The Haunting of "The Only Good Indians"

Stories about the sins of a character’s past coming back to haunt them are commonplace in horror fiction, but they’re rarely as well-crafted as Stephen Graham Jones’s novel, The Only Good Indians. This dark and powerful book is an atmospheric tale of a group of Native American men who are pursued by an entity intent upon ending their lives. When they were younger, these four friends hunted elk in an area restricted to tribal elders, and their actions resulted in a tragic event. Years later, a relentless spirit hunts the men down, intent upon taking revenge upon them for their past misdeeds.

The main characters in the story are members of the Blackfeet tribe, and Jone's masterful writing illuminates modern Native American culture in insightful and fascinating ways. In addition to the spine-tingling horror elements inherent in the novel, Jones tells an enthralling story about the younger generations of Native American tribes, and how they're torn between honoring their traditions and finding a place in the modern world. In fact, ignoring a tribal tradition is what set these four friends on a path to their eventual death and destruction.

As the story progresses, the malevolent entity takes down the men, each in a more violent way, until there is only one of them left standing. The horror sequences in the novel are creepy and unsettling, and will send chills down your spine. Jones often draws out the tension until a scene explodes into a terrifying and violent conclusion. Even if you're a seasoned horror fan who thinks they've seen it all, there are some disturbing and truly surprising moments throughout the story. The novel's climax features a bravura showdown between the vengeful entity and one of the main character's daughters, which ends in a way you might not expect.

If you're a fan of tales of ghostly revenge and retribution like Peter Straub's Ghost Story, you should really enjoy The Only Good Indians. Jones has written several excellent novels, including Growing Up Dead In Texas, and The Bird Is Gone. This compelling book just might be his best work yet. If you're looking to get lost in a moody, deeply frightening novel featuring well-developed characters and an absorbing story, set in a world you may not be familiar with, check out The Only Good Indians. Highly recommended for horror fans. 

Retro Movie: Flynn's "Rolling Thunder"

There have been many films which examine the experiences of the returning Vietnam veteran, from introspective stories such as Coming Home and Born on the Fourth of July, to dark and surreal tales like Platoon and Apocalypse Now. On the other end of the spectrum are movies like Sylvester Stallone’s Rambo films, and Chuck Norris’ Missing in Action series, which tend to be straightforward action stories, though First Blood, the initial entry in the Rambo series, tried to be a little something more than just another shoot ‘em up flick. Somewhere in between these types of movies is Rolling Thunder (1977), directed by John Flynn. The film stars William Devane as Major Charles Rane, who returns home to San Antonio after several years as a POW in Vietnam. He learns that his wife has taken up with another man, and also finds that his young son barely remembers him. Rane is haunted by memories of the torture he suffered during the war, but he tries to adjust to civilian life in a world that feels much different than the one he left behind. 

Rane’s hometown hosts a celebration honoring his return. They award him a brand new Cadillac, as well a set of silver dollars, one for every day he was a captive. Linda Forchet, a local woman who wore his ID bracelet in his honor while he was held prisoner, presents him with the car and the money. She offers to buy him a drink at the bar where she works as a waitress. She makes a pass at him, but he initially rejects her advances. He also has a tense meeting with Cliff, the man who’s taken up with his wife. Cliff is a local deputy, and has become something of a surrogate father to Rane's son. While Rane becomes resigned to the fact that his marriage is over, he makes a real effort to build a relationship with his son.

One day, after returning home from having a drink with Linda, a group of men are waiting for Rane. They’re bandits who want the silver dollars that were given to him. Rane attempts to fight them off, but they brutally beat him, and kill his wife and son. He survives, but his hand is mangled as a result of it being pushed into a garbage disposal by the thieves. While Rane is recuperating in the hospital, he’s visited by both Linda and Johnny Vohden, a fellow soldier who is also having trouble adjusting to life as a civilian. Johnny tells him he’s signed up again, and will be leaving soon. After Rane is released, he picks up Linda, telling her he wants to take a trip to Mexico. However, this is no romantic getaway. He plans to exact revenge on the men who wounded him and killed his family, and enlists Johnny's help.

