The Island of Misfit Toys

The Island of Misfit Toys

Posted on December 16, 2011 at 3:49 pm

A classic moment from one of the best-loved holiday treats, Rudolph the Red Nosed Reindeer.  Cheers to all of the misfit toys out there!

http://www.youtube.com/watch?v=5SH1j1luFOw

The very touching story behind the Rudolph song and its creator, Bob May, was told by his friend, my beloved late uncle, Stanley A. Frankel, in a magazine story more than sixty ago.

Rudolph that Amazing Reindeer

by Stanley Frankel

His lovable antics have delighted millions of children; here is the inspiring story of how he was born when a father tried to comfort an unhappy little girl.

On a december night in Chicago ten years ago, a little girl climbed onto her father’s lap and asked a question. It was a simple question, asked in childish curiosity, yet it had a heart-rending effect on Robert May.

‘‘ Daddy, ’’ four-year-old Barbara May asked, ‘‘ why isn’t my Mommy just like everybody else’s mommy? ’’

Bob May stole a glance across his shabby two-room apartment. On a couch lay his young wife, Evelyn, racked with cancer. For two years she had been bedridden; for two years, all Bob’s small income and smaller savings had gone to pay for treatments and medicines.

The terrible ordeal already had shattered two adult lives. Now, May suddenly realized, the happiness of his growing daughter was also in jeopardy. As he ran his fingers through Barbara’s hair, he groped for some satisfactory answer to her question.

For Bob May knew only too well what it meant to be ‘‘different. ’’ As a child he had been weak and delicate. With the innocent cruelty of children, his playmates had continually goaded the stunted, skinny lad to tears. Later at Dartmouth, from which he was graduated in 1926, Bob May was so small that he was always being mistaken for someone’s ‘‘little brother.’’

Nor was his adult life much happier. Unlike many of his classmates who floated from college into plush jobs, Bob became a lowly copy writer for a New York department store. Later, in 1935, he went to work writing copy for Montgomery Ward, the big Chicago mail-order house. Now, at 33, May was deep in debt, depressed and miserable.

Although Bob didn’t know it at the time, the answer he gave the tousle-haired child on his lap was to catapult him to fame and fortune. It was also to bring joy to countless thousands of children like his own Barbara. On that December night in the shabby Chicago apartment, May cradled the little girl’s head against his shoulder and began to tell a story …

Once upon a time there was a reindeer named Rudolph — the only reindeer in the whole world that had a big red nose. Naturally, people called him ‘‘ Rudolph the Red- Nosed Reindeer. ’’ As Bob went on to tell about Rudolph, he tried desperately to communicate to Barbara the knowledge that, even though some creatures of God are strange and different, they often enjoy the miraculous power to make others happy.

Rudolph, Bob explained, was terribly embarrassed by his unique nose. Other reindeer laughed at him; his mother and father and sisters and brothers were mortified too. Even Rudolph wallowed in self- pity.

‘‘Why was I born with such a terrible nose?’’ he cried.

Well, continued Bob, one Christmas Eve, Santa Claus got his team of four husky reindeer– Dasher, Dancer, Prancer and Vixen– ready for their yearly round- the- world trip. The entire reindeer community assembled to cheer these great heroes on their way. But a terrible fog engulfed the earth that evening, and Santa knew that the mist was so thick he wouldn’t be able to find any chimneys.

Suddenly Rudolph appeared– his red nose glowing brighter than ever– and Santa sensed at once that here was the answer to his perplexing problem. He led Rudolph to the front of the sleigh, fastened the harness and climbed in. They were off! Rudolph guided Santa safely to every chimney that night. Rain and fog– snow and sleet– nothing bothered Rudolph, for his bright nose penetrated the mist like a beacon.

And so it was that Rudolph became the most famous and beloved of all reindeer. The huge red nose he once hid in shame was now the envy of every buck and doe in the reindeer world. Santa Claus told everyone that Rudolph had saved the day– and from that Christmas Eve onward, Rudolph has been living serenely and happily

… Little Barbara laughed with glee when her father finished. Every night she begged him to repeat the tale– until finally Bob could rattle it off in his sleep. Then, as Christmas neared, he decided to make the story into a poem like ‘‘ The Night Before Christmas’’– and prepare it in booklet form, illustrated with crude pictures, for Barbara’s personal gift.

Night after night, Bob worked on the verses after Barbara had gone to bed, polishing each phrase and sentence. He was determined his daughter should have a worthwhile gift, even though he could not afford to buy one.

