M K Aston

ATP World Tour Finals 2012

The men’s tennis season came to a fitting end Monday night as the two greatest players in the world battled for the final prize of the year in front of a packed crowd at the O2 arena in London. And what a battle it was.

Novak Djokovic denied Roger Federer a hat trick of World Tour titles by beating him in two sets 7-6 (8-6), 7-5, thrilling the capacity crowd for a little over two hours. Those lucky enough to have had seats at the former Millennium Dome witnessed a titanic battle between these two giants of the game, both players putting on an astonishing display of skill and athleticism throughout the match. It was Federer who came out guns blazing and he broke Djokovic’s serve to go 3-0 up inside of 8 minutes. His remarkable talent was evident from the get go however his opponent is as resilient as they come and the first set went to a tie-break. The crowd were on their feet when Federer played a spectacular forehand winner with the ball very nearly having already passed him but Djokovic took the set moments later with winner following a Federer error.

The second set played out in much the same fashion with Federer taking the early lead, however unforced errors from both players began creeping in and made the play somewhat messy. Having said that, an indication as to how closely fought each point was, virtually every game went to deuce. At 5-4 on the Federer serve, the crowd could almost taste the deciding set and the possibility of later having to rush for the last tube trains of the night and at 40-15, the Swiss, who was going for a record seventh season-ending title, had two set points. But Djokovic refused to budge, cranked up the pressure and forced Federer into making errors levelling the set a 5-5. He then held serve and then broke Federer once more to win the match and hoist the trophy for the second time (his first win being in 2008). It was an unbelievable display of tennis from both men but as with all sports, there can be only one victor and last night that was Novak Djokovic. The Serbian began the 2012 season as the number one player in the world and, save for the 17 weeks from July to November when Federer once again took the top spot, he has ended the season as the number one player in the world. True champs both.

Roll on next season. More of the same please gentlemen.

The Force Will Be With Us – Always!

So, with a little over $4 billion changing hands, George Lucas has sold his Lucasfilm empire to Disney, who have stated that a new Star Wars film will be coming in 2015 followed by another every two or three years after that.

I feel a great disturbance in The Force as if millions of voices across the globe have all cried out in pain. Of course, it could have been a huge collective ‘Hoorah!’ from fans but in my humble opinion (whatever that’s worth), for fans of the original three movies starring Mark Hamill and Harrison Ford, this will likely come as sad news. I happen to be one of those fans and I have lost count of the number of times I’ve sat and enjoyed that original trilogy, usually comprising a marathon session during a holiday where every couple of years myself and a good friend would draw the curtains and, surrounded by a calorific selection of salty snacks, watch all three films back-to-back. It’s almost become a ritual.

And I, like many others, considered the prequel trilogy with Ewan McGregor and Natalie Portman to be, at best, a mixed bag but generally very disappointing. So, to hear that sequels are possibilities that Disney is considering makes me roll my eyes and groan like a Wookie.

Star Wars, The Empire Strikes Back and Return of the Jedi are three movies that tell one simple yet epic story and like all good stories, it has a beginning, a middle and an end. It’s that END that is of great significance here because at the end of the third film, everything is wrapped up nicely, all done and dusted. The nasty old Emperor and his Empire are defeated and all evil destroyed – even Darth Vader sees the light and changes his dastardly ways moments before popping his clogs – and the ensuing party with the Ewoks clearly looks like the dawn of a new era.

But now they’re telling us that in 2015, it’s likely a sequel will follow on from there and will involve the iconic characters of Luke Skywalker, Han Solo etc. Personally, I just don’t see how it would work. The saga came to a natural and logical conclusion in 1983 and I for one cannot see how anything other than hackneyed storytelling can resurrect the story from there.

Will I go and see this new episode when it comes out? I don’t know. Possibly out of curiosity I would, perhaps secretly hoping that the writers had found some miracle of continuance, something that makes complete sense in order that these characters can carry on fighting the Empire. The only problem/argument with that scenario is selecting the actors to play those characters. Answers on a postcard please….

The Best Coffee in Town

Like a good many of us, I enjoy a nice cup of coffee – straight up black, with milk or cream, latte, cappuccino, espresso – they all work for me depending on my mood and/or the time of day. Until recently though, I’d had to head out to my favourite shop in town in order to really find a satisfying cup (instant coffee being anathema to the true coffee lover), and even then, it was a bit hit and miss and seemed to depend on the barista on duty and certain other factors that I could never quite put my finger on. Sometimes my drink would taste bitter, too strong, not strong enough, too watery etc and often a cappuccino or latte would be far removed from what it should be. A good coffee is a thing of beauty and we can all probably recall a time when we’ve had the perfect cup; it sticks in the memory like a great meal or a superb bottle of wine.