 

Rolling Thunder is part drama, part revenge thriller and part action film. The movie has a more thoughtful vibe than most B movies or exploitation movies. Devane is excellent in the lead role. He does a fine job conveying the character’s emotional struggle. Rane can’t shake the memories of what he went through in Vietnam, and feels uncomfortable in his “normal” life. When his family is killed, he uses the skills he learned in the war to punish the men responsible. The fine supporting cast features a lot of familiar faces, including Dabney Coleman, James Best, Cassie Yates and Luke Askew. Linda Haynes, a veteran of several 1970s B movies, gives an excellent performance as Linda, turning what could have been a standard female role of the period into a full-bodied character. Her scenes with Devane are touching and well-acted. Director John Flynn really gives Devane and Haynes room to build their characters throughout the film. We get a real sense of these two lost souls slowly opening up to one another.

 

The script for the film is by Paul Schrader and Heywood Gould, from Schrader's original story. Schrader, who also wrote Taxi Driver, has noted in interviews that his original draft was significantly altered by the time it reached the screen. But his trademark mix of well-drawn characters and violent action is very much in evidence. Director John Flynn does a nice job of balancing the character oriented aspects of the film with its action scenes. Flynn had a solid career as a director, helming tough-minded action films like The Outfit and Best Seller. Rolling Thunder is a favorite of Quentin Tarantino, who named a company he founded, which specialized in re-releasing noteworthy B movies of the 1970s, after the film. Rolling Thunder is a solid thriller with strong performances. It's an interesting and offbeat entry in the cycle of Vietnam films. Heres a link to the trailer for the movie: https://www.youtube.com/watch?v=FwAcWb5K3HM.

"Start Walkin" Honors Nancy Sinatra

Nancy Sinatra is one of the most iconic performers to come out of the 1960s pop music scene. She was (and is) an independent-minded artist and a strong woman who forged her own path in an often male-dominated industry. As part of a year-long celebration of Nancy’s career, Light in the Attic Records has released Nancy Sinatra: Start Walkin’ 1965-1976, a new collection featuring 23 of her best songs. She made her television debut on Welcome Home Elvis, a variety show hosted by her famous father Frank, which marked the King of Rock and Roll's return to the United States after his military service in Germany. She also appeared on The Ed Sullivan Show, and released several singles. But her early releases didn't reflect the kind of music she really wanted to make. It was time for a change.

Fast forward a bit, and Nancy's label hooks her up with Lee Hazlewood, a songwriter and producer who had found success penning songs for artists like Duane Eddy. Hazlewood introduced Nancy to some of his music, including a tune called “These Boots Are Made For Walkin.” Nancy took the song, which Hazlewood had originally intended to record himself, and turned it into a powerful rallying cry for women everywhere. Instead of commenting on a relationship from the male perspective, “These Boots Are Made For Walkin” became a statement of female empowerment. Along with the other terrific pop songs on her debut album, the Hazlewood produced Boots, her music showcased a smart, sassy, and confident performer at the top of her game. Boots was the beginning of a fruitful professional partnership with Hazlewood, which produced several more albums, including the bona fide classic Nancy & Lee. 

Hazlewood's offbeat lyrics and unique production style, paired with Nancy's warm, sensual voice, are fully evident on a string of hits, including "Sugar Town," "Bang Bang" and their duets "Summer Wine," "Some Velvet Morning," and "Jackson." Nancy also performed the title song to the James Bond film "You Only Live Twice." Her collaborations with Hazlewood continued into the 1970s, when the duo released Nancy & Lee Again. Nancy wasn't just a musical force of nature, she also became a fashion icon, thanks to her distinctive fashion sense and cool ensemble, which included a mix of sweaters, miniskirts, and of course, boots. She also appeared in films such as Speedway, where she co-starred with Elvis, and television shows like The Man From U.N.C.L.E, as well as her own variety specials, including Movin' With Nancy.

Start Walkin’ is an outstanding collection. It's a great way to start exploring Nancy's music if you haven't heard it before. Once you listen you'll quickly discover why she has many famous fans, including U2 and Lana Del Rey. If you're already a convert, you'll appreciate these lovingly remastered versions of her most memorable songs. The anthology also includes a 64 page booklet, featuring an essay by Amanda Petrusich, an interview with Nancy conducted by co-producer Hunter Lea, and many never before seen photos. As part of their year-long tribute to Nancy's work, Light In The Attic Records will also be releasing expanded editions of Boots and Nancy & Lee. For more information on Start Walkin' 1965-1976, follow this link to the page on the Light In The Attic site: https://lightintheattic.net/releases/7266-start-walkin-1965-1976.

