Category: Mad Men (Page 12 of 13)

Mad Men 3.4 – Rage Against The Machine

First off, my thanks to Bob Westal for quite capably filling in for me last week. It’s not that I couldn’t have blogged both “True Blood” and “Mad Men,” it’s just that I really, really didn’t want to, so I greatly appreciated his assistance…and I hope he didn’t hate it so much that he’s considering backing out of doing the same thing next week while I’m tackling the “True Blood” season finale.

Wow, remember the good ol’ days when kids could get away with taking the wheel for awhile while their dad…or, in this case, their granddad…was sitting in the passenger seat? Actually, even *I* don’t remember the days when kids were doing it quite that young. Maybe it’s just because we lived in a pretty heavily populated area, but while I remember sitting in my father’s lap and handling the steering wheel, I don’t think he trusted me to drive like that on a public street until I was, like, 14. Maybe we can chalk it up to Gene’s increasing senility…? I spent the first part of the episode convinced that Gene was going to suddenly snap and scream at Sally, “You took my five dollars, you little shit,” but when he sat down with Betty to discuss his funeral arrangements, I sensed that we’d see them put into action sooner than later…and, of course, I was right. (As far as the disposition of his worldly goods, wow, isn’t it amazing how much has changed since the ’60s when it comes to the importance of fur as a status symbol?) If Gene had to depart the “Mad Man” universe, at least he got a lot of love in his final few episodes. This week’s tense discussion between him and Don over the merits of war was one of the moments which makes you nod as you take in the similarities to today’s world, though you rarely hear anyone today dismiss a suggestion that war might be bad by replying, “Maybe, but it makes a man out of you.” That whole sequence was great, particularly Jon Hamm’s acting with his eyebrows as Don listened to Gene giving Bobby a lesson on how to cut open a box properly, but, damn, I wanted to hear the story about how Gene got that fan!

Gene and Sally continued their bonding sessions – last week, it was The Decline and Fall of the Roman Empire; this week, it was ice cream – and grew closer, but as soon as he made that comment about the chocolate tasting like oranges, I immediately thought, “Uh-oh, that ain’t a good sign,” and promptly Googled the symptom. As a result, I was horrified…much as I suspect the rest of the viewing audience was…that we were going to see Gene suddenly slump against the wheel while driving his grandchildren to school. Thankfully, he at least made it to the A&P before he had his stroke or seizure or whatever it was that claimed his life. After the episode was over, I said to my wife, “You know, even in the ’60s, I just can’t believe that someone would arrive at the house and present the news to a very pregnant woman like Betty without first having her sit down.” She felt otherwise, suggesting that tact wasn’t necessarily first and foremost on the minds of those folks back then, but I’m still skeptical. Even so, however, the imagery of poor little Sally, sobbing against the front door in her ballerina outfit, was heartbreaking…even if it quickly slipped into annoyance at Betty. Seriously, is she the worst mother on this show…?

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Mad Men 3.3 – The young folks roll on the little cabin floor

Hi, I’m Bob and I’ll be your guest “Mad Men” blogger for today — and what a day it is. We have work masquerading as parties and parties pretending to be work. (Guess which turns out to be more interesting?) We see the hidden talents and proclivities of the ladies and gents of Sterling Cooper as mind altering substances, liquid and herbal, and good and bad behavior of all sorts rules Derby Day, 1963.

“My Old Kentucky Home” opens with a call back to last week‘s totemization of the hotness that was early sixties Ann Margaret, as Peggy Olson supervises an audition with a red-maned lass who claims to have acted in a production of Tartuffe but who sounds like she’s answering the $64,000 question when she says it was written by “Moliere?”  Harry Crane smiles like a loon and tries to ask more about her, but Peggy makes short work of him.

And it’s Peggy we’re going to be spending a good chunk of tonight learning to admire ever more as she realizes that she is a skilled creative, even if Sterling Cooper “hates creatives.” The cause of all that is a last minute assignment to put together material for a new Bacardi campaign, forcing her, pretentious Paul Kinsey and turtlenecked hipster Smitty to work over the weekend as the higher ups, which now include both Pete Campbell and Ken Cosgrove, all attend a swank Derby-themed shindig hosted by Roger Sterling and his new young wife, Jane.

Meanwhile, things aren’t easy on the home front. Not yet retired secretary Joan Harris, nee  Holloway, and her new husband, who, er, raped her last season are getting ready for a dinner party for his MD colleagues. The good news is that not even this psychotic can keep Joan under his thumb. As he fearfully tries to bully her — over table settings — he says angrily that he doesn’t want to have a fight, her answer is succinct: “Then stop talking.”

Joan Holloway

Joan is a survivor, no doubt. But before the night is over we learn that her husband may have some potentially serious career problems on top of his obvious violent tendencies — which nevertheless seem under control, just for the present.

Things are only a little less fraught at the home of Don and the now very pregnant Betty Draper. The Drapers are dealing with Betty’s dad, whose slide into dementia seems to be manifesting itself this week as something more like eccentricity, having young Sally read to him from The Decline and Fall of the Roman Empire (which, perhaps fortunately, she doesn’t seem to quite understand).

