Category Archives: Video & DVD

Stories of a Life | 1974 | Cathy & Raymond’s European Vacation

Traveling on a train across Europe, with a Eurail Pass, in the 1970s

In the summer of 1974, Cathy and I travelled to Europe for a three-month European summer vacation, BritRail and Eurail passes in hand, this was going to be a summer vacation to keep in our memory for always.

And so it proved to be …

On another day, in another post evoking memories of our cross-continental European sabbatical, I’ll relate more stories of what occurred that summer.

Train travel in Spain, in the 1970s, as the train makes its way around the bend

Only 10 days prior to the event I am about to relate, Cathy and I had arrived in Lisbon, Portugal, alighting from a cruise liner we’d boarded in Southampton, England (passage was only 5£s, much cheaper than now).

After a couple of wonderful days in Lisbon, Cathy and I embarked on the first part of our hitchhiking sojourn throughout every portion of Portugal we could get to, finally traveling along the Algarve before arriving in the south of the country, ready to board a train to Spain. Unfortunately, I developed some intestinal disorder or other, requiring rest and fluids. Once Cathy could see that I was going to be fine, she left the confines of our little pensão to allow me to recover in peace, returning with stories of her having spent a wonderful day at the beach with an enthusiastic retinue of young Portuguese men, who had paid attention to and flirted with her throughout the day. Cathy was in paradisiacal heaven; me, not so much.

Still, I was feeling better, almost recovered from my intestinal malady, and the two of us made a decision to be on our way the next morning.

Traveling from the south of Portugal to Spain, in the 1970s

To say that I was in a bad mood when I got onto the train is to understate the matter. On the way to the station, who should we run into but the very group of amorous men Cathy had spent the previous day with, all of whom were beside themselves that this braless blonde goddess of a woman was leaving their country, as they beseeched her to “Stay, please stay.” Alas, no luck for them; this was my wife, and we were going to be on our way.

Still suffering from the vestiges of both an irritable case of jealousy and a now worsening intestinal disorder, I was in a foul mood once we got onto the train, and as we pulled away from the station, my very loud and ill-tempered mood related in English, those sitting around us thinking that I must be some homem louco, and not wishing in any manner to engage.

A few minutes into my decorous rant, a young woman walked up to me, and asked in the boldest terms possible …

Do you kiss your mother with that mouth?

“Huh,” I asked?

“Do you kiss your mother with that mouth? That’s the filthiest mouth I’ve ever heard. You’ve got to teach me how to swear!”

At which point, she sat down across from me, her lithe African American dancer companion moving past me to sit next to her. “Susan. My name is Susan. This is my friend, Danelle,” she said, pointing in the direction of Danelle. “We’re from New York. We go to school there. Columbia. I’m in English Lit. Danelle’s taking dance — not hard to tell, huh? You two traveling through Europe, are you?” Susan all but shouted. “I come from a large Jewish family. You? We’re traveling through Europe together.”
And thus began a beautiful friendship. Turns out that Susan could swear much better than I could; she needed no instruction from me. Turns out, too, that she had my number, and for all the weeks we traveled together through Europe, Susan had not one kind word for me — she set about to make my life hell, and I loved every minute of it. Susan became the sister I wished I’d had, profane, self-confident, phenomenally bright and opinionated, her acute dissection of me done lovingly and with care, to this day one of the best and most loving relationships I’ve ever had.

Little known fact about me: I love being called out by bright, emotionally healthy, socially-skilled and whole women.

Two-year-old Jude Nathan Tomlin, baby Megan Jessica, and dad, Raymond, in June 1977The summer of 1974, when Cathy became pregnant with Jude, on the right above.

Without the women in my life, Cathy or Megan, my daughter — when Cathy and I separated — Lori, Justine, Alison, Patricia, Julienne or Melissa, each of whom loved me, love me still, and made me a better person, the best parts of me directly attributable to these lovely women, to whom I am so grateful for caring enough about me to make me a better person.

Now onto the raison d’être of this first installment of Stories of a Life.

Once Susan and I had settled down — there was an immediate connection between Susan and I, which Cathy took as the beginnings of an affair the two of us would have (as if I would sleep with my sister — Danelle, on the other hand, well … perhaps a story for another day, but nothing really happened, other than the two of us becoming close, different from Susan).

J. D. Salinger's Nine Stories, an anthology of short stories published in April 1953

Danelle saw a ragged copy of J.D. Salinger’s Nine Stories peeking out of Cathy’s backpack. “Okay,” she said. “In rounds, let’s each one of us give the title of one of the Salinger short stories,” which we proceeded to do. Cathy was just now reading Salinger, while I’d read the book while we were still in England, about three weeks earlier.

