You may wonder what films we’ve been watching the last month. I got the Clint Eastwood collection for Christmas, and with some added additional Eastwood films (such as the No Name Spaghetti Westerns), worked through most of the filmography of Clint Eastwood. Clint primarily portrayed two characters, the first being the silent cowboy who shows up from nowhere and disappears into the sunset. In the meantime, he could shoot a handgun with precise accuracy and immense speed, thus terminating all opponents. His western films would be labeled revisionist, in that the good guys were the indians and the outlaws, and the bad guys were the government officials. Older westerns would have a moral theme, but revisionist westerns remain morally ambiguous. Thus, John Wayne would typically refuse to star in Eastwood’s films as an objection to the revisionist genre (although John Wayne rarely portrayed a morally pure character himself).

The other character of Clint is the quiet cop or detective who bucks authority, somehow seems to have the criminal figured out beforehand, usually has incompetent bosses and political figures telling him what to do, and Clint eventually solving the issue by working around the authority, usually terminating the criminals.

A lesser character of Clint seen is later years is the cranky old man, who knows better, but has to put up with the younger crowd. Such movies as Million Dollar Man and Gran Torino fit this category. Clint often has religious scenes, usually Catholic, many of them with him contending with the priest, or going against the advice of the priest. In a very strong way, Eastwood suggests that being mister tough guy and standing up for yourself is the most important thing in life. All of his movies, regardless of his role, portray this character and theme. Sadly, as good as many of Clint’s films are, they all fail to offer any suggestion of a higher morality or virtue. It is just another form of Nietzsche’s Übermensch. Hitler would have loved Clint’s films.

I find that except for the spaghetti westerns and Dirty Harry series, Clint’s early films are generally quite bad. There is a significant improvement in the quality of his later films, though even then a moderate number are not worth watching a second time.

These films are reviewed mostly in the order in which they were watched, which was in alphabetical order. The chronological order would have been a more natural way to watch his films, but the alphabetical order allowed for a better mix-up of Clint’s films. Because of the length of this post, it is given in three sections.

Absolute Power ★★★★★

This is one of Eastwood’s later films, and is a mishmash of the Nixon scandal mixed with the scandals of the Clinton administration.  The president is observed by a break-in artist (Clint Eastwood) in a rape/murder, which is covered up by the secret service. Realizing that he (Clint) cannot go to the police to report the crime, he then devises the means of bringing down the president. The action is fast and suspenseful, and the plot is unpredictable but a touch realistic.

Any Which Way You Can ★

Clint Eastwood is a retired prize fighter, now pursued by the syndicate to do one last fight, against his own personal will. He, his orangutan, and girl friend eventually resolve matters. This is supposed to be a comedy, but we didn’t find it to be very funny, and really didn’t have any significant plot or objective.

Bird ★

Clint Eastwood does not star in this film. It is supposed to be a biographical sketch of Charlie Parker, one of the great Jazz saxophonists of the past. The action is very slow moving, and is constantly taking chronological jumps as Charlie relives his past before committing suicide. Betsy and I were unable to endure more than 40 minutes of this film.

Blood Work ★★★★

Clint Eastwood as aging FBI officer has a massive heart attack while chasing a man and requires a heart transplant. He eventually learns that the heart came from a murder victim, whose sister is now asking Clint to solve the case. The plot is great with multiple unexpected turns until the case is solved.

Bridges of Madison County ★★

The Red Green Show once commented that the Bridges of Madison County failed as a movie since nobody was killed, and none of the bridges were blown up. There is truth to that statement. The only reason this movie received two stars is that the acting by both Clint Eastwood and Meryl Streep was superb. Two middle aged people are going through the remains of their just-deceased mother, and discover that many years ago she had an affair. This affair is the main body of film, which occurred when a photographer (Clint) stops at a farmhouse asking directions to a bridge. The remainder of the family is off to the Illinois State Fair, and so she then spends the next four days in an increasing relation with him and they separate for good. Many parts of the film go so slow that we had to fast forward them. It was torture to watch this film. The message of the film unavoidably states that anything is okay as long as nobody finds out. The higher values of truth and purity are forgotten.  This is not a film worth watching.

Bronco Billy ★★

Clint Eastwood stars in Bronco Billy, the ex-convict who is now head of a roving circus cowboy show. It’s a rather lame film, with various characters getting in trouble with themselves and the law, mixed in with a somewhat spastic rich lady whose husband runs off on her, and she is left to live with the low lives of the circus until she realizes that they have something she doesn’t have with her wealth.

Changeling ★★★★★

This is the last film Clint Eastwood produced, and he does not star in the film. Supposedly, this film is based off of a true event. Angela Jolie is a single mother with a 9 yo son in 1928 Los Angeles. The son is kidnapped, leading Angela to seek for the child using the LAPD. A child is produced, which is very clearly not the son, even though the LAPD insists that it is. When Angela pushes the issue, she is committed to an insane asylum. Through the work of a Presbyterian pastor who was fighting corruption in the police system, she is released, and eventually a reasonable clue is found as to what happened to her son. This movie is unusual for Clint Eastwood, in that Eastwood’s characters are usually police that take the law in their own hands since the city and courts are incapable of that function. The roles are here reversed, where the police are found to be too aggressive. The common theme in Clint’s movies is the ultimate corruption in government, and this point is well made in this movie. It is only wishful thinking to imagine that matters aren’t any better nowadays – just different.

City Heat ★★

Burt Reynolds is a private detective, and Clint a police lieutenant, Clint rescuing Burt from various entanglements of the syndicate, in a film set within big city gangster town of the prohibition 20’s. Clint definitely proves a better actor than Burt in this otherwise very mediocre film.

Coogan’s Bluff ★★

Clint Eastwood is an Arizona cop sent to NY to return a criminal that he caught (how he got to NY wasn’t explained) to bring back to Arizona for trial. In the process, the NY police give him great grief, the criminal gets away, and Clint goes on a lengthy manhunt process independent of the NY detective agency. Clint tends to sexually attack every female that comes into his presence, which I guess makes him cool.

Beguiled ★★

Clint Eastwood is now a wounded union soldier, who ends up in a private girls school at the end of the civil war. The head mistress ends up keeping him and nursing him back to health, all the while preparing him to be picked up by confederate soldiers to be hauled off to prison to die. Meanwhile, he falls in love with a number of the girls in the school, and is caught making love to one of the older students. This leads to a series of tragedies since he was caught, ultimately leading to his demise. Poor Clint.

Dead Pool ★★★★★

Clint stars in the last of the Dirty Harry series, and this film is at his mature best. Lists of celebrities were published with wagers as to the greatest number of people who would be dead in a given span of time. Started as an innocent game, it turned bad when it was realized that somebody was individually picking off characters on the list. Dirty Harry happens to be on the list, and proceeds to eventually find the killer and terminate him. A second story line is Clint having to contend with the press, including an obnoxious female.

Dirty Harry ★★★★★

This is the first Dirty Harry film with Clint Eastwood. A sniper if knocking off people in the city of San Francisco, with a monetary ransom to have the killing stopped.  The killer and Clint interact, and then is released on legal technicalities. The killer then frames Clint for police brutality. Eventually the killer hijacks a school bus with children, only to be rescued by the ever-resourceful Dirty Harry.

Eiger Sanction could have done better on the plot, with Clint acting as a retired hitman, called back into duty to the service of his country to knock off several killers involved in an international spy ring. Strangely, Clint needs to perform this action while climbing the north face of the Eiger. Clint eventually discovers that he was deceived but comes out in the best. The most spectacular part of this film with the video of the Eiger climb, which unfortunately led to the death of a climber assisting in the filming.

Enforcer ★★★★

This is the third Dirty film. Dirty Harry is teamed up with a female that he considers incompetent in an effort by the city to make the police force more diverse. This episode, they have to fight a militant revolutionary gang, that leads them all over the city and even out to Alcatraz, Clint also having to do battle with the SF mayor, until he is required to rescue him from the gang.

Escape from Alcatraz ★★★★★

One of Clint’s better films, illustrating a breakout from Alcatraz. The head jailor is in best form, as Patrick McGoohan (Secret Agent/The Prisoner). The acting is superb, the story line is superb, the description of the very inhuman life in prison is notable, and you end up cheering for the prisoners that got away.

Every Which Way But Loose ★

This film was absolutely awful. It is a prequel/sequel to Any Which Way You Can, with Clint acting as a prize street fighter. The entire film was nothing but casual sex (not seen visually), bad language, beer drinking, indiscriminate violence, but worse of all, country-western music. Clint falls in love with a country western singer who doesn’t let on that she has no interest in him, until he’s chased her all over the country. A sick motorcycle gang, renegade policeman, and others are after Clint. Ho-hum.

