Wednesday, August 27, 2014
TIME MACHINE: BATTLE OF BLADENSBURG
Today marks the 200th anniversary of the Battle of Bladensburg, which was a major conflict fought during the War of 1812. The battle was fought on August 24, 1814 in Bladensburg, Maryland; and played a major role in the fate of the United States' capital, Washington D.C. and a future battle fought around Baltimore, Maryland.
Although the Royal Navy had controlled the Chesapeake Bay region since early 1813, the lack of substantial British troops due to the Napoleonic Wars had limited to mounting small-scale raids. However, Napoleon Bonaparte was defeated by April 1814, leaving the British Army to focus full attention to the war on the North American continent. Major General Robert Ross, assumed command of veterans from the Duke of Wellington's army and other British troops serving along the East Coast. They were transported to Chesapeake Bay to create a diversion from a British invasion of New York, led by Lieutenant General Sir George Prevost, Governor General of Canada and commander in chief in North America. Although Ross commanded the troops, the point of attack was to be decided by Vice Admiral Alexander Cochrane, Commander-in-Chief of the Royal Navy's North American Station.
When Ross and Cochrane's forces arrived at the town Benedict, along the Patuxent River, President James Madison sent Secretary of State James Monroe to reconnoiter. President Madison received a dispatch from Secretary Monroe on August 23 that stated - "The enemy are in full march to Washington, Have the materials prepared to destroy the bridges, PS – You had better remove the records." Unfortunately, Madison and his advisers ignored Monroe's warning and reports. The Washington and Baltimore area served as the Tenth Military District and it was under the command of General William H. Winder, who had been an attorney before the war broke out. In theory, Winder was supposed to have at least 15,000 militia troops, but he actually had only 120 Dragoons and 300 other Regulars, plus 1,500 poorly trained and under-equipped militiamen at his immediate disposal. Secretary of War John Armstrong, Jr. and other advisers incorrectly assumed that the British were destined for Baltimore and that Washington would not be attacked since he deemed it strategically unimportant.
Winder ordered the destruction of the two bridges across the Anacostia River as a precaution to protect the Capital. This act left a route through Bladensburg as the logical approach. He also sent troops to Marlborough to intercept the British at Upper Marlboro on August 20. Unfortunately, those troops quickly returned when the Americans learned that British troops were already entering Blandesburg. Following a brief clash with Ross' leading forces on August 22, Winder ordered a hasty retreat. Several Maryland militia regiments were summoned from Baltimore to defend Washington. Winder ordered Brigadier General Tobias Stansbury to move from Baltimore to Bladensburg and take the best position in advance of Bladensburg in order to resist as long as possible. The latter deployed his force atop Lowndes Hill, just east of Bladensburg. The road from Annapolis crossed the hill, and the road from Upper Marlboro ran to its south and west. Furthermore, the roads to Washington, Georgetown, and Baltimore all intersected behind between it and Bladensburg. From this position, Stansbury dominated the approaches available to the British while controlling the lines of communication. Then on August 23, Stansbury received a message from Winder, informing the former that he had withdrawn across the Eastern Branch and he intended to fire the lower bridge. A surprised Stansbury was seized by an irrational fear that his right flank could be turned. Instead of strengthening his commanding position, he immediately removed his exhausted troops and marched across Bladensburg bridge, which he did not burn. Stansbury ended up tossing away almost every tactical advantage available to him.
The British forces reached Bladensburg on August 24, around noon. Around noon on 24 August, Ross's army reached Bladensburg and Stansbury's tactical errors quickly became apparent. Had he continued to hold Lowndes Hill, Stansbury could have made the British approach a costly one. With the use of Bladensburg's brick structures, which were ready-made mini-fortresses, Stansbury might have drawn Ross's troops into bloody street fighting. Since Stansbury failed to burn the bridge, he was forced to defend it. Stansbury's infantry and artillery were posted too far from the river's edge to contest an effective crossing. The British sweep across the Bladensburg Bridge proved to be very strong. Although the Americans repulsed the British forces three times by artillery fire and launched a counter-attack led by U.S. Naval officer Commodore Joshua Barney and his almost 600 seasoned Marines and sailors. Despite their valiant repulse, the authorities in Washington simply forgot about Barney for several days. Without orders they were tardy arrivals on the field of contest. Had they been supplied with sufficient ammunition and supporting infantry, the course of the battle could have been changed. But in the end, Barney and his men were flanked and overwhelmed by British forces. Barney was wounded and captured.