Cathy started first, For Esmé — with Love and Squalor. Danelle, Teddy. Susan, showing off, came up with A Perfect Day for Bananafish, telling us all, “That story was first published in the January 31, 1948 edition of The New Yorker.” Show off! I was up next, and came up with Uncle Wiggily in Connecticut. Phew — just barely came up with that one! Thank goodness.
Onto the second round: Cathy, Down at the Dinghy; Danelle, Pretty Mouth and Green My Eyes; Susan, showing off again, De Daumier-Smith’s Blue Period, “turned down by The New Yorker in late 1951, and published by the British Information World Review, early in 1952.” Me? Struggling yet again, but subject to a momentary epiphany, I blurted out, Just Before the War with the Eskimos. There we were, eight stories down and one to go.

But do you think any one of us could come up with the title to the 9th tale in Salinger’s 1953 anthology of short stories? Nope. We thought about it, and thought about it — and nothing, nada, zero, zilch. We racked our brains, and we simply couldn’t come up with the title of the 9th short story.

We sat there, hushed. For the first time in about half an hour, there was silence between us, only the voices of children on the train, and the clickety-clack of the tracks as the train relentlessly headed towards Madrid.

We couldn’t look at one another. We were, as a group, downcast, looking up occasionally at the passing scenery, only furtively glancing at one another, only periodically and with reservation, as Cathy held onto my arm, putting hers in mine, Danelle looking up, she too wishing for human contact.

Finally, Susan looked up at me, looked directly at me, her eyes steely and hard yet … how do I say it? … full of love and confidence in me, that I somehow would be the one to rescue us from the irresolvable dilemma in which we found ourselves. Beseechingly, Susan’s stare did not abate …

The Laughing Man,” I said, “The Laughing Man! The 9th story in Salinger’s anthology is …” and before I could say the words, I was smothered in kisses, Cathy to my left, Susan having placed herself in my lap, kissing my cheeks, my lips, my forehead, and when she found herself unable to catch her breath, Danelle carrying on where Susan had left off, more tender than Susan, loving and appreciative, Cathy now holding me tight, love all around us. A moment that will live in me always, a gift of the landscape of my life.

Arts Friday | Netflix Takes Over the Oscars in 2021

Netflix to overtake the Oscar ceremony in 2021

In 2019, Netflix landed its first Oscar nomination for Best Picture with the release of Alfonso Cuarón’s critically acclaimed Roma. A year later, the streaming service was leading the field with 24 Oscar nominations, including Best Picture nods for both The Irishman and Marriage Story.
As Netflix’s impact on the world of cinema became increasingly undeniable, the younger and more diverse film academy was no longer prepared to shun the streaming service as the old Hollywood guard tried to do. Earlier this year, on April 28th, responding to the changes that COVID-19 had wrought, the Academy of Motion Picture Arts & Sciences removed the stipulation that a movie must be shown in a theatre before it could become eligible for the coveted Best Picture Oscar nomination.
And thus the stage was set for an Oscar ceremony in 2021 the likes of which no one will have ever seen before, with at least seven Netflix releases eligible for a Best Picture nomination, with each of those films set for Oscar nominations, ranging from Best Actor and Actress, Supporting Actress and Actor, to Best Director, Music, Sound and technical awards.
Today on VanRamblings, the Netflix features set to dominate Oscars 2021.

For the upcoming Academy Awards — delayed due to the pandemic until Sunday, April 25th — Netflix has pulled out all the stops. Already streaming, there’s Spike Lee’s Best Picture contender Da 5 Bloods, Gina Prince-Bythewood’s well-mounted action thriller The Old Guard, and Charlie Kaufman’s screenplay contender, I’m Thinking of Ending Things.
And, available today on Netflix, there’s writer-director Aaron Sorkin’s The Trial of the Chicago 7 which is, as Variety lead critic Owen Gleiberman writes, “a knockout, and the rare drama about the 1960s that’s powerful, authentic and moving enough to feel as if it were taking place today, a briskly paced and immersive film bristling with Sorkin’s distinctive verbal fusillades, a cinematic powder keg of film with a serious message that seamlessly blends a conventional yet compelling courtroom procedural with protest reenactments and documentary footage, the film offering an absorbing primer of a ruefully meaningful period in American history.”

Due to arrive on Netflix on Tuesday, November 24th — on the eve of American Thanksgiving — director Ron Howard’s big budget film adaptation of J.D. Vance’s autobiographical best-seller, Hillbilly Elegy offers a powerful account of growing up in a poor Rust Belt town, that also provides broader, probing insight into the struggles of America’s white working class.
A passionate and personal analysis of a culture in crisis, Glenn Close and Amy Adams are at the centre of Howard’s film, and solid prospects for Best Actress and Best Supporting Oscar nods. Howard will be in the mix, as well.