How pleased was I then to be discover Nespresso Magimix coffee machines via a friend who had recently purchased one. My goodness, what a revelation! A wonderful cup of coffee every time and all without the need to step out in the rain and pay £2 or more for a drink that may or may not disappoint. Of course, the machine itself is a bit of an outlay (£200 give or take) but if you’re serious about your coffee, I tell you, it’s money well spent. Looks great on the kitchen counter too. Fill the machine’s tank with water, pop in the capsule of your choice, push a button and ‘Voila!’, a great cup of coffee is yours in the time it takes to get the milk out of the fridge. You want a cappuccino or latte? No problem. Just pour some milk into the heated frother, push another button and whizz it up to your desired frothiness. What could be simpler?

The range of coffees available is amazing too and whether your preference is for an intense espresso shot or a mild and aromatic latte, you’re sure to find a blend that will satisfy. I never really appreciated the subtle yet unmistakable variations in the different beans and the way they are prepared and roasted. The complexities of the coffee they make are as apparent as those in any fine quality beverage, be it wine, whiskey or even tea. And price-wise, compared to one of the high street coffee shops, a machine makes great fiscal sense too. Consider purchasing a coffee every day of the week for a year from say, Costa – that’s going to set you back over £700! In those terms, purchasing a machine of your own and enjoying cups that cost less than 50pence each sounds like good sense. Yes, I realise I’m omitting the social aspect – that is, of getting together with friends and catching up over coffee and croissants (who doesn’t enjoy that?), but aside from that, if you wish you could drink barista-standard coffee at home then, take my word for it, a Nespresso machine would be a worthwhile addition to your kitchen. Just don’t complain when your coffee-drinking friends start coming round more.

Film Review: Out of the Past

While it may be true that for some of us, Mamma Mia! or There’s Something About Mary is the best film of all time (Are you sure?), it’s likely that any film aficionado with an eye for quality will draw up a reasonably predictable list of movies that has a certain resemblance to another’s. Of course, there may be the odd obscure title included in there somewhere on account of some personally preferred artistic or inventive merit but generally the same titles will crop up again and again. These lists, and there are countless of them online, are a great way to create a ‘watch-list’.

It wasn’t one of these lists that brought me to watch Out of the Past but rather a moment of web surfing that brought to my laptop screen a poster of Robert Mitchum nonchalantly lighting a cigarette while a demure Jane Greer inspects his ears for wax. The truth is, I’d never heard of this film before but having enjoyed noir-ish revelations with The Killers and Double Indemnity, both of which I watched for the first time a couple of months ago, I felt confident that I was about to view another classic. It came as no surprise to subsequently see all three of these films feature in high positions on numerous lists of best ‘noir’ films ever.

Robert Mitchum plays Jeff Bailey, owner of a gas station in a small out-of-the-way Californian town. His romancing local girl Ann Miller (Virginia Huston) is not viewed well by her parents who are mistrustful of him and sure enough, when a tough guy turns up at his gas station, it becomes apparent that Jeff has a past. This henchman, Joe Stephanos (Paul Valentine) informs Jeff that his boss, Whit Sterling (Kirk Douglas) wants to see him and after some glorious dialogue, Jeff reluctantly agrees to the meeting. That night, after picking Ann up for the drive to Whit’s lakeside retreat, he tells her all about his past.

The next section of the film is told in flashback with Jeff narrating the story of his mysterious past as a private investigator. Together with his partner Jack Fisher (Steve Brodie), he was hired by Whit to find his girlfriend Kathie Moffat (Jane Greer) whom he claimed had shot him and run off with $40,000 of his dough. Using his investigative talents, Jeff traced Kathie to Acapulco but on meeting her, fell for her charms and her pleads of innocence and decided not to hand her over to Whit, who would likely have punished her for something she claimed she didn’t do. Instead, the two headed north to San Francisco where they attempted to live together as inconspicuously as possible, out of sight and reach of Whit and his henchman. But (isn’t there always a but?), one day they were spotted by Jeff’s old partner, Fisher, who demanded a heavy payoff for his silence. A fight broke out between the two men, which Kathie brought to a sudden end when she shot Fisher dead. She then drove away, leaving poor old Jeff to cover up her crime. In doing so, he came across her bankbook which had an entry for a $40,000 deposit.