Few Dollars More ★★★★

Clint Eastwood starred in a number of spaghetti westerns in the late 1960’s, this being one of them, and also included in the “Man with No Name” trilogy, which includes “The Good, the Bad, and the Ugly”, and “Fist full of Dollars”. Here he teams up with Van Cleef as bounty hunters after the big nasty gang located along the border of the US and Mexico. Van Cleef has some awesome acting very much the equal of Clint, and a young Klaus Kinski shows up in this movie. The biggest winner in the Trilogy is the music of Ennio Morricone, who deserves an Oscar of his own for the genius of the accompanying music.

Firefox ★★★

Clint is a retired fighter pilot jock, called back from retirement to assist in the theft of a highly secretive high-tech stealth airplane of the Soviets (pre-1990). The graphics are good, the plot is suspenseful, the action is quite exciting, the acting is somewhat mediocre, and the reality of the plot is marginal, making the film a three-star. Though Clint does a better “top-gun” than Tom Cruise, between playing secret agent man, top-gun, and himself, he fails.

Fistful of Dollars ★★★★

Another of the spaghetti westerns, and the first of the No Name trilogy with music by Morricone.   Clint is a Whitey that rides into town along the Mexican border to find a feud between two clans is leading to the death of the town. By pitting the clans against each other, he manages to eliminate both clans. There is a wonderful mix of suspense and humor in this movie that makes up for an otherwise short story line.

Gauntlet ★★★★

Clint is a policeman in Phoenix sent to go up to Las Vegas in order to pick up a criminal to be delivered for testimony in court back in Phoenix. It ends up that both the police chief in Phoenix and the mob set him and his prisoner (Sondra Locke) up to be eliminated. There is much shooting and tough guy action as Clint and Sondra work their way back to Phoenix to establish real justice with the police chief. Much of the story line is not terribly believable, such as a bus driving through many streets of firearm, and Clint on a motorcycle escaping by bare centimeters firing from a sharpshooter in a helicoptor. But, things get blown up, so the movie is worth watching.

Good, Bad, and the Ugly ★★★★★

This is one of Eastwood’s best films, a spaghetti western and last of the “Man with no Name” trilogy, staged during the time of the civil war, where three gents, one being Clint, and another Van Cleef, are in search of buried gold. The tales of finding the clues to the location of the gold, the interactions of “the good, the bad, and the ugly” characters create suspense in a film that is entertaining even after watching a number of times.

Gran Torino ★★★★★

Betsy and I had low hopes at the start of this movie, thinking it was going to be just another Clint Eastwood “adoration of the fictitious self” movies. It looked like he was going to racing cars, or something of that sort. It instead turned out to be something quite other. Clint is a just widowed old man who had a heroic war past, but now sits on his porch drinking beer and smoking cigarettes and watching the neighborhood being taken over by foreigners. The next door neighbors are Hmong people. Slowly, he gets to know them, and eventually comes to their rescue by offering himself up totally for them. There are Catholic religious references throughout the film which suggests that Clint has no idea about true faith, but that doesn’t denegrate from this film, which actually suggests a moral lesson. I particularly liked the Clint character, a gnarly old man, similar to a few that I know.

Hang Em High ★★★★

Clint is a ex-lawman now rancher that was lynched and hung, only to rescued by a lawman in the Oklahoma territory. He is now out to get the nine men that lynched him, after he is re-made a lawman. Seeing much injustice in the system, including a couple of kids caught cattle rustling and hung, he finds it hard to adjust to his role in the system. He eventually gets most of the lynchers, but only after they shoot him up. The action line is very irregular, and incomplete, in that he doesn’t get all nine players. Also, there is a lengthy hanging scene where hymns were sung and the preacher active, all of which seemed to make mockery of religion, without realizing that that religion is what instilled a sense of justice to begin with.

Heartbreak Ridge ★★

Clint is an non-cooperative drill sergeant with war experience now assigned to a young group of Marines in boot camp. He establishes his presence going against authority, and eventually proves himself in the Grenada invasion. If Clint is supposed to be the Marine role model of the tough – guy, he fails miserably.

High Plains Drifter ★★★

Clint is now a no-name cowboy, that rides into a lonely town in the early west where the people refuse to defend themselves from roving gangs. An old gang is supposed to return to town, and they pay Clint to defend the town. For inexplicable reasons, he has flashbacks of a previous episode when the town allowed their sheriff to be whipped to death without lifting a finger. Clint gets even by knocking off the gang, but also by knocking off the town. Ho-hum.

Joe Kidd ★★

Just another Clint western, with him as a good-bad guy Joe Kidd, who is supposed to help a dishonest wealthy man knock off a renegade Mexican who seems to be doing nothing more than trying to honestly defend his land. Eventually Clint takes the side of the Mexican and helps knock off the rich dude and his henchmen.

Honkytonk Man ★

This is probably the worst Clint Eastwood movie of the bunch, with nothing good to say about it. Clint is a country singer in the depression 1930’s of Oklahoma. He wants to go to Nashville to sing in the grand ole Opry and takes along his nephew and uncle. On the way, he teaches his 11 yo nephew to drive, since he is too drunk to get behind the wheel. He then teaches his nephew to drink, steal, and visit whore houses. The movie has no redeeming moral lessons, and worst of all, the viewer has to be tortured with country music, even worse from Clint himself. Don’t waste your time on this film.

In the Line of Fire ★★★★

One of the late films of Clint, he is a secret service agent protecting the president. He is being tracked by an ex-CIA agent who plans on assassinating the president. In his typical role, Clint is the outsider who figures out eventually who the killer is and manages to stop the assassination by jumping in the line of fire. Though many of the elements of the movie are predictable, it does make suspense and is well filmed and acted.

Invictus ★★★★★

Clint directed but did not star in this film. The stars were Morgan Freeman and Matt Damon, both of whom had superb acting. This movie was based on a real historical event, though the details I’m sure were Hollywood fictions. It is the story of Morgan Freeman as Nelson Mandela, being released from prison and becoming president of the country, but being able to set aside the long-standing grievances of the past, using Rugby to spirit the nation into breaking down the racial divide. The movie is quite moving, and wonderfully enacted by Eastwood’s direction.

Kelly’s Heroes ★★★

This is a WWII not to be taken seriously, with many anachronistic elements, like Don Sutherland playing a 1960’s hippy. Actually, Don Sutherland was probably the funniest actor in the movie. A small group of GI’s discover that the Germans have a load of gold in a bank 30 miles across the front line. They work out an effort to retrieve this gold without their commanders knowing what was happening. The film had too many unreal aspects, such as an unorganized group simply breaking through the German offensive line, and a pile of gold sitting around practically unguarded. How they got a number of well known actors to participate in the movie is a mystery to me. It was pretty bad, but at times, funny.

Letters from Iwo Jima ★★★★

This is a story of the Iwo Jima from the viewpoint of the Japanese, and mostly from the eyes of a young kid who was a baker in Japan, but pulled away against his will to fight in the war. He remained one of the few survivors of the bloodbath. The movie was mostly in Japanese with under-titles. The filming was excellent. Clint directs but has no acting in this film. One wishes he would have cameoed himself like Alfred Hitchcock used to do.

Magnum Force ★★★★

Clint stars in the second Dirty Harry film in Magnum force. Clint is out to solve the mystery of a rash of assassinations of prime crime suspects that defy conviction. He eventually resolves that it is a group of four rookie cops led by in boss the lieutenant. There is lots of fast action and stunts making it enjoyable to watch, but is typical Dirty Harry.

Apparently this movie is based on a book relating a true story of a murder in Savannah, Georgia. Clint directs but does not show in the film – his daughter does some acting in the film. A upcoming extremely wealthy young man is convicted of murdering his employee. Much of the film takes place in the trial, where truths about the wealthy person are exploited, but eventually exonerating the man of murder save for self-defense. Many other themes are woven through the book includes a voodoo practitioner, a transvestite, wealthy society women and haute society life in Savannah. It gave one a good feel for the superficiality of life in the South, where appearances were more important than reality. I presume that unless one has read the book, the movie tends to drag a bit. The directing is superb, but many scenes did not contribute to the flow of the movie, though probably made sense in the book itself, such as the graveyard scenes. Many of Clint’s later movies are better than this one.

Million Dollar Baby ★★★

Clint runs a boxing center, and trains the pro boxers. He has a girl pestering him to have him become her trainer, which he initially refuses to do. She goes on to great success, only to have an attack from the rear by her opponent long after the bell rings, rendering her quadraplegic. She eventually gets Clint to pull the plug on her since she doesn’t wish to live. The movie has lots of slow action, and unnecessary scenes, making it drag, and a terrible moral ending that suggests that killing (euthanasia) is occasionally ok. Otherwise, it wasn’t a bad movie. The acting is superb, including that of Clint, Hilary Swank and Morgan Freeman. The movie does an excellent job of portraying the agony of one who makes decisions against his better judgment and then has to live with the consequences of those decisions.