Netflix will release David Fincher’s Mank in select theatres in November before the black-and-white film begins streaming on December 4th.
The Hollywood-centric period piece follows alcoholic screenwriter Herman J. Mankiewicz (certain Best Actor nominee Gary Oldman) as he races to finish the screenplay for Orson Welles’ 1941 masterpiece Citizen Kane. That classic picture was fraught with behind the scenes drama, as Mankiewicz and Welles argued over credit and who wrote what, which became even more important once the film won the Oscar for Best Original Screenplay.
The original script for Mank was written by Fincher’s father, Jack Fincher, so this project certainly means a lot to the filmmaker. Mank boasts a running time of 2 hours and 11 minutes, so it won’t be quite as long as Zodiac or The Curious Case of Benjamin Button, not that Fincher ever wastes a single frame. The film is expected to be a major awards contender for Netflix.

Ma Rainey’s Black Bottom. George C. Wolfe directs, Denzel Washington produces, and Oscar-winner Viola Davis (Fences) stars as Ma Rainey in Ruben Santiago-Hudson’s adaptation of the hit August Wilson Broadway play. The late Chadwick Boseman and If Beale Street Could Talk star Colman Domingo play members of Rainey’s ’20s jazz band.
Awards prospects: Ambitious trumpeter Levee was 43-year-old Boseman’s final role before succumbing to his private battle with colon cancer in August; he looks rail thin in film stills. Posthumous Oscars went to Heath Ledger (The Dark Knight) and Peter Finch (Network) among others. In this case, with the beloved Black Panther star also in the running for his supporting role as a U.S. Army soldier in Vietnam in the Spike Lee joint, Da 5 Bloods, many believe that it’s likely Boseman will wind up in the Best Actor category for Ma Rainey, with Davis as Best Actress. Like Mank, the elaborate period setting should be attractive to Academy craft branches.
Release date: In theatres early December, streams on Netflix December 18.

The Midnight Sky, director-star George Clooney's new sci-fi film for Netflix

Oscar-winner and Hollywood icon George Clooney directs The Midnight Sky, a sci-fi thriller with a script by Mark L. Smith (The Revenant) based on the Lily Brooks-Dalton novel about an Arctic scientist (Clooney) attempting to warn a NASA spaceship astronaut (Felicity Jones) not to return to doomed planet Earth. Awards prospects: Netflix took advantage of the London Film Festival this month (October 2 – 18) with a tribute to Clooney, complete with clips. Critical reaction will determine whether The Midnight Sky will figure in the Oscar sweepstakes, but Clooney (Syriana) has delivered in the past, as has Oscar-nominated Jones (Theory of Everything).
Release date: In theatres early December, Netflix début to be announced.

Arts Friday | Netflix and the Death of the Theatrical Experience

Netflix and the Death of Hollywood

With movie theatre attendance at a two-decade low and profits dwindling, with revenues hovering slightly above $10 billion, Hollywood is on the verge of experiencing the kind of disruption that hit the music, publishing, and related cultural industries a decade ago and more.
Hollywood once ruled the world with must-see movies that would entice people to head to the nearest cinema every weekend. But movie crowds have been declining as more people opt to “Netflix”, and chill at home.
Like other industries, entertainment is feeling the shock of technology and scrambling to adapt to sharply shifting economics. Studios are increasingly banking on big-budget franchise films to bring in bucks. But is that enough?
Wall Street Journal reporter Ben Fritz considered those issues in his book, The Big Picture: The Fight for the Future of Movies.

“Netflix is having a massive impact on Hollywood,” Fritz writes. “They’re disrupting all the traditional economics of television and movies. It’s inescapable how much Netflix has become the TV diet for so many people. Now it’s happening to movies.”

“The movie industry is going through what the record industry has gone through. Subscription streaming is changing the movie business. The music business has had to adapt to people streaming, and that’s going to happen in the movie business. A lot of traditionalists are saying, ‘No, a movie is made to be seen in a theatre.’ That may be what Hollywood wants, but that is not what a lot of consumers want.”

As we wrote in a column published in 2018, in recent years Hollywood has been gun shy about producing romantic comedies.

Netflix, though, has proven just how durable the romcom formula is.
When Lara Condon and Noah Centineo’s To All the Boys I’ve Loved Before débuted last August, it set Netflix streaming records, with over 45 million viewers tuning in. Needless to say, a sequel will be released later this year, as is the case with Joey King’s breakout hit, The Kissing Booth.
Meanwhile, Rose McIver’s The Christmas Prince also spawned a much-anticipated sequel on Netflix this past holiday season.
In 2019, Netflix is set to spend around $18 billion on original programming, most of which is slated for movie production and documentaries, consisting of a 121 movie and documentary slate. Warner Bros.will release 23 films this year, while Disney (Hollywood’s most profitable studio) will début a mere 10. All the Hollywood studios combined in 2019 won’t spend $18 billion on production, and will release only a mere fraction of Netflix’s titles.
Looking into the financial crystal ball, investment firm Goldman Sachs predicts that Netflix could have an annual spending budget of $22.5 billion in 2022, a staggering number that would see Netflix far outstrip the total spending by all of the Hollywood movie studios combined.
With Netflix boasting 139 million subscribers, and growing by millions every month, according to tech mogul Barry Diller, a former senior member of the executive team at Paramount and 20th Century Fox and current Chairman of the Expedia group, “Hollywood is now irrelevant.”