Then, as May was about to put the finishing touches on ‘‘ Rudolph, ’’ tragedy struck. Evelyn May died. Bob, his hopes crushed, turned to Barbara as his chief comfort. Yet despite his grief, he sat at his desk in the quiet, now-lonely apartment, and worked on ‘‘ Rudolph’’ with tears in his eyes.

Shortly after Barbara had cried with joy over his handmade gift on Christmas morning, Bob was asked to an employees’ holiday party at Montgomery Ward’s. He didn’t want to go, but his office associates insisted. When Bob finally agreed, he took with him the poem — and read it to the crowd. At first the noisy throng listened in laughing gaiety. Then they became silent — and at the end, broke into spontaneous applause.

Several Ward executives asked Bob for copies. Then someone suggested: why not put the poem into booklet form as a free gift of Ward customers the following Christmas? Next year, 1939 — a year in which Bob labored to pay his debts and keep Barbara fed and clothed — 2,400,000 copies of the book were printed and given free to youngsters whose parents were customers at the hundreds of Montgomery-Ward stores all over the country.

The story of the reindeer caught on immediately. Psychologists, teachers and parents hailed Rudolph as a perfect gift for children. Newspapers and magazines printed stories about the new hero. Ward’s stores and catalogue offices, placing orders for the following Christmas, asked for 3,000,000 copies.

Meanwhile, May won acclaim — but little else. Montgomery Ward owned the copyright. Yet May was happy in the knowledge that his child — and millions of other children — loved his red-nosed reindeer.

Then the war came, and the giveaway project was shelved. Throughout the war years, however, requests poured in for Rudolph books, toys, games, puzzles, records– all nonexistent. And the demand mounted each Christmas season as parents got out the old Rudolph book and read it to growing families of new Rudolph enthusiasts.

Meanwhile, Rudolph’s success did things to Bob May. He forgot his pessimism, began to laugh again and associate with friends. And among those friends was a pretty brunette, a secretary at Montgomery Ward’s. In 1941, Bob married Virginia Newton. Together they created three new Rudolph fans — Joanna, Christopher and Ginger.

Finally the war was over — and Ward executives planned a new Rudolph book for Christmas, 1946. More than that, a message came from Sewell Avery, president of Ward’s. Touched by the beauty and simplicity of the Rudolph story, he ordered the copyright turned over to Bob — so that May could receive all royalties.

In 1946, 3,600,000 Rudolph booklets had been distributed by Ward’s. Promptly a deluge of demands for Rudolph products swamped Ward’s and Bob May. Businessmen wired, telephoned and called, seeking permission to manufacture toys, puzzles, slippers, skirts, jewelry and lamps.

A special recording of the poem was made by Victor. Maxton Publishers, Inc., bought the rights to produce a bookstore edition in 1947. Parker Brothers brought out a Rudolph game. Even Ringling Brothers-Barnum and Bailey circus proudly exhibited a pony, equipped with antlers and an electrically lighted red nose, called ‘‘Rudolph the Reindeer.’’

Christmas of 1947 was the brightest ever for Bob May, his family and Rudolph. Some 6,000,000 copies of the booklet had been given away or sold — making Rudolph one of the most widely distributed books in the world. The demand for Rudolph-sponsored products increased so much in variety and number that educators and historians predicted Rudolph would come to occupy a permanent niche in the Christmas legend.

Sellouts all over the country inspired merchants to make even more elaborate plans for Christmas, 1948. A special feature is the cartoon in Technicolor directed by Max Fleischer and narrated by Paul Wing which is being run this Christmas season in thousands of film houses. Manufacturers are already blueprinting Rudolph merchandise for 1949-1950-1951– with each item sold returning a royalty to Bob May.

His fortune has now been made, and the years ahead look even brighter. Today, Bob is still a shy, thin, affable man who wants more than anything else to build security for himself and his family. He still works at Ward’s– now as retail copy chief– and tackles the job with the same perseverance which has characterized his whole life.

Through his years of unhappiness, the tragedy of his first wife’s death and his ultimate success with Rudolph, Bob May has captured a sense of serenity. And as each Christmas rolls around, he recalls with thankfulness the night when his daughter Barbara’s question inspired him to write the poem that closes on these lines: But Rudolph was bashful, despite being a hero!

And tired! (His sleep on the trip totaled zero.)