Mystic River ★★

Three childhood friends eventually grow up and go their separate ways. One of them has a child that was murdered, another was the suspected murderer, and the last is the detective trying to solve the case. The movie begins in a very slow and confusing fashion, and we almost turned it off out of boredom. The movie does a good job of psychoanalyzing the effects of child abuse and broken relationships, yet never offers ultimate redemption for any of the characters.

Outlaw Josey Wales ★★★★★

This was a western starring Clint that is truly a decent film. Clint is a farmer in Missouri whose farm is overrun and family slain by renegade union men just after the civil war. Clint seeks justice, but finds that the Union remains deceptive and corrupt. Plus, the union now has a price on his head. Running from bounty hunters and ex-outlaw partner, he is continually placed into tight situations where he narrowly escapes, but befriended by indians and settlers who also are fighting for existence in a land without justice.

Paint Your Wagon ★★★

This is a fairly lame musical, even having to bear with Clint singing. He doesn’t do too bad. The cinematography and scene setups are awesome, but then, beaucoup bucks were spent to make this film. The scene is the Sacramento area during the gold-rush, when Clint and Lee Marvin stake out a profitable region yielding much gold. They also end up with the same wife, purchased off of some Mormons. The story leaves much to be desired. Worth watching once.

Pale Rider ★★★★

The scene is in the gold rush basin of central California, and a downstream mining company is harassing the upstream settlers to leave. Clint comes into town as a preacher man, and eventually settles matters, when the mining company decides to hire a gang of renegade sheriffs to remove Clint from the scene. All are exterminated, and Clint goes riding into the sunset. Actually, this is a rather well done film, with good acting, and a good flow of action.

Perfect World ★★★

A couple of jail breakers kidnap a young boy, Philip. Kevin Costner, one of the jail breakers, kills his partner, and then runs off with the kid. A massive police search is done, with Costner adequately evading capture while creating havoc and murders along their path. Costner is the main star, engaging in conversation with the kid, learning that he had a “deprived” childhood, since his mom was a JW and would not let the kid celebrate halloween or Christmas, etc. So, Costner endears himself to the child, painting a fantasy world to him.  Eventually, Costner is wounded by Philip, and then is cornered by the police, with Clint in charge. Costner is again shot against Clint’s instructions, and the child goes home with mommy. The worst part of this film is that it painted fantasies that children should experience or else they would be “deprived”. The kid was a good actor.

Pink Cadillac ★★★

Clint fills the bounty hunter role in the 1960‘s of seeking out a lady who skipped out on paying her bail bonds. This leads him into getting entangled with a gang of outlaw soldier of fortune dudes hiding out in the Sierras with the kidnapped child of the lady. They eventually get the baby back. The movie had much humor giving it 3 stars, but the typical worn-out Clint dodging bullets, driving recklessly, and managing an uncontrollable female all at the same time.

Play Misty for Me ★★★★★

This movie is “Fatal Attraction” before that movie ever came out. It is a suspenseful psycho-thriller of a lady who falls in love with a disc jockey, and then pursues him relentlessly to her ultimate demise. Clint is quite young at the time, and I’m told this is his first movie that he directed. He definitely ran a low budget but brilliant directing and acting created a masterpiece.

Rookie ★★★★★

While not within the Dirty Harry series, this film fits the Dirty Harry tradition, with Clint playing an aging cop, and Charlie Sheen as the rookie. In a break with Dirty Harry tradition, the rookie doesn’t get knocked off, but becomes a Clint Eastwood clone. The action is great, and Charlie does a superb job of acting his role. Clint and Charlie are cops in LA snaking out auto thieves, and stumble across a ring of thieves. At first, Charlie makes a series of rookie mistakes, but learns quickly in order to get the bad guy.

Space Cowboys ★★★

Clint becomes a space shuttle pilot in this episode. He happens to be the sole designer of a guidance system for satellites, that is now long outdated. It just happens that the Soviets stole his guidance system plans and used them in a supposed communications satellite of their own. This guidance system has gone haywire and the satellite in orbiting on a crash course with earth. For some unknown reason, the Soviets call on the US to repair their satellite. And, it happens that Clint and his three pilot buddies have a grudge with NASA being “dissed” 40 years previously. So, they train, struggle through bureaucratic baloney and finally make the flight. In space, they discover that the satellite is not a communications satellite but loaded with six nuclear rockets aimed at the US, which explains why the soviets wished to have it fixed. They finally send it to the moon, but, people die and Clint flies the space shuttle home to Florida without a scratch. The graphics were nice in this film, the the story was just to hokey to be reasonable.

Sudden Impact ★★★★★

This is the fourth Dirty Harry film. It seems like the later Dirty Harry films are better than the first. Clint is trying to solve the mystery of a series of killings, which are occurring from a lady (Sondra Locke) who was gang-raped. She is out to do justice. Eventually the killers are knocked off, and Sondra not identified as the killer except by Dirty Harry, who lets it all slide.

Thunderbolt and Lightfoot ★

Clint Eastwood and Jeff Bridges play Thunderbolt and Lightfoot, two criminals seeking for their next heist, when old ex-partners of Clint’s enter the scene and complicate matters. They eventually stage a heist of a bank vault, find previous heist money, and only Clint ends of getting away and surviving. Not exactly a thrilling film, with even a worse message.

Tightrope ★★★★

Tightrope has Clint has a detective on the murder squad in New Orleans. He is tracking down serial rape-murders, where the murderer has a past history with Clint and thus is trying to pursue the females that come into Clint’s life. The film starts with a lot of inappropriate nudity from the rape-murder scenes, but evolves into a very intense psycho-thriller. Good acting from both Clint and Clint’s daughter Alison.

True Crime ★★★★

Clint is an aging reporter working for the newspaper in Oakland. He’s troubled by a past of heavy alcohol use, and a present life of cheating on his wife through liaisons with a coworker’s wife. Then he smells out that a black man is wrongly convicted of a murder that he didn’t do, but the execution is scheduled for 12 hours from now. In the course of 12 hours, he proceeds to solve the mystery of the killer, and save the man from execution. It is a good story line, which isn’t helped by painting the main hero (Clint) as a drunken, philandering godless man.

Two Mules for Sara ★★★

Clint is wandering through Mexico, when he runs across a nun named Sara (Shirley McClaine) who is being raped by three gringos. He frees her, then they begin a collaboration to help throw out the Mexican resistance throw the French out of Mexico. This they accomplish though with the inclusion of a number of side events, such as Clint being shot in the chest with an arrow or when Clint discovers that the nun is actually a prostitute. The movie makes for light entertainment but is not your best western.

Unforgiven ★★★★★

Outside of his No Name Trilogy, this is Clint’s best western. He is a “retired” gunman and reformed by his now dead wife. A young kid comes to his place seeking bounty money paid by a group of whores in town to seek revenge on two cowboys who cut up one of the girls. Clint, the boy, and his “partner” head off to find the two cowboys. A secondary theme is a renegade sheriff in town who tends to do more harm to innocent people than to criminals, and making law only to protect himself. Clint and the kid eventually get the two cowboys, but return to town to find that the sheriff killed the “partner” for no good reason. Clint eventually gets revenge on the sheriff, and then moves himself and kids out to San Francisco.

Where Eagles Dare ★★★★★

Clint Eastwood and Richard Burton are the two main stars in this film. They are a part of a covert operation to bring back a General held captive in Schloss Adler (supposedly Kehlsteinhaus – Hilter’s hideout in the Bavarian Alps). Between incredible cinematography, stunts, superb acting, a fast paced story line, and a highly unpredictable outcome, the film deserves five stars. It’s most serious problem is that it has an unbelievable story line, with Richard and Clint singlehandedly resisting and knocking off squadrons of German soldiers without getting hardly a scratch. If that can be forgiven, the film becomes quite awesome to watch – one of Eastwood’s better films.

White Hunter, Black Heart ★★★

Clint Eastwood plays a rough, eccentric Hollywood director working on a film in Africa. He arrives before the producer, and decides to go on an elephant hunt. He can’t get the elephant hunt out of his head until the black guide is killed by the elephant Clint was trying to hunt. The movie portrays Clint as a worst possible movie director, irresponsible, inattentive to the producer, and irresponsible for other people’s lives. The movie left you hating the Clint character. Not a bad film.

The Joy of Bach, featuring Brian Blessed ★★★

This short movie is a wonderful tribute to the greatest musician of all time, our own Johann Sebastian Bach. The movie is an amalgam of Blessed reenacting fictitious though highly possibly true scenes from the life of JS Bach, and modern day performances of Bach. The modern day performances were both done in standard orchestral classical style, though the emphasis was on how musicians have incorporated Bach into the most unique circumstances, such as performances on steel drums, guitars, Moog synthesizers, and you name it. Blessed effectively communicates that the music of Bach is so great, that it continues to live today regardless of how it is played. Perhaps there is no other composer that has ever or will ever achieve this distinction to the extent that has happened with Bach. This movie can inspire even those who dislike the music of Bach.