Back now to the present where Jeff and Ann arrive at Whit’s home. Before turning the car around to drive back to town, Ann forgives Jeff for his past and hopes he will return safely to her once his meeting with Whit is over. Jeff is surprised to see that Kathie is back together with Whit, who for his part, displays genuine delight in seeing Jeff again and wants to hire him for one more job in order to make things even between them. The job entails breaking into Whit’s lawyer’s office to steal documents that include income tax records proving Whit guilty of tax fraud, a fraud which his lawyer is using to blackmail him. Jeff refuses the job, suspecting a set-up, but Whit insists and so after trying to warn the lawyer, Jeff returns to the man’s office to find him dead. Now Jeff’s job is to locate the documents, which also include an affidavit from Kathie swearing Jeff was the one who killed Fisher, as well as to prove that he is innocent of the killing of the lawyer but with a henchman on his tail and a femme fatale who switches allegiance more times than Lady Gaga changes outfits, he needs to use all his street-smarts to stay alive. It’s all mildly convoluted, as the best crime dramas are, but well worth paying attention to.

Released in 1947, Out of the Past was directed by Jacques Tourneur, a man perhaps better known for low-budget horror films such as Cat People and I Walked with a Zombie, rather than hard boiled crime films but he had a great team around him, many of whom had already worked together for RKO on numerous pictures. The film was adapted by Daniel Mainwaring (under the pseudonym Geoffrey Homes) from his novel Build My Gallows High with uncredited revisions by Frank Fenton and James M. Cain. This point is clearly evident from the superb dialogue so typical of the genre but here somehow a little less contrived and more natural. Don’t forget, James M. Cain was the genius behind, among others, Double Indemnity.

The role of gumshoe fitted Mitchum as comfortably as the raincoat and fedora he wore much of the time and it’s easy to see why he would later go on to portray Philip Marlowe. He breezes through this film with a cool self-assurance and a likability that make you (almost) overlook his potential for violence. Jane Greer’s femme fatale, with her baby face and deceitful eyes, smoulders, like the best of them and Kirk Douglas plays the gangster with controlled intensity – sure, he seems charming enough but you wouldn’t want to be around when he looses his temper.

For a film noir, the locations are worth noting too. Yes, we get the usual nighttime cityscapes and atmospherically lit bar rooms and office interiors, trademarks of the genre, but we also get out into the wide open Californian countryside as well as sunny Acapulco. The way cameraman Nicholas Musuraca captures this variety of locations lifts the film well and truly out of the murky pool where a high number of the genre languor.

In 1991, the film was included in the US National Film Registry as being deemed, “culturally, historically or aesthetically significant”. Also, it will doubtless come as no surprise to learn that it features highly in many of the American Film Institute’s 100 Years of cinema lists. For me, it’s a recent discovery I’m very thankful for and yet another reminder that the ’40s was an awesome decade for movies. It’s one that has aged extremely well and one that will encourage me to continue scanning the Internet and the lists of films people consider the best ever made.

The Persuaders! – Classic Action/Adventure TV

In my earlier article, The Invaders – Classic Sci-fi TV, I made the comment that its opening title sequence was unarguably the most atmospheric for any TV show ever made. The way it ominously leads you into the premise of the show and the protagonist’s situation is, to my mind, quite simply perfect. The eerie music, the heavy, monotonous tones of the narrator bringing you up to speed with how the nightmare began for architect David Vincent is a touch of genius and has never been bettered. However, there is another show with an opening title sequence that works in much the same way and, in my opinion, is just as evocative. I’m talking, of course, about The Persuaders! which, with its blend of glamour, action and humour, really was and still is, a thoroughly watchable romp.

Again, the opening titles, this time accompanied by John Barry’s superb theme tune (Did this man write some great music or what?), are pure class and do a great job of informing us what the show is about. Using a split-screen layout they reveal the backgrounds of the two main characters of the show played by Roger Moore and Tony Curtis. Side-by-side, a pair of folders, one red and one blue, labelled Danny Wilde and Brett Sinclair narrates their lives via photographs and old film of the two men from childhood through to their current status as international playboys. Live footage and torn newspaper clippings offer glimpses into their lifestyles and explain, in part, their various successes and then the sequence culminates in showing the two men enjoying a life of glitz and glamour in exotic locations surrounded by beautiful women, fast cars, diamonds and Champagne.