So that’s why his speech was quite short, and not bright — ‘‘ Merry Christmas to all, and to all a good night! ’’

 

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Action/Adventure Holidays
Sherlock Holmes: A Game of Shadows

Sherlock Holmes: A Game of Shadows

Posted on December 15, 2011 at 7:10 pm

All Sherlockians know that the only villain who could match the most famous and celebrated of all fictional detectives is the fiendish Professor Moriarty.  As we were promised in the postscript to the first Sherlock Holmes movie from Guy Ritchie, Robert Downey, Jr., and Jude Law, this sequel pits the two masterminds against each other in a match to the death.

Watson is about to get married and this produces two responses in Holmes.  He feels abandoned and is jealous of Watson’s fiancée.  This emotion is mostly childish and narcissistic but, as in the first film, there is a frisson of homoeroticism as well.  But he does have moments of generosity and concern for others.  He fears that their association will put Watson and his new wife at risk.  In one of the high-octane film’s best and quietest moments, he visits Moriarty (played by Jared Harris, son of Richard Harris of “Camelot” and the original Dumbledore in the first Harry Potter movies) to ask whether they can agree to let Watson be free of any entanglement in the unpleasantness ahead.  But Moriarty does not play by any rules, which is what makes him so dangerous.

There are silly disguises and wild stunts.  We meet Sherlock’s brother Mycroft (Stephen Fry) — in the books a brilliant recluse, even more eccentric than his violin-playing detective sibling but here a rather foppish quasi-diplomat who calls his younger brother “Sherley” and walks around his home in the nude despite the presence of a young lady.  There is a brief appearance by Rachel McAdams as Irene Adler (“To Sherlock Holmes she is always the woman,” says Watson in “A Scandal in Bohemia”).  Noomi Rapace from the Swedish “Girl with a Dragon Tattoo” series is criminally underused as a gypsy woman trying to find her brother.  Director Guy Ritchie makes the most of the steampunk sensibility by matching analog gears with camera tricks that hyper-rewind and tricked-up slo-mo to show us Holmes’ observations and analysis.  He also draws some parallels to our time.  Anarchists were the terrorists of that era, technology was making possible more devastating destruction, national borders were dissolving, and, as always, money is the great motivator.  “Though politics may divide us, business will unite us,” says a character.

“Come at once if convenient,” Holmes says in a note to Watson.  “If inconvenient, come all the same.”  As we see in the meeting with Moriarty, this is an era on the cusp, the first World War just over 20 years in the future, and Holmes knows that Moriarty is not the only one who will not be willing to abide by a playing fields of Eton-style veneer of gentility.  Like the first film, what holds our interest is Downey, whose vision of Holmes, if not what Conan Doyle had in mind, is arresting.  Today he might be diagnosed as having sensory integration or autism spectrum issues.  “What do you see?” the gypsy woman asks Holmes. “Everything.  That is my curse.”

 

 

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Action/Adventure Based on a book Drama Mystery Series/Sequel Thriller
Mission: Impossible Ghost Protocol

Mission: Impossible Ghost Protocol

Posted on December 15, 2011 at 7:00 pm

B+
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for sequences of intense action and violence
Profanity: One s-word
Alcohol/ Drugs: Drinking
Violence/ Scariness: Constant action-style peril and violence, bombs, guns, chases, explosions, characters injured and killed
Diversity Issues: Diverse characters
Date Released to Theaters: December 16, 2011
Date Released to DVD: April 09, 2012
Amazon.com ASIN: B004EPYZUS

The first live-action film from animation director Brad Bird (“The Iron Giant,” “The Incredibles”) is pure adrenalin rush.  It has the best stunts of the year and crackerjack mastery of pace in this fourth “Mission: Impossible” movie.

More “inspired by” than “based on” the 1960’s television series, the series features Tom Cruise as Ethan Hunt, an agent who operates outside even the ultra-clandestine world of spies.  The most direct tie to the original program is in the presentation of new assignments.  They include video as well as audio four decades later, but the recording still intones, “Your mission, should you decide to accept it…” and end by advising him that if anyone on the team is caught or killed, the US government will disavow any knowledge of the operation.  And then it self-destructs — this time with a witty twist.

We begin with a classic spy setting, a document drop gone very wrong.  There’s a guy with a laptop in a van.  There are guards playing a card game in front of a bank of monitors.  And there’s a field operative in some sort of hallway.  Ethan has to be broken out of a Russian prison, and for some reason it has to happen before the end of the song, “Ain’t That a Kick in the Head” by Dean Martin.  A meticulously orchestrated plan is amended on the spot and the guy in the van says, “I don’t know what he’s doing and for some reason I’m helping him.”  What Ethan is doing is bringing another prisoner along with him.  He sticks by his friends, he explains.