Although the British had suffered heavier casualties than the Americans, thanks to Barney's guns; they had completely routed the defenders. The British are believed to suffer casualties of 64 dead and 185 wounded. Some of the British dead "died without sustaining a scratch. They collapsed from heat exhaustion and the strain of punishing forced marches over the five days since landing at Benedict. General Winder had not given any instructions to his commanders before the battle in regard to a possible retreat. When the American militia left the battlefield, he issued contradictory orders - either to halt and reform, fall back on the Capitol where Secretary of War Armstrong hoped vainly to make a stand using the Federal buildings as strong points, or retreat through Georgetown to Tenleytown. Most of the militia simply fled the field with no destination in mind, or deserted the ranks to see to the safety of their families. The Americans actually fled through the streets of Washington, D.C. President Madison and most of the rest of the federal government had been present at the battle, and had nearly been captured. They too fled the capital, and scattered through Maryland and Virginia. That same night the British entered Washington unopposed and set fire to many of the government buildings in what became known as the Burning of Washington.
If you are more interested in reading more information on the Battle of Bladensburg and the Burning of Washington, I suggest you read the following books:
*"When Britain Burned the White House: The 1814 Invasion of Washington (2014) by Peter Snow
*"The Darkest Day: The Washington-Baltimore Campaign During the War of 1812" (2003) by Charles G. Mueller
Monday, August 25, 2014
"THE WOMAN HE LOVED" (1988) Review
I have come to the conclusion that any movie producer willing to do a project on Wallis Warfield Simpson, later the Duchess of Windsor would eventually realize that said project is bound to generate a great deal of emotion - not only in Great Britain, but even in the United States. I have never come across a female historical figure who has polarized the public the way this 20th century American-born socialite has.
The first screen production about Wallis Simpson and her romance with Edward, Prince of Wales, later King Edward VIII and the Duke of Windsor I ever saw was the 1978 BBC miniseries, "EDWARD AND MRS. SIMPSON". But I have seen screen portrayals of both Mrs. Simpson and Edward VIII in other productions, including this television movie called "THE WOMAN HE LOVED". The television movie aired on CBS in 1988. I wish I could say this movie was the best on-screen interpretation of the infamous romance that rocked the British monarchy back in the mid-1930s. However, I would be lying if I did. But I certainly do not believe it is the worst.
"THE WOMAN HE LOVED" told the story of the famous romance mainly from Mrs. Simpson's point-of-view, via flashbacks. The movie began in 1972 with her arrival in Britain for the first time in years to attend the funeral of her third and final husband, the Duke of Windsor. While the recently widowed Duchess seeks solitude inside Buckingham Palace as a guest of the Royal Family, she reminisces about about her marriage to American-born businessman Ernest Simpson in 1928 led to her entry into British high society and her relationship with Edward Windsor. Aside from the 1972 flashback, most of the movie began with Wallis' marriage to Simpson and ended with her marriage to the newly created Duke of Windsor in May 1937. It also covered Wallis and Edward's affair, which began when he was Prince of Wales and continued after he became King Edward VIII. Also, Wallis' marital problems with Simpson, along with their divorce and the Abdication Crisis, which occurred during the fall of 1936 were also covered in this film. This is not surprising, considering this is the narrative formula that is used in most productions about the Duke and Duchess of Windsor.
