Month: July 2014

Reel and Rock takes a holiday

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When we return from the idyllic retreat overlooking Ipswich Bay, I’ll be continuing my “Dubious Documentaries” series, the first two entries which have already appeared on my Facebook page. Speaking of FB, please feel free to friend me there. I’m the Rick Ouellette with the glasses and the location of Bedford, Mass. Hope your summer’s been great so far.

The Pale Beyond, Part Three

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It’s been about ten months since part two of this series. In the long interval before this concluding entry, a long unfolding social problem has received more and more media coverage. A front-page headline last September in the Wall Street Journal summed it up rather neatly; “The New Asylums: Jails Swell with Mentally Ill.” The story tracked a pattern from the mass closings of outsized state hospitals in the 70s and 80s to the subsequent rise in the homeless population as many patients went from overcrowded (and sometimes abusive) facilities to no care at all. The ideal of a community-based middle way never really took hold and while advances in pharmaceuticals to treat psychological ailments have helped those with less severe cases, many others fell between the cracks during that process and in the years since. The situation just seems to get worse. Today, as I was getting set to put up this post, a major page-one report in the New York Times detailed the severe injuries suffered by 129 inmates at the hands of correctional staff at the huge Riker’s Island jail between the Bronx and Queens. A full 77 per cent of those inmates had been diagnosed with mental illness.

Obviously, this is a difficult problem and a tough one to get right. No one wants to go back to the warehousing asylums of old, where people could be committed for an indefinite stay on some flimsy pretense, like vagrancy or for being a troubled child that a parent could no longer deal with. But this downward spiral of insufficient mental health resources, underemployment, homelessness, drug abuse and petty crime invariably leading to incarceration is disheartening if not scandalous. Where’s the proper middle ground?

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I recently made a couple of visits to historic Tewksbury Hospital, the prominent Old Administration Building of which, seen at the top, was built in 1894 in bewitching Queen Anne style. It’s been continuously in operation since 40 years before that, first as an almshouse (Anne Sullivan lived there before becoming Helen Keller’s tutor and friend) and then used for the treatment and containment of contagious diseases. Although it was operated by the Commonwealth of Massachusetts and mental health care did figure in the mix throughout its history, it was never a state hospital in the way we would come to think of it—the overcrowded and malignant institutions on large campuses that have in their closed state become havens for urban explorers. But when one of the more infamous such places (Danvers State Hospital, as discussed in previous installments of this series) closed in 1992, the Mass. Dept. of Mental Health moved from there to Tewksbury and—along with the Dept. of Public Health—established the Public Health Museum there two years later.

The museum is tucked into one section of the Old Administration Building’s first level. This ground floor is a beautifully restored wood-paneled interior that the unfortunate people being admitted here never got to see, if a preserved sign near the front entrance is any indication.

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Much of the exhibit space is given over to showing the evolving history of methods for treatment of physical maladies, and you can see antique wheelchairs and an iron lung for real. But another room shows a similar backstory for mental health treatment. This will be the chilling highlight for many visitors. The curators, to their credit, do not shy away from showing patient treatments that nowadays would be considered barbaric or shocking. Otherwise, they wouldn’t have a mannequin strapped down to a bed to show any and all comers exactly what insulin-induced coma therapy looked like back in the day:

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Another interesting factoid I learned there: Danvers State once had a baseball team.
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You’re free to stroll the grounds at Tewksbury, which has an old formal gateway and other buildings of architectural interest. But it’s still an everyday working hospital. People ‘round my neck of the woods who want to get a feel for one of the classic creepy institutions can head south of Boston, where the isolated ghost town-sized Medfield State Hospital has been opened for people who want to have a walkabout. This is one of the few places I know that have done this, maybe as a co-opting measure for the hundreds of people who have seen these places as targets for infiltration. Of course, rules state that going inside the boarded buildings is strictly verboten. Still, it’s a great way for us urban-explorer dabblers to daytrip without worrying about getting nicked for trespassing. Now made safe for family excursions, I took along Ryan as my urban-explorer-in-training and lens-changing assistant.

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Although drastic methods like insulin or shock therapy may have been seen as necessary to control the worse-off patients, the power that comes with such authority still tempts abuse as we found out recently here in Massachusetts. Bridgewater State Hospital is site of Frederick’s Wiseman’s muckraking and groundbreaking 1967 documentary “Titicut Follies” (see Part 2 for more). It was reported in June that BSH was in danger of losing its national recognized hospital accreditation after it was found staff had significantly increased the use of isolation and strapping, even after the 2009 death of a patient during the application of restraints. Granted, Bridgewater is actually a medium-security prison that happens to house the most severely mentally-ill people in the state. But it also pointed out the thorny no-man’s land that exists between incarceration and the proper levels of mental health treatment. After a ban of “Titicut Follies” that lasted a quarter-century for “invading the privacy” of inmates (even though he had full clearances), Massachusetts courts finally allowed Wiseman to air his devastating expose of institutional abuse as long as he included a disclaimer at the end saying conditions have since approved at Bridgewater. The director’s one-sentence disclaimer, blankly using that very phrase, spoke volumes.