After Ethan is in the wrong place at the wrong time and aborts a mission that takes him to the heart of the Kremlin only to be blamed when the whole building blows up, “the Secretary” (Tom Wilkinson) shows up to say that the entire Mission: Impossible force has been shut down and it is time for “ghost protocol,” a mission that is off the books for those who are already operating off the books, kind of a spy version of double secret probation.  I just have to ask — the Secretary of what?  The head of the CIA has the title “Director.”  Cabinet officers are hardly low profile.  But he’s not around long anyway, and with the M:I force disbanded and no time, Ethan has to work with the people already there.  That’s field agent Gorgeous (Paula Patton as Jane), tech guy Comic Relief (Simon Pegg as Benji), and Mystery Guest Who Says He is an Analyst But Fights Like a Field Agent (“The Hurt Locker’s Jeremy Renner, soon to be Hawkeye in “The Avengers,” as Brandt).

They’re after a dangerous guy code-named Cobalt (Michael Nyqvist of the Swedish “Dragon Tattoo” series).  He’s one of those super-villains who is not only off-the-charts brilliant but also in great shape and with outstanding hand-to-hand combat skills.  And if they don’t stop him a lot of very bad stuff is going to happen.  The details are not important; they’re just a delivery system for action and stunts that includes a wild chase though a sandstorm, a crazy fight scene in a parking lot with vertical conveyer belts and revolving platforms (has Bird been consulting with his old boss re “Cars 2?”), a fall into fan shaft, kept just above the sharp blades by a magnet suit, and Ethan’s heart-stopping ascension along the side of  Burj Khalifa, the tallest building in the world, 100 stories above ground with nothing but a pair of very sticky mechanical gloves — and then just one glove.  What’s fun is what goes right — all the cool gadgets and clever plans.  What’s cooler is when things go wrong — mechanical failures and just plain being outsmarted by a very clever bad guy.  Our crew visits world capitals and a secret hideout in a train car and has run-ins with an assassin, a weapons dealer, the Russian police force, and a playboy billionaire.  And of course, as all glamorous spy movies must, there’s also a pause for a big, fancy party so our crew can get all gussied up.  Though I can never figure out why no one at the party ever notices our crew having conversations with the air Patton is spectacularly beautiful.

Renner is terrific in this, playing very well off of Cruise’s intensity and performing the action scenes a Steve McQueen-style economy of motion (I was pleased to see that he is currently working on a biopic of McQueen).  He also shows great comic timing in a scene where he has to force himself to do something dangerous.  I liked the way the story tied into the third in the series (director J.J. Abrams of III was a producer on this one).  But the post-mission coda was under-scripted, with dialog that would have been out of date in the days of the television series.  And even by the low don’t-think-too-hard standards of chase and explosion films, the plot has some big holes.  But no one is buying a ticket for witty repartee or realism.  This is just for fun and it is enormously entertaining.

 

 

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Based on a television show Drama DVD/Blu-Ray Pick of the Week Series/Sequel Spies

Alvin and the Chipmunks: Chipwrecked

Posted on December 15, 2011 at 6:30 pm

The third in the series about the singing chipmunks and their exasperated but perpetually forgiving human father is a little brighter and sweeter than its predecessors. It tones down the slapstick and potty humor, meriting a family-friendly G rating.

The mischievous chipmunk trio singing pop songs in high, squeaky voices have been enduringly popular since their Grammy-winning 1958 single “Christmas Don’t Be Late,” the one where Alvin wants a huuuula hoooooooop. Songwriter Ross Bagdasarian used early audiotape technology to find the right speed – slow enough to be intelligible but fast enough for a helium-like sound to give the harmonies some buoyancy. Many recordings and an animated television series later, Ross Bagdasarian, Jr. has continued the saga of the chipmunks with live action movies starring Jason Lee as their long-suffering human father, Dave Seville.

Like the previous films, the third in the series relies primarily on recycled pop songs, Alvin’s naughtiness, Dave’s frustration, a silly bad guy (David Cross as Ian), and a couple of grown-up jokes (James Bond and the double rainbow YouTube hit) to keep the parents awake. It benefits from the welcome addition of former “Saturday Night Live” cast member Jenny Slate, best known for her viral video and book, “Marcel the Shell with Shoes On.”