How did I feel about the movie? Well . . . I did not hate it. But I did not exactly love it. I must admit that its production values were top notch for a television film with a foreign setting. One has to give Kenneth Sharp credit for a detailed re-creation of London and Great Britain between 1928 and 1936. If there is one thing I can say about "THE WOMAN HE LOVED" is that it is a beautiful looking period drama. Sharp's work was ably assisted by Brian Morgan's sharp and colorful cinematography. Hell, his work looked better than many period dramas I have seen on both the small and large screen. Although I found Allyn Ferguson's score not particularly memorable, I thought he and director Charles Jarrott did an excellent in selecting certain tunes that added to the movie's 1930s setting. But one aspect of the movie's technical aspect that really blew my mind was Robin Fraser-Paye's costume designs. Can I say . . . WOW? Or better yet, below are images of Fraser-Paye's work:
On the other hand, William Luce's screenplay did not have the same effect upon me. As I had hinted earlier, the screenplay for "THE WOMAN HE LOVED" was the basic narrative used for most productions about the historic couple. I would go even further to say that Luce's work was a paint-by-the-numbers job. There were moments that did impress me. Most of those moments featured conversations between Wallis and Simpson - especially when their marriage was breaking apart. I was especially amused by one particular quarrel between them that ended with Wallis sharply ordering their dog from her bed. Some of the biggest problems I had with "THE WOMAN HE LOVED" is that Wallis and Edward's story is treated solely as a movie adaptation of a romance novel. And I am not a fan of romance novels. I did not expect the movie to be some Charles Higham-style trashy revelation about the Windsor couple. I have seen plenty of recent productions - "UPSTAIRS DOWNSTAIRS (Season One)" and "THE KING'S SPEECH" - that portray Wallis as some kind of gauche, gold digging whore. Unfortunately, "THE WOMAN HE LOVED" went to another extreme - painting Wallis as some kind of American-born Cinderella and Edward as this poor, misunderstood prince who had been denied some sliver of happiness due to royal tradition. The movie did offer crumbs of the couple's ambiguity - Wallis' affair with Edward and the latter's determination to steal another man's wife. But despite these moments of ambiguity, "THE WOMAN HE LOVED" was simply an exercise in romantic gloss.
"THE WOMAN HE LOVED" featured the screen reunion of Jane Seymour and Anthony Andrews, who first co-starred with each other in the 1982 television costume movie, "THE SCARLET PIMPERNEL". Both were outstanding in that film. I wish I could say the same about their performances in "THE WOMAN HE LOVED" . . . but I cannot. I am not saying they gave bad performances. Both Seymour and Andrews offered some examples of their talent in a few scenes. Most of Seymour's best scenes were with actor Tom Wilkinson, who portrayed Ernest Simpson. Perhaps her performances in these scenes led to her Emmy nomination. Perhaps. However, I find it easy to question this nomination, due to Seymour being forced to portray Mrs. Simpson as an occasionally star-struck adolescent. I could blame her questionable Upper South accent (the American socialite came from an old Baltimore family), but I never believed that a bad or questionable accent could really harm a performance. Andrews had a particularly effective scene in which his Edward angrily expressed his frustration with the British Establishment, who refused to accept Wallis as his future wife. I found this scene to be a breath of fresh air, considering most of his consisted of dialogue that struck me as wooden. But in the end, both actors were simply hampered by Luce's romantically one-note screenplay.