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News from the sleepy town of H-wood

Nothing too exciting to report today, but that doesn’t mean there’s nothing to report.

* Dreamworks and, presumably, Steven Spielberg are “eying” one last project based on a book by the late Michael Crichton, to be written by David Koepp. Much as I admire Spielberg, this particular triumvirate has never done much to get me excited as a filmgoer, and yes, that includes the original “Jurassic Park.” Still, this time the topic is a non-fantasy pirate story, so who knows.

* Some movies to TV news, the cult teen black comedy, “Heathers,” is being adapted for TV, which I guess makes sense in the era of “Gossip Girl.” Also, Sam Raimi, still a major movie player courtesy of “Spiderman” and what not but also licking his wounds from the utterly unfair box office failure of “Drag Me to Hell,” is making a new tubular type deal.

Christina Hendricks on * Christina Hendricks, on the other hand, is going from TV to movies. Ms. Hendricks is a first rate actress currently making hearts go pitty-pat as the multifaceted Joan on “Mad Men.” She previously contributed a couple of tour-de-force guest spots on a show that was just about as outstanding in its own way, “Firefly.” Yes, I’m a big fan. And, sure, her movie gig is only a “best friend” kind of thing, but you gotta start someplace.

Mad Men 3.2 – The Sky Was Falling, Heaven Was Calling

Okay, before we really get rolling on this week’s “Mad Men” blog, I really think we should start things off in much the same way that tonight’s episode did: by reminding the world just how incredibly hot Ann-Marget was in the early ’60s.

I mean, seriously, was she smoking or what?

It’s no wonder that Peggy immediately slid into catfight mode with that comment about how, if the client was looking for someone like Kim McAfee (Ann-Margret’s character from “Bye Bye Birdie”), they were looking for someone who’s 25 but acts 14. It was a hilariously bitchy line, almost as funny as Sal’s character-perfect reaction when the clip ended. This obviously isn’t the first time Peggy’s been so annoyed by the goings-on within Sterling-Cooper that she’s stepped out of her comfort zone and tried to be someone that she really isn’t, but, wow, her attempts to duplicate Ms. Margret’s moves and vocal stylings made for some highly uncomfortable viewing. Nonetheless, she at least ended up feeling sufficiently empowered to go out for a one-night stand with a hyper-excited college boy.

No surprise, though, that she slowed down his base-running – as well she should have, since he was clearly headin’ for home plate at a fast clip – in order to avoid a possible repeat of the Pete Campbell situation. As she slipped out of bed in a failed attempt to avoid a walk of shame, I couldn’t help but notice just how much more attractive Peggy looks when she’s out of her work clothes…but, then again, you could probably say that about most women.

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A post without a Tarantino

I just woke up and realized that there’s more to life than our talented and ever controversial lantern-jawed friend. For example…

* I’ve made it clear too many times that I’m not innately hostile to remakes. But in the annals of apparent bad ideas, Robert Zemeckis using his invariably uninspiring/unconvincing style of motion-capture to remake the Beatles psychedlic animation “Yellow Submarine” is a real contender. I don’t consider the original a great film but it is what it is and remaking it with two of the original Beatles now long passed on seems bizarre to me. I truly don’t see a point here, but maybe I’m missing something.

* I’ve been remiss in not mentioning the whole mishegas going on between Redbox and Warner Brothers. If Warners doesn’t want to sell them the titles prior to 28 days after their release on home video, I’m not sure if there’s any legal justification for forcing them too, but then I’m not a lawyer. On the other hand, as Patrick Goldstein points out in the article from Monday I linked to above, business models like Redbox are going to be unavoidable as the home entertainment market becomes ever more important.

I get more DVDs than I have time to watch for free as part of my critic gig, but I honestly have never understood why anyone would purchase a DVD of a movie that isn’t a huge favorite, much less a movie they’ve never seen before. It’s not like a CD where you can pop it into your car stereo or put it on for background music while you make dinner and, of course, people are figuring out ways to not buy those as well. Seems to me that the economy is forcing people to be a little more discriminating.

* Executive Tom Sherak is the new head of the Academy of Motion Pictures Arts & Sciences (AMPAS to its friends), stepping in for the term-limited Sid Ganis. Anne Thompson has no problem with it. Stepping right into character, Nikki Finke has a huge problem with it, and so do many of her commenters, while the rest are pro-Sherak. Why is it that every time I read the comments at Ms. Finke’s, I get the feeling I’m watching the road company version of “All About Eve”?

* The guy has “movie star” written all over him — he’s a little bit Gregory Peck, a little bit Cary Grant (including Grant’s gift for comedy), with a touch of young Montgomery Clift — so especially with the widely touted ratings success of “Mad Men” on Sunday night, it’s no surprise Jon Hamm is getting movie work. The latest addition to his resume is Zack Snyder’s “Sucker Punch”. Anne Thompson prefers “The Town,” however. One thing’s for sure, if anyone ever decides to do “The James Mason Story,” he’s the guy.

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