The premise of the show is straightforward and fairly typical of television at the time which for the best part of a decade had been churning out one action adventure series after another. Two men from very different backgrounds are brought together by a retired judge and persuaded to team up and solve cases which the courts cannot. Danny Wilde (Curtis) hails from the slums of New York City, a streetwise urchin made good. He escaped a tough neighbourhood and a probable life of crime by enlisting in the U.S Navy and later became a millionaire several times over via Wall Street and the oil business. Brett Sinclair (Moore) was born with the proverbial silver spoon in his mouth. An English aristocrat – the 15th Earl of Marnock to be precise – he attended Harrow and Oxford before serving as an officer in a Guards Brigade, then became a Grand Prix racer and race horse owner. The two characters could not have come from different backgrounds and much of the humour of the show plays on this fact as well as the general differences between British and American customs. The two actors’ playful banter and adolescent attempts at oneupmanship are what help make this show so great.

Laurence Naismith plays Judge Fulton, the man who brings this mismatched pair together. Despite being retired from the Bar, he is determined to continue his personal crusade for justice but needs someone to do his legwork for him. So, he arranges for the two men to meet on the French Riviera and coerces them into helping him. Having studied them and deeming them ideal for his purposes, he presents them with an offer they can’t refuse – to be of use to society and to do good for mankind rather than to waste away their lives in Martini hazes and all night parties. Naturally they elect to help him (particularly when they learn a beautiful woman is involved) and voila, a sparkling new crime fighting duo is born!

Each episode is an adventure in itself, sometimes set in a glamorous European locale but more often based out of Sinclair’s London home (just around the corner from St. James’s Park tube, if you’re interested). By today’s standards, the stories are rather simplistic but they always look terrific and are great fun to watch. The show also has certain signatures. There are always pretty women, there are always punch-ups and there is always humour even when the heroes are at gunpoint – fortunately both actors had wonderful comic timing. And then, there are the cars they drove – a handsome Aston Martin DBS for Sinclair and a gorgeous Ferrari Dino 246 GT for Wilde. A testament to the cachet the show was expected to carry was that both cars were given to the show’s producers courtesy of the manufacturers. I mean, come on, what’s not to like. This show had it all, it had to be a success. Right?

The series was released in the autumn of 1971 and was a big hit pretty much everywhere except the US, which was a vital market for the show’s producers. American audiences however, were not persuaded to switch over from Mission: Impossible, which aired on an opposing channel on Saturday nights and because of this, the ABC network pulled the plug even before all 24 episodes were shown. This resulted in the show not being commissioned for a second season.

Despite some speculation about the working relationship between Moore and Curtis, you cannot help but surmise that they had an absolute blast making this series. Both men appear to be in their element throughout and for me, their on-set chemistry was simply wonderful. Roger Moore was directly involved in the production of the series and already had a good relationship with Robert S. Baker and Lew Grade, having achieved great success in another ITC production, The Saint. Apparently, the three of them sealed the deal of this new series with a simple handshake and no contracts were signed. Curtis was actually Moore’s third choice for the role of Danny Wilde after Rock Hudson and Glenn Ford passed on the offer – luckily for us. At the time, The Persuaders! was the most expensive British TV show produced with each episode costing on average £100,000 (that’s almost £2,000,000 in today’s money) but with the locations and the general high quality of filming, it’s no surprise as few television shows offer quite the spectacle of The Persuaders!

Both stars were of similar age during filming although, where Curtis had enjoyed great success in Hollywood throughout the 1950s and ’60s his star was waning. His work would become less significant and he appeared often as a special guest star on series and movies made for TV but Moore’s stardom was about to go supernova with his donning of James Bond’s tuxedo in 1973. Moore has often said that prior to the filming of Live and Let Die, the Bond producers asked him to cut his hair and to lose some weight and seeing how trim he appears in his first Bond outing compared to his appearance in The Persuaders!, it’s obvious he succumbed to their request. He reportedly gained 20lbs over the course of filming The Persuaders! and he attributes this to the use of real Champagne during filming. And I for one, quite believe it.

