Making a wacky road trip movie based on someone’s death wouldn’t be too appropriate

Grand Theft Parsons
On DVD now

I picked up Grand Theft Parsons on a whim, paying £1.50 for it second-hand. I’d heard mention of the film before, knew it involved both Gram Parsons and Johnny Knoxville (both of whom which, for better or for worse, I am a fan of), and, I understood, had something of a “cult status” (or so it appeared to me).

Prior to watching the film, I decided to look up some info about it (as I am want to do). The quotes on the box included such gems as

“ONE OF THE FUNNIEST FILMS OF THE YEAR” – What’s On

and

“HILARIOUS…LEAVES YOU CHUCKLING FROM START TO FINISH” – News Of The World

Neither of these statements are true – not saying that’s a bad thing. Grand Theft Parsons is NOT a rip-roaring, gut-busting comedy; there are indeed some blackly comic moments, but making a wacky road trip movie based on someone’s death wouldn’t be too appropriate, would it?

This is something the film got criticised for – marketing something that isn’t a comedy, as a comedy, is usually a recipe for disaster. People are expecting a totally different film! Silly film executives. The other major criticism I saw (mainly from the IMDb user reviews, so make of that what you will), is that the film wasn’t the “respectful” tribute to Gram Parsons some (probably old and hairy) fans wanted.

Again, I don’t think this was the point of the film, AND I think those people are wrong.

The film depicts the based-off-true-story of Parson’s road manager/best bud Phil Kaufman (Johnny Konxville) who, following his friend’s early death due to a drug overdose in 1968, attempts to steal his body (en route to a plush funeral in New Orelans) to cremate it in the desert – as per Gram’s wishes.

Along the way he is helped by a hippy whose yellow flower-emblazoned hearse he plans to use as transport (Michael Shannon), and is pursued by his girlfriend (Marley Shelton), Parson’s father (Robert Forster) and one of Parson’s many ex-girlfriends, out to get a piece of his fortune (Christina Appelgate).

Obviously the film takes some liberties with the story, and of course parts of it are comic – how could it not be? They’re stealing a guy’s coffin, after all. But it never feels exploitative; in fact, the overall feeling is one of melancholia. Kauffman is throughout trying to focus on this “mission” as a way to avoid dwelling on the fact that his best friend has – very suddenly – passed on, something which Knoxville portrays surprisingly well.

There is a lot more drama in this film than comedy, but the two styles do not jar, and work quite well throughout, working their way to a sad, yet triumphant and almost touching finale.

Grand Theft Parsons isn’t a classic, groundbreaking piece – it’s one of those works you describe to people as a “good little film”. It features fine performances by all, a fairly solid script, and a good soundtrack of Parsons recordings. It doesn’t deserve to recieve the flak it did/does; I thoroughly enjoyed it, and would recommend it to Parsons fans and non-fans alike.

Download Gram Parsons – “Brass Buttons”

Soundtracks!

For both Where The Wild Things Are and The Fantastic Mr Fox are on Spotify now. Go listen!

Where The Wild Things Are is something of a primary school symphony, credited to Karen O and the Kids; that is, the idiosyncratic Yeah Yeah Yeahs frontwoman, accompanied by a choir or rugrats. Simple, almost Kimya Dawson-like acoustic guitars rule mostly, but we do get flourishes of basic lines of xlophone plinking and strings plonking. Thoroughly enjoyable, and makes me look forward to the film even more (can’t quite get over the fact that the US get it today, everyone else has to wait for December…)

Download “All Is Love”

The Fantastic Mr Fox is scored mostly by French composer Alexander Despalt, and the inclusion of Nancy Adams’ “Love” from the 1970s Disney Robin Hood film serves as a good reference point to the sound Despalt evokes; that of classic children’s films from back in the day, adding to the overall somewhat old fashioned and anachornistic feel Wes Anderson seems to be going for in the film (well, all his films). And we get some obligatory Beach Boys and Stones tracks, always welcome (if expected by now).

Oh, and the new banjo-lead song by Jarvis on the album is brills, if brief.

Download Nancy Adams – “Love”

Film review: Indiana Jones and the Kingdom of the Crystal Skull

Indiana Jones and the Kingdom of the Crystal Skull
In cinemas now

What happened? I’d like to place the blame squarely at the feet of George Lucas because…I don’t like him, but it’s probably a joint effort between him, Steven Spielberg and screenwriter David Koepp.

I was actually excited when the first trailers appeared for Indy IV; I didn’t think Harrison Ford was too old, I hadn’t had enough of Shia LeBouf, and it was awesome that Karen Allen was returning as Marion.

The thing is, they kept the plot a secret. And it’s the plot that’s the problem.

There were rumblings about the fact that, since the original films were set in the 30s, they reflected the movie serials of the time, that Kingdom of the Crystal Skull, being set in the 50s, would have a B-movie feel. Which we…sort of get. But more in a bad way thatn good. You know you’re in a bad way when the main villain (dreaded commie Irina Spalko, played by Cate Blanchett) reveals she is psychic. Now, I can handle face-melting by the ark of the covenant, and 500-year-old immortal crusaders, but psychic people? And it gets worse.

The story is just…bad. Characters and plotlines introduced for no reason, terrible excuses for MacGuffins, stupid, stupid sci-fi stuff. And an abudance of unecessary cute CGI animals (I guess Spielberg really just wants to do one of those Dreamworks films, with Ben Stiller or someone in?). Just not good.

But there are some good things about the film. The many action scenes work the best (despite some often ropey CGI), and are as exciting and thrilling as anything in the other three films. Indy still knows how to throw a punch, and shoot a gun.

For every rubbishy, sentimental, wink-nod to the audience references to other films, there are others that are more “tastefully” done; Harrison Ford really isn’t too old, and Shia LeBouf is good; despite the stupid psychic powers, Ms Blanchett isn’t a half-bad villain; and some of the 50s pop-culture references are pretty good (excluding the obvious, stupid joke at the very start).

The ending’s pretty pants too; the conclusion of the “narrative” has to be seen to be believed (and not in a good way), and then we have to get a Return of the Jedi, chessy-as-hell, let’s wrap everything up-scene. The other Indys didn’t need to wrap anything up; The Last Crusade ended with them running off into the sunset!

I’m trying to keep everything vague because…well, it’s Indian fucking Jones. Regardless of what I, or anyone else, says, people are gonna go see it. Even if it is hugely disappointing, a waste of talent, and Spielberg needs to make another Munich to keep my interest in him.

So overall…not as bad as the Star Wars prequels. But still not great. Wait for the DVD.

Download John Williams – “The Raiders March”