Inside the Mind and Movies of "De Palma"

Brian De Palma has directed some of the most memorable (and controversial) movies of the last 50 years. His films include Carrie, Dressed To Kill, Scarface, The Untouchables and the disastrous big-screen adaptation of Tom Wolfe's novel The Bonfire of the Vanities. De Palma is a truly visual storyteller and his stylish, twist-laden and violent thrillers often feature Hitchcockian elements, as in Dressed To Kill, Body Double and Raising Cain. Filmmakers Noah Baumbach and Jake Paltrow sat down with De Palma to have a wide ranging conversation about his life in movies, and the highs and lows of working in the Hollywood system. The result of the many hours of footage shot by Baumbach and Paltrow is the compelling, in-depth documentary De Palma (2015).

 

De Palma discusses his family, his younger days and how he got his start making movies. He was part of a group of talented young filmmakers who rose to prominence in the 1970s, including Steven Spielberg, Martin Scorsese, and Francis Ford Coppola. It's fascinating to hear his stories about the movie business in the 1970s, when films like Taxi Driver, American Graffitti and The Godfather were changing the ways movies were made. De Palma discusses his early films, including Greetings, Hi, Mom! and Get To Know Your Rabbit, which co-starred Orson Welles. His breakthrough movie, Sisters, a dark thriller which starred Margot Kidder, was not only influenced by De Palma's hero, Alfred Hitchcock, the film's score was provided by Bernard Herrmann, who worked on a number of films with the Master of Suspense.

De Palma talks about the casting and production of Carrie, his landmark adaptation of the Stephen King novel, and how the film became a hit despite the fact that the studio cut the budget right from the start, and gave little support to the project. In fact, many of De Palma's stories are about how some of his films succeeded in spite of the interference of studio management, and others failed as a result of it, including The Bonfire of the Vanities, which became a notorious flop. He also frankly discusses the controversy regarding the amount of violence and sex contained in his films, like Scarface and Carlito's Way, and how he is often (undeservedly) tagged as a mere Hitchcock imitator, and not a talented director in his own right..

Throughout the documentary, De Palma gives a well-balanced and honest assessment of the movies in his filmography, including the cult musical Phantom of the Paradise, the underrated thrillers Blow Out and Body Double, and the darkly themed Vietnam drama, Casualties of War. He also tells some frank and entertaining anecdotes about the making of his films, and the stars he's worked with, including Cliff Robertson, John Travolta, Melanie Griffith, Al Pacino and Sean Penn. De Palma openly discusses how, after some big budget failures, including Mission To Mars, that he won't make films in Hollywood these days, and prefers to work outside the confines of the studio system. He comes across as intelligent, sharp, thoughtful and also possesses a good sense of (often self-deprecating) humor.

De Palma is a thought-provoking and insightful look at a filmmaker who has directed some of the most offbeat and intriguing thrillers of all time. Despite being knocked as a Hitchcock copycat, De Palma's films are more homage than imitation. He is a master craftsman who has directed some unforgettable sequences, such as the terror-filled prom in Carrie, and the train station shoot-out in The Untouchables. If you're a fan of behind the scenes documentaries, or have enjoyed his films, De Palma is a must see. The film is currently available to stream on multiple platforms, including Amazon Prime. Here's a look at the trailer for the film: https://www.youtube.com/watch?v=97XoMjwoZ5w.

 

Monogroove's Scintillating Pop is "Here"

One of the benefits of spinning the radio dial back in the day was landing on a song you loved, or discovering one you hadn’t heard before, and digging its vibe. On There’s Something Here, the latest release from the California based band Monogroove, there’s no need to change the station to hear another great song. This talented trio treats us to a baker’s dozen of cool tracks, whose influences range from power pop to garage rock to psychedelia to punk, with a generous helping of folk mixed in for good measure. There’s Something Here is nothing less than a fantastic journey through the various rock and roll sounds of the 1960s and 1970s, imbued with a modern twist, and anchored by the band’s obvious love for the genres they’re celebrating. 