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Walking off the grounds at Medfield State, we caught view of the above. Who wrote this? Driving away, thoughts bounced around on different angles. Was it a mocking ex-inmate, a droll site worker, an urban explorer? There are certain people who get creeped out at the thought of these sites of suffering being converted into semi-affluent residential communities (possible sales blurb: “Nowadays, you would have to be crazy NOT to live here”) and the sign seemed to reflect that. That didn’t seem to affect folks who streamed into the old Danvers State property, re-purposed by Avalon Communities.

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“And over there is where they invented the full frontal lobotomy. Care for a swim?”

This spring I snuck onto the perimeter of the now-closed Fernald State School in Waltham, Mass. (see part 2), to visit a geographical feature that had always intrigued me but that I’ve never been able to classify. It began just off to the side of the Fernald Volunteer Center, a veritable Boo Radley house that despite its disrepair, always seemed vaguely occupied. During the time we lived on a street just across the way, I’d often turn my bike into a mowed section of field that dipped down below the level of Trapelo Road and continued for several hundred yards. I would pedal along a meandering path behind the also-closed daycare place, and through a wooded section that then opened up into a boulevard-wide lawn that undulated in sunny seclusion before returning to the gloomy main grounds, where once thousands of unfortunate (and usually quite young) patients lived. Until recently, even when there was only a couple of dozen patients left on the vast campus, someone dutifully mowed this obscure stretch of land on a regular basis. Thinking of the shaded sanatorium walks of old, I wondered if this had been a place where patients were brought to for a “country” walk. It would have been a brief respite—if it ever even happened—for a cruelly exploited class of luckless people who were otherwise liable to be the subjects of unconsented experiments: the children who were fed radioactive isotopes or autistic kids given doses of LSD for months on end. Soon this place will cover itself up, unseen and all but forgotten but leaving a lot of questions in the air about what’s left to do after all the hell holes are abandoned in place.

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“Documentary 101” now available as e-book

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Happy to announce that my book, “Documentary 101: A Viewer’s Guide to Non-Fiction Film”, previously available only in paperback, has now been released as an e-book in all formats—in most cases selling for the low low price of only $4.99. All these sites allow you to “look inside” at the first 40 pages. See below for the links.

My publisher BookLocker.com has done a great job on the e-book conversion, allowing readers to land on any of the over 300 reviews by clicking on the title in the table of contents.

In my Categories list to the right, the “Documentary 101 Samplers” offer highlights from a more varied cross-section of the book, along with film stills only seen there.

Cheers, Rick Ouellette
(Reel and Rock readers: I am now on Facebook if you’d like to connect with me there)

AMAZON:

BARNES & NOBLE:
http://www.barnesandnoble.com/w/documentary-101-rick-ouellette/1116257055?ean=2940149447824&itm=1&usri=2940149447824

BOOKLOCKER:
http://booklocker.com/books/6965.html

ITUNES:
https://itunes.apple.com/us/book/documentary-101-viewers-guide/id833794635

KOBO:
http://store.kobobooks.com/en-US/ebook/documentary-101-a-viewer-s-guide-to-non-fiction-film

I Saw a Film Today, Oh Brother! The 1978 “Sgt. Pepper” Film Folly Re-visited

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The $1 VHS Film Festival continues with 1978’s misbegotten Sgt. Pepper’s Lonely Hearts Club Band. I first got interested in the film (I had only seen bits of it on TV) after a lengthy and absorbing look-back piece by Clark Collis in a 2001 issue of Mojo magazine (discussed below). At the time it was unavailable on home video and down to its last couple of prints. So I figured if I ever came across a used tape it would be priced at either fitty cents or $30, depending if the seller knew what he had. So I when I spotted it for a buck at a used record store, I did not feel hard done by. It has since been issued on DVD and is available on Amazon for $6.66, a perfect price point for that company, if you catch my drift.

At this late date, it doesn’t seem that the status of Robert Stigwood’s white-elephant film musical of the Beatle’s most famous album will ever change much. Sgt. Pepper the movie seems forever suspended between being a forgotten fiasco and a potential cult classic, with little momentum left to nudge the needle either way. The Mojo article tracked the utter hubris of impresario Stigwood and his top-drawer clients who were recruited to star in the film and sing most of the numbers: Peter Frampton and the Bee Gees. In 1977 these were musical artists who were riding very high, the former with his blockbuster live LP Frampton Comes Alive and the latter with the Saturday Night Fever soundtrack.