Olivia De Havilland also received an Emmy nomination - a Best Supporting Actress nod for her portrayal of Wallis' aunt, Bessie Merryman. And if I must be honest, I find this puzzling. I am not criticizing De Havilland. I thought she gave a solid performance, considering the slight amount of screen time given to her. But there was nothing about it that dazzled me. Lucy Gutteridge portrayed Edward's previous mistress, the American-born Thelma, Viscountess Furness. By some ironic twist, Gutteridge portrayed Furness' twin sister, Gloria Morgan Vanderbilt, in the 1982 television movie, "LITTLE GLORIA, HAPPY AT LAST" and earned an Emmy nomination. As for her portrayal of Thelma, it was pretty solid, but not particularly mind dazzling. In fact, none of the other supporting performances in the movie - Julie Harris, Robert Hardy, Phyllis Calvert and David Waller - did not strike me as particularly memorable. I must admit I was surprised to see Waller reprise his role as Prime Minister Stanley Baldwin, which he had originated in "EDWARD AND MRS. SIMPSON". Only Tom Wilkinson's wry and cynical portrayal of the cuckolded Ernest Simpson came close to really impressing me. While everyone else seemed to be a bit too theatrical or simply going through the motions, Wilkinson made the low-key Simpson a rather interesting personality.
I really do not know what else to say about "THE WOMAN HE LOVED". I cannot deny that visually, it is a very beautiful looking movie that did an excellent job of re-creating Great Britain during the two decades between the two world wars. But instead of providing a balanced and ambiguous portrait of Wallis Simpson and her third husband, King Edward VIII; director Charles Jarrott and screenwriter William Luce decided to portray their relationship as some kind of cinematic romance novel. And I believe their work may have hampered the performances of the cast led by the usually talented Jane Seymour and Anthony Andrews. If you want a realistic feel of the Wallis Simpson/Edward VIII affair, this may not be your movie. But if it is a onscreen fairy tale romance you are looking for, this might be your flick.
Friday, August 22, 2014
Below are images from "THE MIRROR CRACK'D", the 1980 adaptation of Agatha Christie's 1962 novel. Directed by Guy Hamilton, the movie starred Angela Landsbury as Miss Jane Marple:
"THE MIRROR CRACK'D" (1980) Photo Gallery
Wednesday, August 20, 2014
"BABYLON 5" RETROSPECT: (2.16) "In the Shadow of Z'ha'dum"
About eighteen months ago, I had posted a list of my favorite Season Two episodes from the 1993-1998 syndicate series,"BABYLON 5". And one of those episodes happened to be (2.16) "In the Shadow of Z'ha'dum". For the sake of sentiment, I recently re-watched the episode to see if my views on it had changed.
The series' second season - titled "The Coming of Shadows" - introduced a new character to the "BABYLON 5" universe. Captain John J. Sheridan first appeared in the season's premiere episode, (2.01) "Points of Departure" to replace Babylon 5's first commanding officer, Commander Jeffrey Sinclair. Like the latter, Captain Sheridan was a veteran of Earth Alliance's last major conflict, the Earth-Minbari War, which was fought over a decade before the series' setting. Sheridan was the only Earth military commander who scored a major victory over the Minbari, who possessed superior forces and weapons. Sheridan was also a married man, who became a widower following the death of his wife, Anna Sheridan. Two years earlier, Anna was killed while serving as a member of a planetary expedition aboard a ship called the Icarus for a mission to explore an obscure planet called Z'ha'dum.
The episode (2.02) "Revelations" dealt with Sheridan allegedly coming to terms with Anna's death. But the events of "In the Shadow of Z'ha'dum" proved otherwise. The story began with the arrival of a Human named Mr. Morden to Babylon 5. Following his first appearance in the Season One episode, (1.13) "Signs and Portents", Mr. Morden managed to form an alliance with Ambassador Londo Mollari of Centauri Prime. Using his connections with an ancient and powerful race of aliens known as "the Shadows" - whose homeworld happened to be Z'ha'dum, Morden helped the Centauri deal with its main enemy, the Narns. During Morden's latest visit to Babylon 5, Security Chief Michael Garibaldi unintentionally identifies him as a regular visitor to the station during a private conversation with Sheridan. When the captain realizes that Morden had been a member of the Icarus expedition that led to Anna's death, he has the man arrested and placed in a holding cell. Sheridan becomes obsessed with learning about the details of Anna's fate; and also the details behind Morden's survival and failure to inform Earth Alliance. This obsession leads the good captain to break security rules, alienate members of command staff and attract the attention of the Centauri, Minbar and Vorlon ambassadors.