It begins as Dave, the three original chipmunks, and their female counterparts, the Chipettes, board a cruise ship (intrusive product placement alert) for a much-needed vacation (cue the Go-Go’s). As usual, Alvin keeps getting into trouble and Dave keeps apologizing for the chaos Alvin leaves behind. Their old nemesis Ian shows up on the ship, too, in a pelican costume. There’s an amusing nightclub scene on the ship when the Chipettes are challenged to a dance-off to the inescapable earworm “Party Rock.”

When a kite mishap carries the chipmunks out to sea, Dave and Ian go after them via parasail and everyone ends up cast away on a remote island with only one inhabitant, the stranded Zoe (Slate). Yes, time for Destiny’s Child’s “Survivor.”

This is the best part of the movie as the chipmunks are pushed outside of their usual personas. When the cautious, bookish Simon is bit by a toxic insect, he has a temporary personality change, announcing he is now a dashing French-accented daredevil. Without Simon to act as leader, Alvin has to stop being “the fun one” and be responsible for taking care of the others. Chipette Jeanette learns that she can be more than “the pretty one” and rely on her intelligence and resourcefulness, especially after they discover hidden treasure, another Chipette is chip-napped, and a volcano starts to erupt.

Top voice talents Justin Long, Jesse McCarthy, Amy Poehler, Anna Faris, and Christina Applegate are wasted as the chipmunks, their sped-up voices unrecognizable. The same could be said for musical numbers. Upbeat tunes by edgy performers like LMFAO, Lady Gaga, and Pink are homogenized into indistinguishable rhythmic buzz. For kids, the familiarity, the silliness, and Dave’s unconditional love even when the chipmunks get into trouble make it appealing. For adults, the best it has to offer are nostalgia and a running time under 90 minutes.

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Animation Based on a television show Comedy Fantasy Musical Series/Sequel Talking animals
Tinker, Tailor, Soldier, Spy

Tinker, Tailor, Soldier, Spy

Posted on December 15, 2011 at 6:26 pm

There are spy stories with glamor and chases and explosions and answers.  And there are spy stories like this one, murky, gritty, grubby, complicated.  The brilliant BBC miniseries version of the the book by John le Carre opened with the grim-looking Russian matryoshka nested dolls, a perfect image for this Cold War era story of a traitor at the heart of British intelligence.  The original miniseries, with Alec Guinness as the exiled spy called back in to find the mole was known for being both superbly made and almost impenetrable.  I watched it four times before I felt confident that I had some idea of what was going on.  And now it has been remade in a fraction of the running time.  Its production design is brilliantly done and there are moments of extraordinary power and artistry but it is even harder to follow.  Yes, the difficulty is part of the point.  While one of the reasons we love movies and indeed stories of all kinds is that they make sense of a complicated and ambiguous world, and you can even make sense by pointing out the complicated and ambiguous nature of things, this movie does not have the time or the scope to tell this story effectively and suffers by comparison with the superior earlier version.

Gary Oldman plays the Guinness role of the ironically named George Smiley.  He is a spy who was once close to “Control” (John Hurt), the head of British Intelligence, officially known as MI6 but referred to by everyone as “the Circus.”  Smiley was pushed out of the Circus, which is why when one of their agents is double-crossed, shot, captured, and tortured, that someone in the top levels is giving secrets to the Soviets, Smiley is the only senior spy who is not a suspect, and thus the only one who can investigate.  Control tells him it is one of five men, and he assigns code names to them based on the old nursery rhyme: tinker, tailor, soldier, poorman, and beggarman.  Smiley is helped by a young agent named Peter Guillam (Benedict Cumberbatch) and a rogue agent named Ricki Tarr (Tom Hardy), as well as a visit to a retired MI6 head of research (Kathy Burke in the film’s best performance).

But nothing is as straightforward as that paragraph suggests.  Everything is codes within codes and what is not said or shown is more important than what is. The atmosphere is the most important character in the film.  The production design by Maria Djurkovic powerfully evokes the era as Britain adjusts to post-WWII economic struggles and its rapidly shrinking role in international affairs with its dingy institutional spaces and ironically child-like vocabulary. The scenes set at an office Christmas party are dead-on and deadly, the mirthless drinking and sad little decorations.  The contrast between the smallness of that world and the enormity of the end-of-the-world issues in those early days of WMDs is conveyed better by a hand-lettered sign in a grimy office than by the the big reveal about who has been providing secrets instead of gathering them.

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