Tag: Harry Shearer

Monday night and Tuesday morning at the movies

* The Playlist informs us that Matt Damon and director Paul Greengrass have pitched a way to keep the “Bourne” options as open as possible. Personally, I think the idea sounds far weaker than I’d expect from either of them. On the other hand, “The Bourne Open Option” sounds like as good a title as any for the proposed reboot.

* A Disney-style title change for Zack Snyder’s upcoming animated family film. Some stories just don’t have good titles.

* After the fiscal success and critical bashing of “Cop Out” and the Southwest Airlines mishegas, Kevin Smith shows his sensitive side to Steven  Zeitchik. But is he really trying to tell us he did a big studio movie to make less money? Really, I don’t think there’s anything wrong with a filmmaker making a “one for them” movie for career or fiscal reasons. Many a great movie or book have basically been made for quick cash — though never only for that — and I think he perceived more of a dig from the A.O. Scott review than was really meant, accuracy aside.

* Bill Murray goes on Letterman and spills a little cold ectoplasm over “Ghostbusters 3.”

* Writer Dustin Lance Black took on the first openly gay politician to make his mark with “Milk,” and now he’s apparently about to do a film about without a doubt the most powerful closeted gay man in American political history, J. Edgar Hoover of the FBI. Pajiba has the scoop. The Playlist has some good background, but I didn’t find the humor in Harry Shearer and Tom Leopold’s radio-musical, “J. Edgar” all that “cheap,” well, maybe in a good way.

On an unrelated note, I’m  still trying to figure out a way to claim that I somehow imparted the Westal-bump to Black’s career with this interview back in 2003, but, nah.

* It’s just days until the Oscars, and here’s a look back at one broadcast that didn’t go so well.

* I’ve had more than one person ask me if, as a Jew — and a quite learned one for a Hebrew school drop-out — I had any special clues into just what the Coens had in mind with A Serious Man. I really don’t, not in a literal way, anyhow, though I loved the film. Writer Michael Tolkin, a far more observant and knowledgeable member of the Tribe than I, has an interesting theory about just what’s going on that turns my relatively realist reading of it completely tuchas backward, via Anne Thompson.

Christopher Guest, Michael McKean, and Harry Shearer Hope You’ll Enjoy Their New Direction

When “This is Spinal Tap” premiered twenty-five years ago, the now classic mock-documentary…or “mockumentary,” if you will…about lightly-brained, heavily sedated British metal stars on the skids received good reviews but unexciting box office. Considering that most people who saw it – and understood that it wasn’t a real documentary — thought it was one of the funniest movies they’d ever seen, it wasn’t too big a surprise that it soon became a very significant cult hit via home video. What was a bit harder to predict was that a film featuring three only moderately well known comedian/satirists and directed by then first-timer Rob Reiner would become one of the most influential comedies of its era. It certainly wasn’t clear that lines such as “this goes to eleven” or “it’s such a fine line between stupid and clever” would enter the general musical and cultural lexicon, and that, decades on, “mock docs” would remain among the most popular of low-budget movie subgenres — and not only for comedy.

Still the biggest surprise of all was that, as musicians, improv geniuses Christopher Guest, Michael McKean, and Harry Shearer, turned out to be better at music as a sideline than most of those who do it fulltime. Not only could the trio play rockers like “Big Bottom” and “Sex Farm” live with brio and dexterity, “unplugged” versions of such vintage Tap classics as “Listen to the Flower People” and “Give Me Some Money” were among the highlights of their early live shows. Of course, the shows were funny, but the big surprise was how well played the music actually was, wowing both metalheads and metal-haters (that would be me) alike.

It didn’t end there. With Christopher Guest emerging as the most reliable comedy-mockumentary director of his time with such irony fests as “Waiting for Guffman” and “Best in Show,” Guest, McKean, and Shearer became the Limelighters/Kingston Trio-like Folksmen. The group figured prominently in Guest’s affectionate 2003 poke at the folk music scene, “A Mighty Wind,” leading to the inevitable gigs where the geeky but oddly talented folk music threesome would open for the bombastic boy-men of Spinal Tap.

Six years later, however, Guest, McKean and Shearer would, in preparation for an upcoming Spinal Tap reunion, take the ultimate step of acoustically performing a collection of Tap and Folksmen classics as well as new material not as any of their off-kilter comedy personas, but as themselves for this spring’s 30-city “Unwigged and Unplugged” tour, which is now officially underway.

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