie, along with a host of others. But, they were key and are who I think of when I see UFC advertised on pay-per-view commercials, cable shows, or write-ups in the sports pages. They just didn’t get any of the profits or options from it, and certainly not enough of the credit for making MMA as popular as it’s become. But, such is life. Both Bruce Lee and Jet Li are worthy of all the acclaim that comes their way. But, for my money, it’s all pushed back without Bruce’s arrival. Not that I consider him a god or anything worthy of worship, though. I just think his accomplishments and their effects, on a human scale, merit well deserved admiration.

Okay, it’s clear that I believe Bruce Lee’s impact and legacy thumb the scale in his favor, big-time. Granted, your mileage may vary, but if I’d break it down further (using criteria I alone may believe in), between them, this is my opinion on their skills and careers:

  • better actor: okay, we’re not talking about Lawrence Olivier vs. Marlon Brando or Russell Crowe vs. Tom Hanks here, but given his larger filmography, it’s Jet; he just had a longer career to practice this art (though, if he’d have lived as long, IMO, Bruce could have overtaken him in this category)
  • better loved by the camera: both are exciting people to watch, but it’s easily Bruce; look at his screen presence in the video below, and this clip, for proof
  • better fighter on camera: close, but it’s Jet; again because of a longer career, plus, the benefit of working with latter-day inventive Asian choreographers (like Yuen Wo-Ping) who spent years continuing development of fight stage craft — although, you could say Bruce’s impact on Hong Kong martial art films in the early 70′s contributed to this, as well
  • better fighter, period: it’s Bruce; I don’t think there is any question here due to his pioneering in physical fitness, nutrition, and the progenitor of mixed martial arts, in general, and his own fighting art, in particular. Plus, just like the fastest gun was always tested in the western, Bruce had to and did fight off all comers in real life (check out his fight history). Many established martial artists (and even professional boxers) say Bruce was the best there ever was.

5
Oct

Miami Vice: Definitely Miami and ‘Cry’

Miami Vice
Episode Title: Definitely Miami
Episode #: 12
Season: Two
Series #: 34
Original Airdate: January 10, 1986
Written by: Michael Ahnemann & Daniel Pyne
Directed by: Rob Cohen
Song of note: Cry (written by Godley & Creme)
Performed by: Godley & Creme

The groundbreaking, and thoroughly American, Miami Vice was the epitome of the 80s in a television series. For me, anyways. It may seem almost quaint by today’s standards (particularly, if you compare to something as dark and critically acclaimed as Breaking Bad). But back then, it was cutting-edge. The fact that it was produced by Michael Mann and Anthony Yerkovich meant it was no surprise I became hooked on this show when it debuted on NBC in 1984. Mann had hit my radar after I caught his absorbing, gritty, and underrated ABC-TV film, The Jericho Mile, in ’79 (which is, sadly, still not available in the U.S.). His feature début, Thief (which I highlighted on its 30th anniversary earlier this year) all but guaranteed he’d be one I’d follow in any future film releases afterwards. Plus Yerkovich, as a writer and producer of another of my favorites during this same decade, Hill Street Blues, was going to get my attention, no matter what. Thus, the show Miami Vice impacted like few others on network television. It would go on to exhibit all the touches of both the influential filmmaker and the writer/producer would become known for.

Unlike the police procedurals to that point, nothing like it had come down the pike beforehand. From its very first scene, Miami Vice was in tune with that distinct Florida metro city, its multi-cultural nature (which remains very Casablanca-like), and the reverberation of that decade’s music had on it all. The swagger of style and bravado that became a trait of its cast, and the stories it had to tell (many speaking to the effects and day-to-day ins and outs of the drug-trade back then in that part of the Caribbean), was eye-opening to television viewers. Between the cars, the  people and money, and even the fashion statement this program had on full display, it exhibited a flair no other series could match for years. And its sway ranged far and wide once it landed on to Miami’s shores and TV sets. The echos of which are still being felt — fans can see proof of that in such offerings like Burn Notice, Nip/Tuck, and hell… even CSI: Miami (I’m sorry to say).

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