Ives: The Symphonies, performed by Dohnanyi, Marriner and Mehta ★★★

These are reasonable performances of Charles Ives, a early 20th century American composer (1874-1954). Ives uses much American folk tune and American hymn motifs in his writing. Together, he makes for very poorly convincing symphonies. His are symphonies that I would never use for my “Desert Island Collection” or attend in formal concert. I’ll settle on listening to these symphonies from time to time simply to stay knowledgeable in American music. They are not enjoyable. Better classical music in the 20th century is Russian and German.  The English speaking world flunks in the classical music realm.

Oceanography, Teaching Company Course, by Harold Tobin ★★★★

Tobin is a superb teacher, and except for his habit of excessively rolling and waving his hands, has a wonderful skill of conveying his knowledge and interest in oceanography. I appreciated the way he made oceanography quite personal, explaining how he developed an interest in the subject, and how the study of the ocean still drives him. I certainly learned more in this course than in many of the other science courses from the Teaching Company. My major complaint with the course material is the occasional excess preoccupation in some topics that were only peripheral to oceanography. It was not necessary to spend a whole lecture on plate tectonics, or on cosmology, as it didn’t contribute to the understanding of the ocean beyond what a brief mention would have accomplished and referral to other Teaching Company series. I appreciated the lecture on ocean ecology and pollution, but there was excess time spent on global warming and its effect on the ocean in several other lectures. Save for the criticisms, this was a valuable series and spurred increased interest in being more observant at the ocean, and considering our human impact on the sea.

I’ve always wondered how a piano was built. I didn’t realize that Steinway concert grand pianos were entirely built by hand, and are probably one of the only concert pianos still made by hand. This movie walks one through the year long endeavor to build a piano. One starts in the lumber mill, where wood is specifically selected for the piano case and sounding board. Slow and meticulous processes eventually lead to the developed project. Many scenes are also shot of profession musicians in the NY Steinway piano store  trying out pianos. I guess that even with Steinway pianos, the action can vary enough that a concert musician may need to try 10-15 pianos before finding the instrument of his liking. There are a lot of extras with this movie, but the feature attraction was itself a fascinating journal behind the walls of the Steinway piano factory in New York, with interviews of many of the piano building craftsmen. Steinways have many hand carved features, constructed to precise millimeter tolerances. The tuning is all by hand, and not electronic like most other piano builders. The keys and their actions are all meticulously adjusted by hand to properly strike the strings with appropriate action on the key. One was left realizing that there may be a day where much of the art and skills of hand piano construction may be lost, and then we will be stuck with cheap Japanese imitations. Oh well!!!!

How the Earth Works, by Michael Wysession (Teaching Company Series) ★★★

This teaching company series, taught by a Geophysicist, discusses the mechanisms and processes that make the earth the way it is. Wysession is able to interlay the various processes, whether they be geologic, biologic, or astronomic, in discussing what gives us our world. The lecture series can be divided into three parts, with a grading on each part…

I. Plate Tectonics – 5 stars – the longest part of the course, it also is the best part of the course, taught where Wysession is most expert. Details of how the continents were created, how plate tectonic theory was developed, how earthquakes and volcanoes occur, are all discussed in popular lay terms that can be understood by anybody.

II. The Weather – 3 stars – though the weather is an important process in molding the earth, another Teaching Company course on Meteorology has done a far superior job of detailing how weather is formed, and the processes that lead to our climate and living conditions.

III. Biology and “My Soapbox” – 1 star – Wysession adequately discusses the role of biological organisms in helping to form the earth. He does a far worse job of playing biologist. Much of the last lectures of the course are more a soapbox on various subjects such as climate change, humans elsewhere in the universe, and the destiny of man, which would have best been left out of the course. Many of the last lectures have no relation to discussing how the earth works, but rather create a dummy pulpit for Wysession. I do credit Wysession for maintaining a sense of scientific uncertainty about matters such as climate change, and he doesn’t become preachy like Algore.

The course could be improved in many ways. Most importantly, I wish Wysession would have spent a few lectures discussing in depth the mechanisms for studying earth. He could have better discussed the various instrumentation for “sounding” the depths of earth. He could have given us more detailed explanations of land formations that help us understand the world we see, to allow us to engage in the process of being junior geologists. I would have been interested in having a rough feel as to how a geophysicist mathematically models things like earthquakes.

Wysession is an excellent teacher and adequately uses props and visuals to get his point across. This is a series worth watching, though the final lectures would be best deleted or changed as mentioned above to get the discussion back to the intended topic for the course.

This film is yet another bicycle documentary, looking at the origin of the Team Garmin Slipstream and their rise from humble origins to competition in the Tour de France, with Christian Vande Velde placing 4th in total standing. The prevailing theme was a determination to do bicycle racing clean without the use of performance enhancing drugs. It is a moving and well done story, inspiring one to hop on the bicycle and take off.

This movie is a documentary on the Race Across America, the longest and cruelest ride in bicycle racing. The ride goes over 3000 miles, and is often done in 9-12 days, with an average of 350+ miles/day. The competitors rarely sleep more than two hours a night, and often spend the entire night and day riding. During this documentary, which was made during the 2005 ride, one of the competitors, a surgeon from Minnesota, was killed by a semi truck. This was his sixth time to ride the RAAM. There was one lawyer attempting the ride, who didn’t last more than two days. The agony of the riders is well documented. It assured me that this is a race I would never ride, even if I could. The film won numerous awards, fitting for the quality of this documentary.

Concert Masterpieces, by Robert Greenberg ★★★★★

Greenberg does it again, producing a delightful review of eight concert pieces of value from the classical repertoire. In this set of 32 45-minute lectures, each four lectures covers a given piece of music. Included are the Mozart 25th Piano concerto, Beethoven 5th piano concerto, Dvorak 9th symphony, R. Strauss Death and Transfiguration, Beethoven Violin Concerto, Brahms violin concerto, Mendelssohn Mid-summer night’s dream, and Liszt Totentanz. Each set of four lectures covers in the first lecture a broad survey of the musical scene. The second lecture then focuses on the particular piece in its setting with other similar pieces of music, and then the last two lectures delve into the details of the piece of music itself. The entire lecture set remains very easy to listen to because of Greenberg’s humor mixed with a steady stream of fascinating information. He is never too technical, and spends much time filling in the listener  to the music theory and technical details of the piece. This set is a wonderful way to familiarize yourself to these eight pieces of music. It also helps build one’s ear for listening to any piece of classical music.

This movie is supposed to be based on a true story of a smallish race horse, destined to be rejected, but purchased by a person willing to give the horse a try. The horse was run at the Santa Anita Racetrack in the 1930′s depression years, going on to become a winning horse in spite of various tragedies to both horse and jockey. It is a spirited film that gives one a good feel to the world of horse racing.

This film is in German with English subtitles and attempts to re-create the story of the Red Army Faction, a militant group in the ’70′s through 1990′s. They had engaged in the bombing of a number of buildings, most notably the newspaper Bild building, as well as the assasination of a number of prominent political figures and police. The film is fairly well done, with fast action, considerable amount of violence, some exposed flesh, and some obscene language (though in German), making it perhaps not good to view with small children. The film presents many questions in the mind of the viewer, including the proper balance of freedom (anarchy) and law (police state). It also questions the treatment of criminals. In this situation, many of the RAF were able to continue their reign of terror even when behind bars. Politicians were nervous about being harsh on the violent criminals because of the presence of an odd, small, highly vocal, mostly consisting of students and lawyers, group holding a sentiment in support of the RAF. Throughout the film, it was difficult to hold pity for the RAF members, especially with their immature and extremist behavior. Yet, it was public support for them that maintained their criminal activity for so long. The film is very thought provoking and well worth watching. It should provoke some good discussions with my German friends.

This is supposed to be a film version of the uncovering of one of the worse security breaches in US history. It is the story of Robert Hansson, who had been selling secrets to the Soviets, resulting in the death of several Soviet agents that were working with the US. There are questions in Amazon.com reviews about the accuracy of historical details in the film, though it seems to follow the Wickipedia storyline quite well. The movie starts slow and you wonder at first where it is going. The action never speeds up, but it remains spellbinding to the end, when Hansson is finally caught in the act. The acting is superb, especially with Chris Cooper as Robert Hansson. The storyline slowly intensifies, as Phillippe acting as the young FBI operative who uncovered Hansson slowly realizes what he is doing. My appreciation to Dr. JL who introduced me and Betsy to this film.