The album opens with “Back Seat,” a Big Star meets Cheap Trick by way of the Raspberries number that perfectly sets the tone for what’s to follow. The rest of the record features a terrific roster of songs, including the harmony-filled melodies of “Can I Take A Chance,” as well as the baroque pop styled “The Looking Glass” and “The Rain.” There’s also the marvelous “God Please,” an earnest plea for peace in these troubled times, and folk-infused tracks like the lovely ballads “I’ll Never Know” and the achingly beautiful, ethereal “Now and Forever.” The band also knows how to rock out when they want to, as evidenced by the electric punk energy of “Up In The Attic” and the 1960s rock meets 1990s alternative rock sound of “Little Miss Cool.”

Monogroove's lineup features the multi-talented Rin Lennon on guitar and vocals, the masterful bass work of Woody Cross and the splendid drumming of Kenny Cratty, both of whom also contribute to the letter-perfect vocals. The band’s marvelous musical chemistry, tight chops and glorious harmonies create music that’s an absolute blast to listen to, and you’ll want to do just that, over and over again. Any band that can not only sound Beatlesque throughout their album, but also manages to pull off a dazzling cover of the classic “Magical Mystery Tour,” (featuring special guest star Probyn Gregory on trumpet) is well worth your time and attention.

The music on There’s Something Here has a timeless feeling, and also sounds fresh and up to date. The songs on this album are masterful compositions that will get stuck in your head, inspire you, and touch your heart. If you love the iconic sounds of the 60s, 70s and 80s, There’s Something Here is essential listening. There are tunes for power pop and rock fans of every stripe on this excellent disc, from lighter fare like the touching “There For You” to the edgy, guitar-driven selections such as “All I Want Is You." Check out the group's music and get more information about the band by following this link to the Bandcamp page for the album: https://monogroove.bandcamp.com/album/theres-something-here. Here are links to the songs "Now and Forever" https://www.youtube.com/watch?v=4IcwqAxtLZg and "Back Seat" https://www.youtube.com/watch?v=m_5Pi4Q9mO4.

Marc Platt's Outstanding Array of "Colors"

Marc Platt is a first-rate singer, songwriter and producer who has been creating superb rock and roll music for a long time now. He was a founding member of the sensational power pop group The Real Impossibles, and has recently been working with The Tearaways, a remarkable Santa Barbara based band whose music echoes the British Invasion sound topped off with a touch of classic California pop. Platt is also an accomplished solo artist, and his 2020 EP, Beat on the Street, was a refreshing combination of tunes which proudly displayed their 1960s rock influences, distilled with healthy dose of power pop. His forthcoming release, Colors of the Universe, is another outstanding collection of songs. The set kicks off with the propulsive, anthemic "Looking For A Change." Aren't we all ready for a change in these difficult times? 

Next up is the power pop meets punk rock tune "Everything Dies" which despite its brief running time, grabs your attention and compels you to turn it up. That track is followed by the crunchy, hard-edged rocker "The Devil's Game," featuring some tasty guitar work. The pop-infused title track is next, and it wouldn't sound out of place on 1960s radio. It's an excellent ballad that includes a plaintive vocal turn by Platt. "Let's Go" is an energetic power pop entry which sounds like it time-warped out of the genre's peak period. "Have It Your Own Way" has a 1970s feeling to it, with a touch of the modern rock aesthetic in the background. The folk-tinged "Had To Be You" memorably closes out the disc with it's strong lyrics and singer-songwriter styled sound.

Platt's knack for crafting exceptional songs is on full display on Colors of the Universe. If you dig pop, rock, folk, power pop and even yearn for some punk flavor in your musical diet, you'll find that these remarkable tunes are a refreshing combination of multiple genres. His marvelous musical talents are a force to be reckoned with, from the emotionally resonant lyrics to the fantastic instrumental work, and the meticulous production on this sterling collection of music. These songs simply demands multiple spins, and Colors of the Universe is a must-have release.

Colors of the Universe comes out January 18th on Rum Bar Records. When you order the disc, you'll receive the tracks from the Beat on the Street EP as a free bonus. Here's a link to the album: https://rumbarrecords.bandcamp.com/album/colors-of-the-universe-the-nice-price, and also links to the videos for the songs "Everything Dies," https://www.youtube.com/watch?v=Xyb7L8wL33Y, and the title track: https://www.youtube.com/watch?v=TuUe1KMy1jo. Head over to Rum Bar Records now and check out his superlative work. If you dig artists like The Kinks, The Mamas and the Papas, The Ramones, Elvis Costello and Peter Case, Marc Platt will quickly become one of your new favorites.