During my latest viewing of "In the Shadow of Z'ha'dum", I tried to pinpoint what I did not like about it. I managed to find one aspect that struck me as unappealing. Sheridan's manipulation of resident telepath Talia Winters' only meeting with Morden struck me as rather forced. David J. Eagle's direction and Christopher Franke's score tried a little too hard in making this scene dramatic by amping up the suspense. The scene's build up struck me as over-the-top that it almost overshadowed the pay-off of Talia and Morden's actual meeting. It is a flaw I have spotted in other "BABYLON 5" episodes - even in some of its best.
"In the Shadow of Z'ha'dum" may not have be perfect, but I believe it might be one of the best episodes of Season Two . . . and in the entire season. The ironic thing is that hardly any action occurred in this episode, aside from a well deserved slap that Sheridan received from Talia. And yet, "In the Shadow of Z'ha'dum not only helped drive the series' main narrative forward, it also foreshadowed two major story arcs in future episodes - Sheridan's conflict with the Shadows and Garabaldi's role as Babylon 5's security chief. It also foreshadowed a minor plot - namely Morden's future fate. These story lines are major examples of series creator J. Michael Straczynski's use of foreshadow in his writing. And as far as I am concerned, no one else did it better other than George Lucas for his "STAR WARS" movie franchise.
However, I believe the best thing about "In the Shadow of Z'ha'dum" was the development of the John Sheridan character. Many fans had not been pleased when Bruce Boxleitner replaced the late Michael O'Hare, who portrayed Jeffrey Sinclair, as the series' new leading man. They accused the Sheridan character of being lightweight and dubbed him with the nickname of "Captain Smiley". Personally, I never had any problems with Sheridan before this episode. But this is the first time the series ever focused upon the negative aspects of Sheridan's character. And I found it very interesting."Revelations" had revealed that Sheridan had yet to recover from his wife's death. "In the Shadow of Z'ha'dum" revealed that Sheridan's inability to recover from his grief brought out the worst of him - his temper, his penchant for brooding, his stubborness, his talent for manipulation and most importantly, his ruthlessness. Sheridan's reputation as "Captain Smiley" disappeared after this episode. For good.
The episode also featured a minor story line regarding the arrival of an Earth Alliance official named Pierce Macabee. The latter represented Earth Alliance's Ministry of Peace, which served as a security and propaganda machine for President Morgan Clark's administration. Macabee arrived at Babylon 5 to recruit the station's crew into Earth Alliance's new paramilitary organization, Nightwatch. These members were instructed to uncover and report on what they perceived to be "subversive" activities - namely open criticism and defiance of Clark's Administration. This story line was introduced in such a subtle manner that it almost seemed like afterthought. Almost. It allowed audiences to hear Macabee's speech about Nightwatch and watch him recruit some of the station's crew - including Zack Allen, who served with Babylon 5's security force under Garibaldi. Although Zack joined Nightwatch simply to earn extra credits, his decision will prove to have a major impact upon the series' main narrative, early in Season Three. The Nightwatch story arc proved to be another example of Straczynski's talent for using a minor story line as foreshadow. Very few writers and producers seemed capable of using this narrative device with any strong effect. Pity.
"In the Shadow of Z'ha'dum" also featured some first-rate performances. Regular cast members such as Claudia Christian, Mira Furlan, Jerry Doyle and Richard Biggs gave strong supportive performances. Although I was critical of the scene featuring Talia Winters' encounter with Mr. Morden, I certainly had no problems with Andrea Thompson's performance. The actress did an excellent job in conveying Talia's horror and later, outrage over Sheridan's actions. Jeff Conway really made the role of Zack Allen his own in this particular episode. I have always believed that one aspect that made a performer a first-rate screen actor or actress, is his or her ability to react to other characters. Conway was very effective in utilizing this acting tool in his scenes with Boxleitner and Doyle. And his performances in scenes with certain supporting characters struck me as effective and subtle at the same time. Especially in one scene in which Zack arrested Mr. Morden. I also have to commend Alex Hyde-White for his guest-starring turn as Nightwatch recruiter, Pierce Macabee. He did a superb job in projecting the Ministry of Peace's menace with such subtle charm.