This is a series that started poorly, and should have ended after the second episode. The plots are as follows, Planet of the Apes – Charleton Heston is stranded on a strange planet after traveling into the distant future from his rocket ship sent from earth, only discover that the planet is now ruled by apes. He is taken captive, and eventually escapes with the help of two chimpanzees, only to discover that the strange planet is planet earth. Beneath the Planet of the Apes, a second rocket ship crashes, and the sole survivor meets up with Heston in underground caverns, which are clearly the ruins of NY City. The human inhabitants here are invaded by the apes, who decide on mutual destruction of all by setting off an atomic bomb which destroys the world. Escape… two the chimpanzees who helped Heston land in a rocket ship on the shores of Los Angeles, going back in time, and are discovered as talking apes. They reveal the scenario of the future so it is decided to kill the apes and save the future. A sole newborn chimpanzee survives. Conquest… it is now 1991 and all pets have been killed by man, so monkeys are now the predominant other species, used as pets, slaves, etc. The talking chimpanzee baby leads an ape revolt which takes over mankind. Battle… it is now many years later, and the first chimpanzee baby (Caesar) is now old, and there are battles between chimpanzees and gorillas and humans for control of civilization.

The films are rather benign, though there is much unnecessary obscenities and language used. There is a lot of ridicule of organized religion, and evolution is considered a given. The story plot is quite lame. It’s hard to criticize acting, when most of the actors are wearing monkey suits and acting like apes. My only wonder is how they made so many sequels until somebody got the idea that it was a stupid series.

This film was given to me by a very good friend who had converted from Anglicanism to Buddhism. It was his desire to demonstrate the virtues of Buddhist thinking. So, I watched it with as open of a mind as possible. The film was made in Tibet at the main centers of Buddhism. It showed the principle sites of worship, temple artwork, adherents coming to worship, and various outdoor scenes, some with religious events occurring. The commentary throughout the film was heavily oriented toward anti-Chinese sentiment regarding their purported destruction of a culture.

This film failed  to evoke sympathy for the Tibetan Buddhist tradition. Countless cultures have come and gone throughout history, without any argument for their preservation. In Tibetan Buddhism, there was presented no argument that the culture offered anything worth preserving. True, the artwork was nice. True, a small subset of Tibetan devotees have the “right” to worship as they please. Yet, the film fails to suggest that Buddhism offers anything superior to the Christian faith, or any other religion or ideology. Even in Buddhism, they have the good and evil spirits, yet there is nothing to argue why the evil spirits are evil and the good spirits are good. All are one, and none should be given preference. In real life, Buddhists seem to be as violent as anybody else when given the opportunity. Similarly, I don’t see the same “Free Tibet” group arguing that Israel needs to be set free for the Israelite/Jew, since that is their legitimate homeland. I don’t see a war-cry that Temple worship should return to Judaism as restoration of a culture that should not have been destroyed by the nasty Romans. There seems to be a great degree of hypocrisy in the Free Tibet movement.

Oddly, the film reminded me much of our recent visit to Rome. In Rome, we saw devotees spending hours praying to artifacts, doing ritual climbs on “sacred stairs”, lighting of candles, holy water, endless repetitions of the Rosary. Is this no different than prayer wheels. If only we could automate our spirituality, or make it so that all one needs to do is to perform certain perfunctory functions. It is odd how Christ stated so plainly that God doesn’t listen to mindless repetition, yet this is how universal public religion has evolved. It is no wonder that the Roman Catholic church has often had the greatest problem in defending that Christianity is the only way to God as written in the Bible. The RC faith doesn’t offer anything much different from the Buddhists.

So, the film did not suggest that Buddhism is worth exploring. It only made me appreciate my Christian faith all the more. I am glad that I am able to have a personal relationship with the God of the universe. I am content with an Absolute in morality, truth, and existence, by whom I gain my own existence. I am comforted that I don’t have to seek to attain to god-hood, yet never be sure if I could be good enough to do that. What could be more assuring than to have the God of the Universe provide forgiveness solely through true faith in Him, and trust in Him. Christianity gives a God who truly loves, truly feels, and encourages love for ones’ brother while seeking to attain progress in life through secular work and sacred worship together, as neither are better than the other, yet neither can do without the other. Life does not end up as an endless circle, but as a linear progress, so that I can view the future as a non-repetition of the present. It is a pity that too often Christianity degenerates into a mechanism, to which it offers no advantage over any other world religion.

I would love to take a trip to Tibet since I’ve read much about it. Yet, I’ll probably do it with my Chinese friend, and probably not feel bad that Tibet is now mostly Chinese.

This series is a set of three boxes that take one through the original Star Trek series. Since then, multiple spin-offs have occurred, but the original series endures. The films are well preserved, and for those who enjoyed Star Trek, it is a delight to once again view many of the episodes again. I have several complaints about this series as it is offered. The packaging is worthless, and was immediately discarded. The episodes were not presented in order, I’m not sure how they decided on the order of presentation of episodes. I remember episodes that did not seem to be included in any of these three seasons, and wonder if they were intentionally left out. Finally, in regard to the film content itself, the series seemed to diminish in quality over time. By the second and third season, many ideas were repeated, such as placing several of the Enterprise crew member into a historical earth scene. The series transformed from being a simple science fiction film to being a socio-political statement. I became nauseous every time I heard Captain Kirk comment “We come in peace!”. I’ll never be a trekkie, but these films are quite enjoyable to watch, especially if never seen before.

Star Trek Feature Films including

The Motion Picture ★★★ This film is very slow moving, playing on mostly special effects. The plot is simple. A massive energy cloud approaches earth, and Kirk/Spock eventually discover that this is a massively advanced configuration of the original Voyager 6 “V-ger” space probe.

The Wrath of Khan ★★★★ This was the most suspenseful film. Khan returns from a tv episode in an attempt to pay retribution on Captain Kirk. Spock dies.

The Search for Spock ★★★ Spock just sort of died, and the intention of this film is to get Spock’s thoughts, which were transferred to McCoy, back to Spock, wherever in the universe he might be. Kirk steals his Enterprise spaceship to accomplish that and Spock is rescued, though the Enterprise is destroyed.

The Voyage Home ★★★ Kirk and Spock are now federation bad boys, but a space probe has approached earth and trying to destroy it. Spock and Kirk figure out that it is calling out for extinct whales, and they must journey back two centuries to earth to pick up several whales and save the earth. In the process, Kirk and crew are redeemed.

The Final Frontier ★★ The Enterprise is called on to rescue several ambassadors from a remote planet, only to have the space ship taken over by a bunch of hippies. The resolution of the conflict involves Kirk proving to the hippies that there is no Nirvana or Heaven to go to.

The Undiscovered Country ★★★ The Klingons have gone bankrupt and sue for peace. Kirk must escort the Klingon ambassador to the peace meeting, when things are sabotaged and the ambassador is murdered in a strange fashion. Eventually, it is discovered that junior officers working in conjunction with Klingons sought to dismantle the peace process, but only after many unusual adventures and last moment rescues.

War and World History (The Teaching Company Series), by Jonathan Roth ★★★

This series looks at world history from the perspective of how war affected that history. Roth shows possibly by this lecture series that multiple other factors, such as religion, politics, and chance seem to affect the occurrence of war as much as vice versa. Thus, Roth delves at length how economy, culture and nationalism has affected the occurrence of war in the last several hundred years. Though he spent some time speaking of the development of war technology, it was rather minimal considering the topic. Also, I had hoped for more discussion on the style of conducting war, strategies, and how geography affected the nature of war, and the development of war in world history.

Collapse, starring Michael Ruppert ?

This film was absolutely awful.  The majority of the shots were various angles on Michael sitting on a single chair in the middle of an otherwise empty warehouse. We had to endure his continual preoccupation with cigarettes. Michael’s only message was that the entire system is going to break because the world is going to run out of oil. This will be followed by mass chaos and mass starvation, war, and disruption of all the social aspects of life.  He seems to fix most of his blame on George Bush. Michael’s brand of alarmism is disingenuous, in that he has essentially given up on the system. The final views are him in his home which has past due taxes and bills that he cannot pay. Poor Michael! While there is truth in his thesis of the purported coming system collapse, he lacks not only credibility, but also the ability to develop his claims in a convincing fashion. This film is a total waste of even the time it takes to watch it.

Enron, The Smartest Guys in the Room, editor Allison Ellwood ???

This film is a documentary of the rise and fall of Enron. It is a sad story in many ways, in that it reflects what is happening throughout the financial structures of corporate America. Unfortunately, the editor identifies what I believe to be false or superficial causes for the collapse of Enron, including government giving in to demands for increased deregulation. The prevailing undercurrent in this film was a statement against deregulation. In fact, the documentary failed dismally to identify where deregulation was the great evil, outside of holding people responsible for their actions and maintaining transparency in issues that involve the public concern. There is a sense of anger left at the end of the film, as to why so many of the top executives could make out with hundreds of millions of dollars, middle managers and traders with millions of dollars, and yet leave many pension plans (such as with PGE) destitute. The films fails to identify a greater evil lurking in the very heart of corporate America that may lead to such corporate collapses many more times over in our short lifetime.  This film is worth watching if one has not stayed on top of the issues that led to the fall of Enron.