The Rebirth of Coppola's "Godfather III"

The Godfather and The Godfather, Part II are rightfully celebrated as two of the greatest films of all time by both critics and cinema fans. Director Francis Ford Coppola and writer Mario Puzo's epic story of the Corleone family is masterful movie-making, brought to life by a superb cast including Marlon Brando, James Caan, Talia Shire, Robert DeNiro and Al Pacino as Michael Corleone, whose rise to power as the head of the family, and eventual fall from grace, is charted across both films. For a long time, it seemed like that was the end of the Godfather saga. Despite Coppola's reluctance to do another sequel, rumors had circulated for years that there might be a third chapter in the series. Then in 1990, Coppola and Puzo returned to the story with The Godfather, Part III. Reportedly, Coppola decided to move forward with the film due to financial troubles with his Zoetrope Studios, and the failure of a few high-profile projects like One From The Heart.

Coppola was able to sign Al Pacino, Diane Keaton, and several other members of the original cast to reprise their roles, but Robert Duvall declined to return when he and Paramount couldn't come to an agreement over his salary for the film. Duvall felt he should be paid something closer to what Pacino was receiving to return to his role, as he was an integral part of the cast. Winona Ryder was set to play Mary Corleone, but she dropped out prior to the start of filming due to illness, and was replaced by Coppola's daughter Sofia. Andy Garcia was cast as Vincent Mancini, the illegitimate son of Michael's brother Sonny, played by James Caan in the original film. When the film was released in 1990, it was successful at the box office, but critical reaction was mixed, and many reviews slammed the performance of Sofia Coppola, the film's serpentine plot, and the addition of actors such as George Hamilton, who played the family's new lawyer, replacing Duvall.

Coppola recently released a new edit of the film, now titled The Godfather Coda: The Death of Michael Corleone. He has cut a few scenes from the movie, shifted some around, and trimmed a few others. The running time of the film is now about five minutes shorter. The restructuring by Coppola allows the story to flow a bit more smoothly. The plot line regarding Michael's quest for redemption, and the resulting fallout to his family due to his sins of the past, takes center stage. There's also a smoother resolution to the story arc for Vincent, Andy Garcia's character. Of course, there are some issues with the labyrinthine plot that can't be fixed even with a re-cut of the movie. As for the casting, George Hamilton certainly can't hold a candle to Robert Duvall, who's definitely missed in the role of Tom Hagen. I was never as bothered by Sofia Coppola's acting as some critics and fans were when the film was originally released. It's an unpolished and inexperienced performance, to be sure, but it's hard for her to compete with the likes of Pacino and Garcia. She's okay in the part, and has gone on to become a talented director in her own right.

Pacino and Keaton are terrific in their roles, and their scenes together are some of the best in the film. Garcia shows flashes of James Caan's manic energy as Vincent, and Talia Shire ups the ante in her role as Michael's sister Connie, who clearly has no problems taking action against the family's enemies when necessary. Eli Wallach and Joe Mantegna are effective in minor roles, and it's nice to see supporting players such as Richard Bright, who returns as Michael's bodyguard Al Neri. Ace cinematographer Gordon Willis shot the first two films, and he does another wonderful job here, adding to the movie's melancholy tone with his beautiful imagery. Coppola's direction is solid, and the film is undeniably well-made, but it never quite hits the heights of the first two movies in the series. The character arcs seen here were already explored to some degree in Parts I and II, so in some ways the story covers familiar ground.

The Godfather III: The Death of Michael Corleone may not be quite as good as it's predecessors in the series, but it's still an involving, emotional and often powerful film. Coppola has said in interviews he considers the film a coda or epilogue to the story of the Corleones. That's an apt description, as the movie is one of the last entries in an old-style, romanticized view of the gangster as an anti-hero and tragic figure. The year that Godfather III was originally released was also the time that Martin Scorsese's Goodfellas hit cinemas, and that film helped re-define the style, pace and look of gangster movies for a new generation of filmmakers. If you're a fan of the Corleone saga, this new cut of the third film in the series is worth a look. The Godfather III: The Death of Michael Corleone is now available on Blu-ray and for digital download. Here's a link to the trailer for the film: https://www.youtube.com/watch?v=relO5a2wzsI.