Ed Wasser, who made such an impression as the quiet, yet menacing agent for the Shadows - Mr. Morden - in previous episodes, continued his excellent work in this episode. However, "In the Shadow of Z'ha'dum" also featured other dimensions to Morden's personality - fear, surprise and impatience - that Wasser conveyed with great skill. I especially enjoyed his work with both Stephen Furst and leading man Bruce Boxleitner. I have always been a fan of Furst since I first saw him in the 1978 comedy, "ANIMAL HOUSE". His time on NBC's "ST. ELSEWHERE" and "BABYLON 5" revealed his talent for dramatic acting. Furst effectively combined his skills for both drama and comedy in one particular in which Centauri Ambassador Aide Vir openly expressed his dislike for Morden. It is one of my favorite moments from the series.
Although the "Captain Smiley" nickname for the John Sheridan character disappeared after "In the Shadow of Z'ha'dum"first aired on television, Bruce Boxleitner's reputation as an actor suddenly gained momentum among the series' fans. I do not understand why. I have seen Boxleitner portray the darker aspects in previous roles very effectively. But I must say that I believe his performance in this episode may end up being regarded as one of his best. Boxleitner was superb as a ruthless Sheridan, obsessed with not only learning the truth about his wife's death, but also Morden's survival and revenge. It is a pity that the Emmys rarely acknowledge excellent acting or writing in the Science-Fiction/Fantasy genre.
"In the Shadow of Z'ha'dum" may not be my favorite Season Two episode from "BABYLON 5". But it is definitely my second favorite. And it is certainly one of my favorite episodes of the series. J. Michael Straczynski wrote an excellent episode about the consequences of grief for the series' main character. Thanks to fine writing, first-rate direction and excellent performances from a talented cast - especially series lead Bruce Boxleitner.
Tuesday, August 19, 2014
"CONDUCT UNBECOMING" (1975) Review
Over four decades ago, 1969 to be precise, a play written by novelist Barry England was first staged at the Theater Royal in Bristol, England. Set during the height of the British Empire, England's play focused upon an Army regiment stationed in India. The play became a hit and was eventually adapted into a movie released to the public in 1975.
"CONDUCT UNBECOMING" begins with two young British officers arriving in Indian to join a prestigious regiment. Lieutenant Drake comes from a middle-class background and is eager to make the right impression. Lieutenant Millington is the son of a General and does not seem enthusiastic over the idea of a military career. He plans to leave the Army at the first opportunity. While Drake manages to make a positive impression with his fellow officers, Millington antagonizes them with his cynical behavior, causing the other officers to dislike him. A military ceremony takes place, honoring the deceased members of the regiment and their widows, including Mrs. Marjorie Scarlett, whose husband won a posthumous Victoria Cross after being killed during a battle on the North-West Frontier.
Later that evening, the regiment holds a ball. The younger officers take part in a ceremonial tradition that involves the pursuit and sticking of a pig in the mess. Lieutenant Millington tries to charm Mrs. Scarlett, but is lightly dismissed. Later, the disheveled widow bursts into the mess, claiming to have been attack. She identifies Milington as her attacker. During an evening in the mess, involving the younger officers taking part in a ceremonial tradition that involves the pursuit and sticking of a pig, Mrs Scarlett runs in claiming to have been attacked, and identifies Lieutenant Millington as her attacker. Although he is innocent, Millington sees the potential disgrace as an easy way to leave the Army and return to England. He does not bother to cooperate with Drake, who has been selected to defend him at his secret trial. But when both men realize that Millington might suffer a more serious punishment other than a dishonorable discharge and Drake discovers that another widow had been similarily attacked six months earlier, the latter officer goes out of his way to clear Millington.