Inside Job, directed by Charles Ferguson, narrated by Matt Damon ??

This film is a documentary of the 2008 financial collapse. It attempts to offer an in-depth analysis of what went wrong with the financial system, placing most of the blame on none other than George W. Bush (surprise?).  No mention is made of the fact that it was a very socialistic democratic congress that essentially controlled governmental financial dealings. Oddly, the film uses two faux-pundits to help sort out was went wrong with the housing bubble and collapse of AIG and Lehman Brothers. The first was Barney Frank, who waxed eloquent about how proper regulations were not put in place on Fannie Mae and Freddie Mac. Oddly, it was Frank and the democratic party that refused to listen to warnings. Barney is more to blame than anybody is the collapse of Fannie and Freddie. The second faux-pundit was George Soros, the consummate hypocrite who has made more billions off of shady dealings on Wall Street than anybody alive. The only benefit that I received from the film is that I was left with the impression that it is the fox that guards the financial hen-house.  The film shows adequately that even the academic institutions are now besot with corruption with very lucrative advisory roles given to many economics professors.  It has enough fairness to admit that even St. Obama has failed the faithful by continuing Wall Street personnel such as Larry Sommers, Timothy Geithner and many others who have failed the public trust through corrupt actions.

Conservatives tend to defend Wall Street as the model of free-market economics. The argument is against limits on top executives since free-markets determine what a person earns. Such an argument is certainly true for the prior builders of industries that have made America, such as with Andrew Carnegie, The Rockefellers, etc., and is also true of modern industry builders such as Dell, Gates, and Jobs. They deserve what they have earned. I have much more trouble with the astronomical profits earned by the financial gamblers of Wall Street who run the banks. They produce nothing, their risks are not great since the Feds will bail them out, and they will be able to make catastrophic decisions and still take home at least 100 times what I will earn in a lifetime.  Ferguson argues that these banking systems create the “wealth” that powers modern society to drive itself forward. Yet, I disagree to some extent. America grew quite fine before the Federal Reserve was created on Jekyll Island in 1913. There was never an issue of phantom monies coming and going, of corruption and dishonesty controlling and regulating itself. Why are normal politicians not allowed to see into the workings of the Federal Reserve? Because we just can’t understand? If banking is truly that complex, then we have a serious problem. Strangely, many evil people such as Sommers and Geithner were given positions by George Bush, only to held on to and adored by St. Obama.

As brother Dennis rightly states, there is minimal difference between the Republican and Democratic Party in many things, and economics seems to be one of them. Few besides Ron Paul have the wisdom to identify that the Federal Reserve is built in a fashion to protect corruption, promote parasitic high-rollers in the banking world, but in whom we are supposed to trust our money. Is it no wonder that the world economic status has become unglued?

This is a hodge-podge 34 CD collection from the Deutsche Grammophon archives, presumably reflecting the best of Liszt. It was probably produced for the bicentennial year of Liszt’s birth. Sony has also produced a 25 CD collection, as well as the recently reviewed Leslie Howard complete piano works of Liszt. Sadly, nobody has ever compiled the entire production of Liszt like has been done for Mozart, Beethoven, Bach and other composers. This collection has all superb performances, as well as superb recordings. It is a very worthwhile introduction to Liszt for the classical lover who would like to get into Liszt.

A recent conversation with Jeff Banker during a hike/climb of Flattop Peak in Anchorage, AK led to the issue of free will and providence. This movie came up in the discussion. It is suggested that there is a bureau of people who have enough insight in the makeup of all people in order to ultimately have plans for their fates, as well as the fate of the world. It is as though they are god, yet, unlike the Christian God of the Bible, is constantly changing his plans, not totally aware of the future, has no actual control over anything, can be worked around, has no prevailing moral code of operation, and is limited in his insights, judgement, and power to actually determine the fate of events. Damon is not his best in acting, and was much better in the Bourne series. I am quite sure this movie reflects a sense of providence/predestination equivalent with most people’s thinking, including Christians of the Arminian persuasion. This movie is an excellent argument that such a god is no god at all, but rather just a little more powerful version of the human being.

Both of these albums were taken from historical archives. Thus, their quality is ok to quite poor. The recordings could have been cleaned up a little better, but were not. Many of these marches and songs are quite difficult to obtain. Of note, the Horst Wessel Lied is not available in Germany. It is illegal to have the tune, or to play it. It was hard enough to procure here in the US. For my German friends…

Bitte zur Beachtung! Passen Sie auf! Dieses Lied ist nicht erlaubt auf Deutschland. Hör es nur mit Kopfhörer. Wenn der Staat wisst, das du dieses Lied gehören hast, kannst du bestraft sein. Du werdest in Gefängnis geworfen sein, und der Schlüssel weg geworfen. Hör auf eigene Gefahr!

01 Horst Wessel Lied (Nazi Party Anthem – choral) 1

First, a clarification. I wish to compare this song with the French and American National anthems.

French National Anthem

Finally, the US National Anthem (I hope you know it already!)

O! say can you see by the dawn’s early light,
What so proudly we hailed at the twilight’s last gleaming,
Whose broad stripes and bright stars through the perilous fight,
O’er the ramparts we watched, were so gallantly streaming?
And the rockets’ red glare, the bombs bursting in air,
Gave proof through the night that our flag was still there;
O! say does that star-spangled banner yet wave,
O’er the land of the free and the home of the brave?

On the shore dimly seen through the mists of the deep,
Where the foe’s haughty host in dread silence reposes,
What is that which the breeze, o’er the towering steep,
As it fitfully blows, half conceals, half discloses?
Now it catches the gleam of the morning’s first beam,
In full glory reflected now shines in the stream:
’Tis the star-spangled banner, O! long may it wave
O’er the land of the free and the home of the brave.

And where is that band who so vauntingly swore
That the havoc of war and the battle’s confusion,
A home and a country, should leave us no more?
Their blood has washed out their foul footsteps’ pollution.
No refuge could save the hireling and slave
From the terror of flight, or the gloom of the grave:
And the star-spangled banner in triumph doth wave,
O’er the land of the free and the home of the brave.

O! thus be it ever, when freemen shall stand
Between their loved home and the war’s desolation.
Blest with vict’ry and peace, may the Heav’n rescued land
Praise the Power that hath made and preserved us a nation!
Then conquer we must, when our cause it is just,
And this be our motto: “In God is our trust;”
And the star-spangled banner in triumph shall wave
O’er the land of the free and the home of the brave!

Notice that the anthems all tend toward violence, and the Nazi anthem is no worse than the French or American. The only redeeming value of the American anthem is the last stanza, which is unfortunately rarely ever sung. Francis Scott Key wrote other hymns, one which is still in the church hymn repertoire, “Lord with glowing heart I’ll praise thee”, but unfortunately is not found in many hymnals any more.

As you can tell, I’ve been reviewing mostly Russian music, including Borodin, Rachmaninoff, and Shostakovich. Shostakovich is my favorite of all Russian composers. This 11-CD set includes all 15 of Shostakovich’s symphonies, as well as his violin concerto. Though recorded a few years ago by Melodia, the sound is quite excellent. Kondrashin provides very convincing performances, that rank among the best. His tempo and dynamics often differ a bit from western conductors, but is done in a way that is quite pleasing. The 5th symphony is comparatively slower than Bernstein’s, yet maintains all the vim and fire worthy of the symphony. This is a set of Shostakovich’s symphonies that is worth having, and is probably the best Russian performances available. I have complete sets by Barshai, Haitink, Maxim Shostakovich, and Jansons, as well as this set by Kondrashin, and tend to prefer the Kondrashin and Jansons sets above the others. Each conductor provides a much different interpretation of these symphonies, and all of the sets are worth having. Kondrashin would be a reasonable starting set for the beginner.

This is one of the sets produced by Brilliant Classics as a budget series, though none of the recordings in this set would fit the “budget” category as being highest quality performances. Especially delightful were the piano concertos with Earl Wild at the piano. This is reportedly a comprehensive set of Rachmaninoff’s works, including his operas, solo piano and solo voice works and other works. As a special treat, various historic performances of Rachmaninoff were also included. This set doesn’t seem to be available any longer from Amazon.com, but for the price when it was available, was a true bargain.

Alexander Borodin was a Russian chemist associated with “The Five”, a group of amateur musicians that sought to reform Russian music. The others in “the Five” were Balakirev, Cui, Rimsky-Korsakov,  and Mussorgsky. Though the musical output of the Five was not massive, it did have a profound influence on composers to follow, including Tchaikovsky and the 20th century Russian composers. Borodin has a sweet style to his music that is neither harsh on the ears or lacking in luster. Borodin’s chamber music is not commonly heard, and that’s a shame, since it is both tuneful and creative. The recording is flawless with a strong sense of presence, and the performances by the Moscow Trio/Quartet manifest charm in their interpretation. This is a worthy set to have in either small or large collections.