The rise of Netflix may spell the end of the theatrical experience, and trips to your local multiplex

Having disrupted the model for TV broadcasters by making schedules extraneous and grabbing millions of viewers at the same time, Netflix is now making a run at Hollywood. “I think it’s going to be fascinating to watch,” says US journalist Gina Keating, author of Netflixed: The Epic Battle for America’s Eyeballs.
Netflix’s deep pockets have lured Hollywood stars such as Will Smith (Bright), Joel Edgerton, Sandra Bullock (Bird Box), Ben Affleck (Triple Frontier), Kevin Costner and Woody Harrelson (The Highwaymen), Anne Hathaway, Robert DeNiro, Al Pacino and Harvey Keitel, the latter three of whom will star in Martin Scorcese’s $150 million epic, The Irishman, arriving day and date on Netflix and a handful of theatres across the continent this upcoming autumn season, just in time for the Oscars.
And talking about the Oscars, Netflix’s Roma won a slew of Oscars this past Ocotber, winning Best Director, Cinematographer and Foreign Language Film for Alfonso Cuarón, while Period, End of Sentence won Best Documentary. Both films have been available on Netflix since December.
Although Netflix has been around for over two decades, the company’s rise to the top of Hollywood happened in a remarkably short period of time.
House of Cards, Neflix’s first foray into original content, débuted only six years ago. By expending monies to produce more shows and movies, it has managed to grow so rapidly that even its own executives are surprised.

“We’ve outperformed the business in a way we didn’t predict,” David Wells, Netflix’s (now former) chief financial officer, told The Hollywood Reporter in late February, after the company announced that its subscriber base had increased by over seven million in the first two months of 2019, its largest increase ever.

While Hollywood could take control of its fate, it’s very difficult for mature businesses — ones that have operated in similar ways for decades and where the top players have entrenched interests — to embrace change.
One can imagine the future looking something like this: You come home (in a driverless car) and say aloud to Alexa, Siri, Google Home or some A.I. assistant that doesn’t exist yet, “I want to watch a comedy with two female actors as the leads.” Alexa responds, “O.K., but you have to be at dinner at 8pm. Should I make the movie one hour long?” “Sure, that sounds good.” Then you’ll sit down to watch on a screen that resembles digital wallpaper.
At the Consumer Electronics Show this year Samsung débuted a flexible display that rolls up like paper.
There are other, more dystopian theories which predict that film and video games will merge, and we will become actors in a movie, reading lines or being told to “look out!” as an exploding car comes hurtling in our direction, not too dissimilar from Mildred Montag’s evening rituals in Fahrenheit 451.
When we finally get there, you can be sure of two things.
The bad news is that many of the people on the set of a standard Hollywood production won’t have a job anymore. The good news?
You’ll never be bored again.

Arts Friday | Netflix July | Time to Curl Up With a Good Movie

Meghan Markle. You know her — a princess and all, married some guy named Harry, purdy young gal, likes the Queen, feminist and known for her humanitarian work. And guess what else? For the past seven years, Ms. Markle has starred in a cable TV series called Suits — and you know what else, on July 18th you can binge-watch all of Season 7 of Suits, the last season of the USA Networks series starring the indefatigable Ms. Markle.

Meaghan Markle, a co-star of the USA Networks cable TV show, Suits

Yep, that’s Meaghan Markle above. And while we’re on the subject of recommendable and beauteous young women possessed of talent, there’s Australian actress Margot Robbie, who works with young, underprivileged children when she’s not filming a movie, as she’s doing now with Quentin Tarantino, starring as Sharon Tate in Tarantino’s new film, Once Upon a Time in Hollywood, which partly involves the Manson Family murders.

Australian actress Margot Robbie will star as Sharon Tate in the new Quentin Tarantino film, Once Upon a Time in HollywoodActress Margot Robbie will star as Sharon Tate in the new Quentin Tarantino film

On July 6th, Netflix brings I, Tonya to their indispensable service, the film in which Ms. Robbie was nominated for a Best Actress Academy Award.

And, oh yeah, another Margot Robbie film, Suicide Squad, makes its way to Netflix in July, too, for your viewing pleasure, of course, or when the kids want to get out of the hot noon day sun — although Suicide Squad many not exactly be kids fare. But there is plenty of kids fare on Netflix. Honest.