So, if you’ve never caught this show, I recommend you give it a try. To witness these two great charismatic stars having an absolute hoot together is a wonderful thing to behold and one that we may never see again. Yes, I’m aware of the rumours of a movie remake, but in all honesty, will a Starsky and Hutch style remake ever live up to the twenty four classic hour-long episodes? I think not.

Film Review: The Night That Panicked America

The recent spectacle of a meteor shower tracing fiery trails across many parts of the UK’s night skies brought to my mind another group of meteors crashing into Earth in that wonderful H.G.Wells story, ‘The War of The Worlds’. This in turn induced me to seek out and listen to the original radio broadcast from 1938 (isn’t the Internet an amazing resource?), when Orson Welles and The Mercury Theatre on the Air created history with their dramatisation of the story.

Now, I’m sure the majority of us have seen either the 2005 Spielberg blockbuster starring Tom Cruise or the much cooler (in my opinion) 1953 movie featuring Gene Barry. Of course, it goes without saying that neither film compares to Herbert George’s 1898 novel – for me, one of the most significant science fiction stories ever written – however, the earlier film benefits from being simpler and less overblown but no less impressive visually. It also tapped into that whole ‘red (communist) scare’ thing that was gripping America at the time of its release.

To really allow the genius of Wells’ writing to stir up your imagination though, turn off the TV, switch off your phone and lay back in a darkened room and listen to the radio broadcast that went out on CBS on the eve of Halloween almost seventy five years ago. It was such a spellbinding play that of the approximate six million who tuned in to the broadcast, over a million believed it to be a true Martian invasion and many of them actually fled from their homes in hysterical abandonment. And this brings me rather neatly to the film I’m recommending this time round – The Night That Panicked America.

Made in 1975 for the ABC Television Network this TV movie, starring Vic Morrow, Tom Bosley and Paul Shenar, recounts in docudrama style the broadcast from the point of view of Orson Welles (Shenar) and his Mercury Theatre associates as well as from several fictional groups of listeners from varying locations and social classes who all believed the broadcast to be a real Martian invasion.

The depiction of the broadcast itself makes this film worth watching just to see how radio professionals put together a show – actors in front of mics reading lines from pages of script while foley artists use the tools of their trade (and often some clever improvisation) to create the sounds to bring the story alive. To witness each and every one of them coming in right on cue is a pure joy. And once the broadcast is under way, then we get to see the poor, misguided listeners, the believers, those who had missed the broadcast’s opening line announcing the evening’s dramatisation of a novel. If they had heard this, they would have realised it was not real news bulletins they were listening to. There’s no doubt that the ‘on-the-spot’ reporting style of the radio play helped convince many that an invasion was actually happening and together with fact that in 1938, Americans were living in an atmosphere of tension and anxiety as Adolf Hitler steered the world towards its second global conflict, the play’s frightening premise simply fuelled the paranoia that was already running high in the country’s stream of consciousness. Indeed, some listeners thought the invaders were the Germans on a vanguard attack.

While this TV movie may exaggerate some of the panic (for entertainment’s sake, you understand), it’s not difficult to imagine just how wildly people might have reacted on that night. Remember, this was a time when news wasn’t as instant as it is today and with the radio being the only source of finding out what was going on in the wider world, hearing (never mind seeing) was believing. So, when we see a pair of farmers arm themselves with shotguns and head out into the surrounding countryside in search of the invaders and a wealthy household flee their dinner party with the family silver we can pretty much understand their actions even though we know they’re mistaken.

Another note of consequence – the Mercury Theatre on the Air was an unsponsored show at the time, and therefore there were no advertisement breaks during the play. The audience would have heard an uninterrupted report of a Martian invasion in real time with no clue that they were listening to a work of fiction. Naturally, it wasn’t long before the CBS studio started receiving calls from concerned listeners but the switchboard operators simply couldn’t believe that people thought that what they were hearing was real.

In the days following the broadcast, CBS was on the receiving end of a fair amount of flack over the incident with several newspapers and public figures describing the play’s ‘news-bulletin format’ as cruelly deceptive. The network was sued by many listeners claiming ‘mental anguish’ and ‘personal injury’ but all suits were dismissed save for one – a man from Massachusetts claimed for a pair of shoes he had bought to escape the Martians. Orson Welles apparently insisted the man be paid.

All in all then, this is an interesting little film made all the more remarkable for being a true story. The fact that the story revolves around one of the greatest sci-fi tales ever written, makes it, while not quite a classic, most definitely worth watching.