Die Beinahe Sechs (The nearly six) vocal ensemble  from Germany has composed and revised various Christian themed songs. They offer a mix of songs sung in German and English in a truly remarkable performance. Dr. Kretschmar (from Leipzig) first introduced me to this album. Rather than offer a ponderous description of their music, I thought it best to include two excerpts, both in highly reduced format to hopefully render these as not violating copyright laws. My only regret is that this group is not producing more albums, as they beat most of the Christian music being produced in the English-speaking world.

Jesu, meine Freude

What A Friend We Have In Jesus

The Three Stooges (8 volumes) ????

This series of the Three Stooges as presented on television goes from the earliest episodes in 1934 up to the final episodes with Joe Besser in 1959. The Three Stooges offer their own commentary of wit and humor. Many people who watch the Stooges in action feel that they are too violent, and I’m sure Leonard Maltin or Woopie Goldberg would not approve for the violence, but as they also tend to make fun of racial and ethnic stereotypes. The greatest disappointment with this series is that the last few years offered mostly remakes of previous episodes, often with only minor alterations in order to make it a new episode. In addition, Joe Besser simply cannot compete with Curly or Shemp. I remember watching the Three Stooges on television when I was 5 or 6 years old, and they were transfixing then. When I let the grandchildren watch them, they find them still amusing. Much of the wordplay is missed by kids, but makes the Three Stooges equally humorous for children and adults alike.

This is a bad movie to watch late at night, as it will haunt you. It is the story of a young wife in a small village in Iran, as told through the voice of a journalist who was passing through the village. Apparently, it was based on a true story, as this story mirrors what happens many times throughout strict Muslim countries. Soraya is mother of two young boys and two young girls, but whose husband has found her to be less than satisfactory, in spite of her hard work and virtue. He decides to get rid of her and marry another girl in a neighbor village. She takes up the job of helping to care for the children of a neighbor widower, encouraged by the town officials and holy man. Through this, the town officials and holy man assist in devising a false trumped charge of adultery. The widower is threatened with his life if he fails to assist in this plot, and so contributes to the deception of the charge of adultery, attesting that she was found lying on his bed. The final verdict was the death penalty, and all men in the village, including Soraya’s sons throw stones. Justice is finally served when Soraya’s husband discovers that the other girl is not available to him and he is left without a wife, and that the journalist brings the story to the rest of the world.

The intention of this movie is to alert the western world as to the mistreatment of women in Muslim countries. The film inadvertently portrays a much deeper evil that lurks throughout the Muslim mindset, which is unfortunately turned into a virtue by the Muslim faith. In the Judeo-Christian ethic, a person that leads to the death of another in a trial by bearing false witness is also condemned to death (Deut. 19:15-20). Integrity and truth are considered integral to religion and worship of God. In the Muslim faith, the worship of Allah is divorced from the ethical environment. A hierarchy of values are generated whereby one evil may justify the performance of another evil.Thus, suicidal terrorist acts, the organized mistreatment of women, the debauchery that occurs in all Muslim countries are all condoned since the ends justify the means. My experience of having spent time in several Muslim countries (Bangladesh and Northern Africa) confirm this through observations of women essentially having the same social status as animals. This is not superficially observable as many Muslim men treated their wives with respect, even though they still remain second class citizens in the society. Attempts have been made to accuse Western society for demeaning women, yet, the difference is such that females are considered equal but different, contrary to feminist ideology that considers females not only equal but not different. Either is a far cry from the Muslim world, where a female might be imprisoned for driving a car, or speaking out in public.

The director of this movie did a brilliant job of character development, scene portrayal, and plot flow. It will hold you by the seat of your pants, in spite of the fact that I have just given away the plot of the movie. I highly encourage you to watch this film at your first chance.

Bartók has a unique style of composition and Kocsis a delightful ability to render those compositions in a pleasant and enjoyable manner. Bartók was born in Hungary, eventually emigrating to the United States in the early 1940′s to escape the war, though many of his works were produced prior to his emigration. He delved into a range of styles, including atonality of the Schönberg style, polymodal chromaticism, and various modifications of early 20th techniques. Bartók focused on the utilization of Hungarian folk song themes in his compositions. Kocsis manages to take these various forms of composition, and make them flow with reasonable emotive expression. These performances would never be in my “desert island” top 10, but they have great value in most music lovers’ collections, and much to commend to them.

I don’t often review music that’s sat in my library for many years, but this is an exception owing to its excellence. Tchaikovsky isn’t too well known for his chamber music, yet this set of 3 string quartets is gripping, addicting, moving, and most enjoyable to listen to. The melodies are catching but never “jingo-istic”. The Borodin Quartet is flawless in their performance, but not mechanical, adept at extracting the soul of the piece. The absence of popularity of these pieces should not prevent one from giving these pieces one’s full attention for many an evening.

This is one of the best Teaching Company series that I’ve heard in a long time. Prof. Baum was quite compelling in his presentation, and maintained a competent discussion mixed with a large volume of personal experience to be not only informative but also enjoyable to listen to. I personally appreciate Baum’s teaching style, though he does demand full attention, since he typically does NOT repeat what he’s said. I especially appreciated how Dr. Baum maintained neutral political stances in his discussions–he did not use his lecture stand as a bully pulpit to push down his personal ideology. Yet, few professors in my recent memory (from the Teaching Company) has sparked such interest in the topic at hand. A day did not go by when I was seeking further information from the internet, and even better, from close friends who grew up in mainland China and could not only confirm but expand on the professor’s statements. Prof. Baum offers several introductory lectures to provide a background history of the West’s involvement with China in the 1800′s, leading to the rise of anti-western sentiment and the emergence of Mao Zedong. Baum follows through the life of Mao to his death, with China emerging from its backwater status to be a leading economic and social force in the world. These lectures are a beautiful complement to another excellent Teaching Company series “From Yao to Mao: 5000 years of Chinese History”. Regardless of one’s view of China, it remains a people that are rising on the world scene, and there is no better way to mentally fit China into the grand scheme of things than through this set of lectures.

Wagner wrote three early operas that are relatively unknown since they are rarely performed, including die Feen, das Liebesverbot, and Rienzi. They are operas that are not typical of  Wagner’s mature style, but do show development toward the final Wagnerian style. Rienzi is the opera that launched Wagner’s career as a musician, and several of the pieces including the overture are still occasionally performed. There were no available movie versions of this opera until this performance came out, so I decided to buy it, especially with the reasonable reviews given to it by Amazon.com reviewers. This performance has its merit. The singers were faultless, acting and singing well. The recording was high quality, though there were often problems with mixing of the sound of the singers and the orchestra, in that the orchestra tended to drown out the voices on stage.

My problem with this performance is the staging. I don’t object to modern versions of operas, so long as they don’t distract from the story and theme of the original opera. If the staging is such that it creates another theme or story than the original opera, or if it restricts itself to being solely a commentary on either the opera or the composer, then it should not be considered as a legitimate version of the opera. I recall the Peter Sellars versions of various operas that attempted contemporary contextualization of 18th and 19th century operas, yet they were never sold as straight opera renditions. Creative license with modern European staging tends to destroy the composers intent, and this should be overtly stated. It would be like re-writing a Beethoven symphony for a Jazz band but calling it the original symphony. Liszt did not have the audacity to do that, but was willing to call his transcriptions something else, and bizarre creative staging should be called something other than the original opera.

The staging used in this performance is indeed bizarre. The citizens of Rome come out masked at first, eventually removing their masks and donning suits that looked more like Soviet peasant outfits. Rienzi and his daughter appeared more like Adolf Hitler and Eva Braun than a noble Roman tribune. The themes of Stalin, Hitler and Mussolini prevailed, forcing the entire opera into an entirely other interpretation. Adriano, the traitor, is made into the hero, and Rienzi is reduced to totalitarian scum. The final scene, with Rienzi in Hitler’s bunker and Speer’s model of the new Berlin before him was exceptionally distractive to the aria “Allmächtiger Gott…” and completely out of place. The videos of Rienzi as a totalitarian propagandist before microphones appearing on television were seriously distracting. Wagner’s character development in the opera was completely re-written. The behind the scenes slaughter of the assassins at the end of act 1 altered the story of the opera. This is not the way Wagner intended the opera to be, and the staging was too divergent from the actual opera story to be legitimate. I’d rather just listen to a recording than to watch what Stölzl has given us.

Whatever one may think of Wagner, I suggest that performances should leave Wagner alone. It is true that Wagner was a truly despicable  egotistical, racist person, yet his composing is sublime. It is quite easy to see his anti-Jewish sentiments throughout his operas, which must be overlooked. Thankfully, many Jewish Wagner conductors and performers have been able to do that, producing some of the best performances of Wagner in existence (eg., James Levine’s Ring, Leonard Bernstein’s Tristan und Isolde). To be obsessed with mid-twentieth century totalitarianism when performing a Wagner opera deprives the opera of its legitimate interpretation and reduces the performance to just another case of Euro Trash.