I have not seen "CONDUCT UNBECOMING" for a good number of years - over a decade and a half, to be exact. I recall being very impressed when I last saw it a long time ago. I still am - to a certain extent. But there were two aspects of the movie that left me feeling a little unsettled. One of them focused upon the movie's setting. With the exception of the first ten to fifteen minutes, most of "CONDUCT UNBECOMING" was either set in the regiment's mess, other exterior shots or on the cantoment grounds, which could have easily been shot on a sounstage. By the time the movie ended, I felt as if I had watched a filmed play. And I never could understand Lieutenant Millington's original attitude toward the charges against him. I mean . . . this is the Victorian Age we are talking about in which women - especially white upper and middle-class women - were put on pedestals by men. I could understand Millington's attitude if he had been accused of assaulting the other acknowledged victim in the story - an Indian soldier's widow named Mrs. Bandanai. But surely he should have realized that he could have suffered serious repercussion for assaulting someone as cherished as Mrs. Scarlett, right off the bat.
Despite these shortcomings, I must admit that "CONDUCT UNBECOMING" is a first-rate movie. Playwright Barry England wrote a tantalizing peek into the world of British India that featured not only a psychological drama, but also a very interesting mystery and the damages causes by misogyny and racism (in the case of Mrs. Bandanai) that was rampant during the Victorian Age (as well as now). I feel that England created a murder mystery that would have done Agatha Christie proud. I also feel that Robert Enders did an excellent job in adapting England's play.
The movie began with a great set-up of the mystery - the ceremony honoring the dead Captain Scarlett and the other men who died with him, intertwining with with the arrivals of Lieutenants Drake and Millington at the regiment's cantonment. The movie also had a rather creepy scene that featured the younger officers engaged in the "stick-the-pig-in-the-anal" game, which foreshadowed the attack on Mrs. Scarlett later in the evening. But what I really admired about the film is that it did not make it easy for the audience to guess the identity of Mrs. Scarlett's attacker. For that I am truly grateful. If there is one kind of mystery I cannot abide is one that gives away the culprit's identity prematurely.
"CONDUCT UNBECOMING" also benefited from a first-rate cast. The movie featured solid performances from the likes of James Faulkner (who portrayed Millington), Michael Culver, Rafiq Anwar, Persis Khambatta and James Donald. Christopher Plummer gave an interesting performance as the intimidating Major Alastair Wimbourne. Although there were moments when I found his performance a little theatrical. I certainly cannot accuse Trevor Howard's performance as theatrical. He gave an appropriately poignant performance as the regiment's aging commander, who finds it difficult to accept a possible scandal within his command. Richard Attenborough proved to be equally complex as Major Lionel E. Roach, who seemed to live and breathe the regiment. I was surprised to see Stacy Keach in this cast as Captain Harper, the officer charged with prosecuting Millington. He did an excellent job in developing his character from the hard-nosed, blindingly loyal officer, to one who finds himself appalled by the possibility of a serial attacker. Susannah York gave a superb role as the enticing Mrs. Scarlett, who seemed first amused by Millington's attempt at seduction and later, angry over what happened to her. But the film actually belonged to Michael York, who more than carried his weight as the main character. I was impressed by how he managed to dominate this film, while retaining his character's quiet and reserved nature.
Would I consider "CONDUCT UNBECOMING" a classic? I do not know. I certainly would not consider it a candidate for a Best Picture nomination. And it certainly had its flaws. But due to its first-rate story, solid direction from Michael Anderson and an excellent cast led by Michael York, I still would consider it a very good story that is worth viewing time and again.