All involved apparently believed that Beatles’ generational game-changer (all of ten years old at that point) was already forgotten by younger kids and that their film version would replace it in the minds of future generations. Moreover, Frampton said at the time that his role would likely lead to his becoming a movie star on the level of a Robert DeNiro. Along with this unearned arrogance, this work also comes across as a by-product of a sort of collective cocaine psychosis that gripped certain sectors of the movie and recording industries during that era. It didn’t seem like anyone was straight enough to have a coherent vision about the final product, instead they just rode the Beatles’ military-style coattails right down into a ditch.

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If you think these clothes are painful to look at, just try prancing around in them!

With its candy-colored costumes, overstuffed production numbers and fructose-encrusted goodies-vs.-baddies storyline, Sgt. Pepper is so icky-sweet that I felt a tummy ache coming on before the end of the first act. But once your eyes adjust to the gaudiness and your brain dials down to the film’s bottom-scraping sensibility (Mean Mr. Mustard is stealing the original Sgt. Pepper heart-shaped flugelhorn that ended World War One!) it’s not all bad. After all, you have a bumper crop of stellar Beatles tunes (mostly from Pepper and Abbey Road), many sung by a trio of brothers who, before their disco phase, were bona fide purveyors of 60s progressive pop. And the wacky visual effects are a guilty pleasure, even if they look like they were conceived by someone who was dosed with some of that bad brown acid left over from Woodstock.

Problem is, aside from the ongoing narration of Heartland mayor Mr. Kite (an amiable George Burns) it’s all music. Somewhere, a decision was made that the Brit and Aussie accents of the four stars made dialogue a no-go. That leaves them to otherwise mug and mime between singing parts and Charlie Chaplin these guys are not. Without any speaking lines, what plot there is gets cobbled together by creating scenes to fit the lyrics of disparate songs, a tricky task that the hapless director Michael Schultz is not often up to.

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Tonight you did not swing successfully.

Watching Steve Martin applying his wild-crazy-guy shtick to “Maxwell’s Silver Hammer” or Alice Cooper over-enunciate “Because” from inside a God bubble are one-and-done experiences. Obscure R&B singer Diane Steinberg does fine with “Lucy in the Sky with Diamonds.” But various songs by squeaky-clean newcomer Sandy Farina as Strawberry Fields, the girlfriend of Billy Shears (Frampton) fall completely flat—she croons “Here Comes the Sun” and her namesake tune to little effect. (The utter lack of romantic chemistry between her and Peter doesn’t help matters).

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As soon as they let him out of the bubble, Alice headed back to the golf course.

Nowadays, the only songs from the soundtrack you’ll hear on the radio are Aerosmith’s “Come Together” and Earth Wind and Fire’s slinky funkification of “Got to Get You into My Life.” George Martin, the film’s musical director and only real connection to the Fab Four (unless you count Billy Preston), regretted afterwards that they didn’t take more chances with the material. They had the Bee Gees play it too safe, though there are some occasional treats, like Robin Gibb’s pensive “Oh! Darling.” But after our heroes have dispensed with a succession of silly-ass villains (whose brainwashing motto “We Hate Love, We Hate Joy, We Love Money” was later purchased by a Wall St. consortium) and we get to a “Sgt. Pepper” reprise finale featuring dozens of movie and music stars brought onto the Hollywood backlot, many filmgoers must have been wondering why they didn’t just stay home and play a few Beatle records instead.

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By this time, it was too late to call the whole thing off.

The movie opened to a withering volley of contemptuous reviews (Paul Nelson in Rolling Stone: “a film upon which every major decision is wrong”) but did make back it’s $18 million production budget and then some, largely thanks to foreign distribution and impulse purchases of the soundtrack album. While Robert Stigwood did end up making a profit, the film’s pariah status with the press and US/UK audiences set him back as a producer until 1996’s Evita. Sgt. Pepper also effectively ended the “acting careers” of Frampton and the Gibb brothers, while poor Sandy Farina never ate lunch in that town again. A similar cinematic exercise, Julie Taymoor’s 2007 Across the Universe, may have had a more talented director and a more plausible look, but also suffered from an awkward literalism and left behind a trail of mixed reviews and red ink. Consider this as an object lesson to “leave well enough alone,” a favorite old adage of mine that seems to have fallen out of favor in modern times. Fact is, the Beatles’ music is so vivid and timeless that it carries its own inner-eye visual legacy in the minds of both baby boomers and many others in generations that followed. Just “Let it Be” already.

Have you heard about my book “Rock Docs: A Fifty-Year Cinematic Journey”? It’s an alternative history of rock ‘n’ roll, seen through the prism of non-fiction film, with over 170 titles reviewed. You can check out a 30-page excerpt at http://booklocker.com/books/8905.html or by clicking on the book cover image above. If interested in purchasing, you can contact me directly for a special offer and free shipping! Thanks, Rick.
rick.ouellette@verizon.net