Shostakovich Symphonies, conducted by Mariss Jansons, multiple orchestras ????
My first complete Shostakovich Symphony set was that conducted by Haitink, and also have complete sets by Barshai, Maxim Shostakovich, as well as multiple renditions of symphonies that do not have complete sets, such as symphonies conducted by Bernstein and von Karajan. Jansons seems to be the most novel of all the sets. Some symphonies did not sound entirely like what I heard out of the other performances. In many instances, such as his performance of the Fourth Symphony, it has a very accessible nature, probably the best 4th I’ve heard so far. Some of the recordings had annoying background noise and were not of highest quality. I still prefer Haitink as the all-round best performance of the Shostakovich symphonies, but consider Jansons in very rightful competition for the interpretation of these symphonies, and very much worth having in a music collection.

This is a collection of 60 CDs, representing more than 60 albums of music published on vinyl under the Living stereo label. I remember having a number of these recordings as a teenager. They are now reproduced in CD format. For all of the CDs, the transfer was impeccable, with a brilliant and clean sound. Many of the performances are historically notable, such as the VanCliburn Tchaikovsky Piano Concerto. Also featured were many of the recordings of Fritz Reiner and the Chicago Symphony Orchestra, Charles Münch and the Boston Symphony Orchestra, as well as Jascha Heifetz. This set represents a super value, running at less than $2/disc when purchased on Amazon.com.

I have long sought for performances of the Zion’s Harp songs, the hymnal used by the Apostolic Christian Church. Kufchak has done a memorable service to this music by providing well-performed and orchestrated renditions of many Zion’s Harp songs, as well as a few of his own compositions and other music. Many of the songs had a ACCA translation (?), not the translation that  I was used to with the ACCN hymnal. Orchestration tended to be one-dimensional, in that the orchestra essentially paralleled the 4 part harmonies, with only an occasional embellishment. Kufchak tended to limit the amount of brass used in these pieces, and probably for good reason since the trumpets were seriously marginal in their performance.  I would wish that Kufchak continue his work, as he is to lauded for a great start in making public many Zion’s Harp songs. I hope that as he ages, his orchestrations develop a sophistication that complements rather than simply parallels the choir.

This film is labeled a documentary, but its entire format is really that of a sermon by Rev. Algore. There is very little documentary here. Included are also occasional testimonials by supposedly notable figures. There is much political jabbing, some of which is justified, but most of which is not. Approximately 95% of the entire film has at least 40% of the screen filled with Rev. Algore’s face. There are multiple clips that just don’t relate to the thesis of global warming, such as a complaint about how the votes were tallied in Florida, with the subsequent Supreme Court ruling, and no explanation as to what this had to do with the “inconvenient truth” of this film. The film is entirely about global warming, but unknowingly shows how Rev. Algore is particularly skilled at depleting carbon units, although he is exempt since he alone is allowed to consume mass quantities of energy. I can’t imagine the energy required to run Rev. Algore under the North Pole in a nuclear submarine and surface through the ice, just to add a 2 minute episode to the sermon. I could go on and on. Rev. Algore sanctimoniously suggests that the family farm quit growing tobacco because of the concern over lung cancer, yet it almost certainly was a result of declining reimbursements from tobacco. Rev. Algore’s tone of voice, inflections, and speaking style were much more like a sermon than a documentary. The fools who gave this film an Academy Award fail to offer how this film stood out in quality and credible research. The entire thesis of the film is based on supposed rising atmospheric levels of carbon dioxide, while Rev. Algore maintains a schoolboy belief in the accuracy and significance of the data and its extrapolations, without any questioning of the data. It shows the absurd fallacy of having a lawyer/politician pretend to be doing credible science. There is no doubt that there is some truth to what Rev. Algore is saying. There is a retreat of glaciers in the last few decades. There are certain interesting climate changes. Yet, Rev. Algore fails to substantiate the exact causal nature of these events, and chooses instead to promote emotionalism and extreme reactions, exactly what he accuses the Republican party of doing, though on other issues. If Rev. Algore didn’t make so many hard jabs at his political opponents, he might have gained a few more sympathetic ears. Making the weather a political rather than a pure environmental issue makes Rev. Algore ineffective and suspect as to his true intentions for making this film. It is thus hard for me to give this film even one star. It is not worth purchasing, though a single viewing is of value only to see the many gorgous faces of Rev. Algore. Global warming supporters may have a credible argument, but it certainly is not given in this film.

This is a television series which ran for four seasons. Each season contained 4 DVDs, each DVD lasting about 3 hours and each episode about 25 minutes. Hitchcock would come on at the beginning an ending, to discuss some aspect of the film about to be seen. Each episode would use first-class actors, and most plots were quite delightful. Towards the end of the fourth season, Betsy and I could usually guess approximately what the ending might be, as they are not what one would suspect. Interestingly, Hitchcock in this series is frequently imitated. After all, there is no greater director of suspense films than him. All the episodes are in black and white, and nothing objectionable as is usually found on television nowadays is seen in this series, with minimal violence and certainly no sex or smut. Hitchcock shows that one doesn’t have to resort to filth in order to entertain. There are no Hitchcock cameos that I could find in any of the episodes. In all, this is an enjoyable and suspenseful series that is most highly recommended for all viewers.

John Field Piano Concertos (sic), performed by Benjamin Frith, Northern Sinfonia ?????

First a brief comment about the English language. The pleural of concerto is NOT concertos but concerti. Unfortunately, we must live with this unbearable abuse of the common language. John Field is a little known contemporary of Ludwig v. Beethoven. That he is little known is a terrible travesty, since his concerti are so delightful. These 6 concerti on 3 CDs belong in the regular repertoire, as they are most compelling, and fascinating to hear. Field maintains a style that is distinctly classical, but distinctly different from Beethoven and more in line with Mozart or perhaps Schubert. These performances are crisply recorded, and though offered on a budget set, are definitely not budget recordings. They are most highly recommended by me. Though Field does not have much music that is offered in recorded form, he is worth seeking out for what little he may have out there. I have commented previously on the fact that British Isle music is generally lacking, with significant decent composers from those parts being able to be counted on one hand with most of the fingers amputated. Field is Irish, and would have to be added as one of the few that gets counted as a truly great British Isles (though NOT British!) composer.

It is hard to dislike anything that Greenberg does, and this Teaching Company series is no exception. Many of us waited for years for Greenberg to produce this set of lectures, as I’m sure it did not come easy to him. Throughout the lecture set, you sense a very strong love-hate relationship with Wagner and Greenberg. This feeling is reflected in the cynicism found throughout each and every lecture, though usually presented quite humorously, like suggesting, when the sword was named Notung, that perhaps Wagner even had a name for his pillow. In his animosity against the person of Wagner, Greenberg has forgotten his comments on the operas of other composers. Almost every opera has a silly if not ridiculous plot. Almost every opera is inconsistent with real life. No opera is believable. One could crack insults at Verdi for writing an opera where a larger-than-life character becomes fatally obsessed over a lost handkerchief, or a Puccini opera where ladies die of consumption at precise moments and heroes magically appear at the right moment to save tragedy, or Mozart operas where heads of state are made to look like bumbling idiots, Queens of the night appear out of no-where, etc., etc. Greenberg seems to love the music of Wagner, but writhes in agony at the consummate anti-semitism of the composer. Greenberg certainly is correct when he spends lengthy hours describing Wagner as inconsistent, arrogant, self-adoring, egotistical, impetuous, racist, mean-spirited, and any other possible negative epithet. All of these are correct, and would Wagner be alive today, he would be regarded as a despicable Arschloch. Greenberg is quite informative in showing how the thinking of Schöpenauer and virile anti-semitism is reflected in all of the music of Wagner, and this was most informative.

Greenberg does a marvelous job of following the chronological history of Wagner. Of interest is his almost certain Jewish father, which Wagner probably was aware of in forming many opera characters with lost identity. Greenberg probably added too much comment regarding Wagner’s desire for German unification. Most German intellectuals were desirous of unification, just as France had accomplished earlier, and Italy was in the process of accomplishing. It is wrong to presume that what was right for France, England, the United States and Italy was wrong for Germany, and perhaps the world wars came partially as a result of this prejudiced exceptionalism of the rest of the world to German unification. Wagner reflected a German ethos rather than a personal arrogance in desiring to see a unified country.

Greenberg is correct when he repeats often that one cannot separate the man from his music. He is incorrect in not stating that perhaps the greatest insult to Wagner the man is for his music to performed by Jewish conductors (such as Levine) with absolute disregard for the “deeper” meaning in his writings. Such disregard is not only possible but necessary, so that even in an unforgivably flawed person like Wagner, there remains genius to be appreciated. I await the day when a Jewish conductor with an all-Jewish orchestra from Israel performs Parsifal at Bayreuth in a comic fashion.