Monday, August 18, 2014
Below are images from the 1946 crime drama, "THE BLUE DAHLIA". Written by Raymond Chandler and directed by George Marshall, the movie starred Alan Ladd, Veronica Lake and William Bendix:
"THE BLUE DAHLIA" (1946) Photo Gallery
Saturday, August 16, 2014
Below is an article I had written about a dish called Kentucky Burgoo:
Unbeknownst to me until recently, Kentucky Burgoo or simply, "Burgoo", is a spicy stew that is similar to Irish or Mulligan Stew and especially Bruinswick Stew. Burgoo is a communal dish that is usually served during a social event in both the American South and the Midwest. However, it is believe that the dish first made its American appearance in the state of Kentucky.
It is believed by many that Burgoo first originated in Europe - specifically France and Belgium. The name "burgoo" came from a mispronunciation of the French word "burgout", which is a kind of gruel; or perhaps it came from "ragout, which is a spicy vegetable/meat stew. I suspect that a ragout is more similar to the description of Kentucky Burgoo. It is also believed that a man named Colonel Gus Jaubart introduced the dish to the citizens of Kentucky around 1810, eight years after it became a state. Jaubart's Burgoo was a version of a stew - possibly a ragout - that was fed to French sailors at sea.
However, the late Kentucky historian, Thomas D. Clark believed that Burgoo may have originated in the Appalachian region of late 18th century or early 19th century Virginia, where Brunswick Stew was popular. According to Clark, hunters would count their day's kill and cook it in a stew or soup with vegetables and highly seasoned spices. There are some who believe that Clark may have been referring to what was known as an "Appalachian Hunter's Stew" or the "Daniel Boone Stew".
Below is a recipe for Kentucky Burgoo from the Simplyrecipe.com website:
3 tablespoons vegetable oil
3-4 pounds pork shoulder or country ribs, cut into large pieces (3 to 4 inches wide)
2-3 pounds chuck roast, stew meat, or other inexpensive cut of beef, cut into large pieces (3 to 4 inches wide)
3-5 chicken legs or thighs (bone-in)
1 green pepper, chopped
1 large onion, chopped
2 carrots, chopped
2 celery ribs, chopped
5 garlic cloves, chopped
1 quart chicken stock or broth
1 quart beef stock or broth
1 28-ounce can of crushed tomatoes
2 large potatoes (we used russets)
1 bag of frozen corn (about a pound)
1 bag of frozen lima beans (about 14 ounces)
Salt and pepper
4-8 tablespoons Worcestershire sauce
Tabasco or other hot sauce on the side
Heat vegetable oil on medium-high heat in a large soup pot (at least 8 quart size). Salt the meats well on all sides. When the oil is shimmering hot, working in batches brown all the meats. Do not crowd the pan or the meat will steam and not brown well. Do not move the meat while browning a side. Let the meat pieces get well seared. Remove the browned meats to a bowl.
Add the onions, carrots, celery and green pepper to the pot and brown them. If necessary, add a little more oil to the pot. After a few minutes of cooking, sprinkle salt over the vegetables.
When the vegetables are well browned, add the garlic and cook for 30 seconds more, until fragrant. Add back the meats, and the chicken and beef broths and the tomatoes, stir to combine. Bring to a simmer, cover, reduce the heat and simmer gently for 2 hours.
Uncover and remove the meat pieces. Strip the chicken off the bone and discard skin if you want. Break the larger pieces of meat into smaller, more manageable pieces. The reason you did not do this at first is because the meats stay juicier when they cook in larger pieces. Return all the meat pieces to the pot and bring it up to a strong simmer.
Peel and cut the potatoes into chunks about the same size as the meat pieces (if using new potatoes, you can skip the peeling, but russets you'll want to peel). Add them to the stew and cook them until they are done, about 45 minutes. When the potatoes are done, add the Worcestershire sauce, mix well and taste for salt. Add more Worcestershire sauce to taste if needed.
Add the corn and lima beans. Mix well and cook for at least 10 minutes, or longer if you would like. Here is the point where you decide whether you want a burgoo that’s been hammered into a thick mass or a stew with bright colors in it. It is your call.
To serve, taste one more time for salt, and add either Worcestershire or salt if you want. Serve with crusty bread or cornbread and a bottle of hot sauce on the side.