Archive for the ‘Ken Burns’ Category

Icons for your iPod: The greatest TV playlist ever

July 21, 2010

From "The Sopranos": R.L. Burnside -- "It's Bad You Know."

YOU CAN’T GO WRONG WITH THESE SONGS FEATURED IN THE BEST SHOWS AND SCENES EVER PRODUCED FOR TELEVISION

By ADAM BUCKMAN

These 12 songs represent some of the greatest moments, shows and individual scenes in the history of television — a compelling playlist for anyone’s iPod.

(1) “Johnny Appleseed” (Joe Strummer & the Mescaleros): A great song that stands on its own, but became the theme song for the coolest TV series ever made about southern California, “John from Cincinnati” (HBO, 2007).

(2) “Sun/Rise/Light/Flies” (Kasabian): Also from “John from Cincinnati,” this incredible ’60s-infused rock song accompanied the final surfing sequence in the series’ pilot.  Unforgettable.

(3) “Return to Me” (Bob Dylan): This song, Dylan’s acoustic-guitar version of a love song popularized by Dean Martin, was overlaid on one of the best sequences in the entire run of “The Sopranos” — a series of scenes near the conclusion of “Amour Fou,” the penultimate episode of the series’ third season.  It’s the sequence in which Ralph Cifaretto (Joe Pantoliano) is seen telling Rosalie Aprile (Sharon Angela) that her son Jackie Jr. (Jason Cerbone) is in trouble with the mob.

(4) “It’s Bad You Know” (R.L. Burnside): This haunting (and downright frightening) recording by the Mississippi bluesman R.L. Burnside was played ever-so-briefly, but oh-so-ominously in the final episode of Season 1 of “The Sopranos,” just after Tony Soprano pulled a revolver out of a fish’s mouth and gunned down Chucky Signore on Chucky’s boat.

(5) “Moonglow” (Artie Shaw & his Orchestra): No one who watched Ken Burns’ epic 2007 documentary about World War II, “The War,” will ever forget the series’ opening scene of a sleepy Alabama town before the war, as this tender classic of the Big Band era played over the voice of Keith David narrating the story of Glenn Frazier, then 16, who would go on to provide the series with some of the most stunning personal stories of war ever told on TV.

(6) “Waiting for the Train to Come In” (Harry James & his Orchestra, with Kitty Kallen): From the same Ken Burns series, this sentimental track with James’ long trombone intro was used for a sequence near the documentary’s conclusion that showed Americans welcoming their boys home after four years of war.  If you watched this and didn’t cry, then you need to call a cardiologist to treat you for your heart of stone.

(7) “You Are the Sunshine of My Life” (Stevie Wonder): It was one of the sweetest moments ever produced on any show in the history of TV — the moment on “Taxi” in 1982, in the episode titled “Jim’s Inheritance,” when Rev. Jim (Christopher Lloyd) explores his father’s belongings following his father’s death and finds a cassette in a jacket pocket that seems to have been put there just for him.  It turns out to be “You Are the Sunshine of My Life,” a sweet revelation made even better when Jim blurts out: “Dad — I didn’t know you liked Stevie Wonder!”

(8) “With a Little Help from My Friends” (Joe Cocker): Cocker’s gravel-voiced cover of the Beatles’ song from “Sgt. Pepper’s” will forever be remembered as the theme song for “The Wonder Years,” the great, well-loved show about childhood in suburbia, circa 1970.  This series was so uncannily accurate that people of a certain age could have sworn the show was produced specifically about their lives.

(9) “Desperado” (Linda Ronstadt): In season five of “The Wonder Years,” in the episode titled “Stormy Weather” in 1992, this tune was used oh-so appropriately when Kevin’s sister Karen (Olivia d’Abo) was reunited with her boyfriend Michael (David Schwimmer) and they slow-danced on the front lawn in the pouring rain.

(10) “Eli’s Coming” (Three Dog Night): This 1969 song came up suddenly and poignantly at the conclusion of an episode of “Sports Night” titled “Eli’s Coming” in 1999.  It came right at the moment that the “Sports Night” staff heard the stunning news that their executive producer, Isaac (Robert Guillaume) had suffered a stroke.

(11) “Worry About You” (Ivy): This song, with its lyrics, “Bye bye baby, don’t be long.  I’ll worry about you while you’re gone,” was used to unforgettable effect in the final sequence of the pilot episode of “The 4400″ in 2004.  The sequence was one of the most beautiful ever produced for any show, and the song helped underscore the alienation felt by the 4,400 people who had been abducted by alien spacecraft — some decades before — and were suddenly returned to earth in the present day, having not aged at all.

(12) “Breathe Me” (Sia): Like “Worry About You,” this song became one of those go-to tunes for a number of TV shows and movies, but the best use of “Breathe Me” came in the final sequence of the final episode of “Six Feet Under” in August 2005, when Claire Fisher (Lauren Ambrose) left home for New York and the sequence advanced forward, far into the future, to show the deaths/fates of this HBO series’ principal characters.  It was one of the most affecting sequences ever filmed for television.

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‘Pacific’ war: Spielberg, Tom Hanks get scooped

March 11, 2010

TRUE GRIT: Jon Seda lets 'em have it as United States Marine and World War II hero John Basilone in a battle with the Japanese in "The Pacific" (HBO).

LIKE ALL GOOD THINGS, WORLD WAR II MUST COME TO AN END

By ADAM BUCKMAN

“The Pacific” just might be the last word on World War II because, really, what more do we need to learn here?

I’m as big a fan of World War II and World War II movies as the next person, but I have a feeling the subject is played, at least for now, and especially as far as Steven Spielberg and Tom Hanks are concerned.

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TV HOWL REVIEW

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With “The Pacific,” their 10-part miniseries about the war against Japan (premiering Sunday, March 14, at 9 p.m. on HBO), it would seem that the World War II itch that these two have been scratching since “Saving Private Ryan” in 1998 has now been sufficiently relieved.

And with this last effort (or so it would seem to be their last since the great war ends at this miniseries’ conclusion), the current era of World War II revivalism, spearheaded mainly by Spielberg and Tom Hanks, comes to a close.  It’s an era that’s been around at least as long as 1998, the year “Saving Private Ryan” was released and Tom Brokaw’s book, “The Greatest Generation,” was published.  Or you could antedate the era to the 1992 publication of Stephen Ambrose’s book “Band of Brothers,” about the European theater of World War II, that begat the 2001 HBO miniseries of the same name by Spielberg and Tom Hanks.

Then, of course, there was Ken Burns’ epic 2007 documentary on World War II, “The War,” that aired for 14-plus hours on PBS.  Talk about the last word on World War II — that documentary was so comprehensive, engrossing and emotionally draining that you would have thought TV would be done with the Second World War for a good generation or two after that thing came along (especially since it already covered some of the same stories told in “The Pacific”).

But no.  “The Pacific” has apparently been long in the planning and production stages, ever since “Band of Brothers” made a splash in 2001 (premiering two days before the terrorist attacks of Sept. 11) and then Spielberg and Tom Hanks came up with a plan to devote the same kind of attention to the war in the Pacific.

Joe Mazzello plays Marine Eugene Sledge (the real Sledge, below) in "The Pacific." (HBO)

As it happens, “The Pacific” is a fine piece of made-for-TV filmmaking, and fans of “Band of Brothers” — men, mostly — will likely flock to it.  And they will likely be well- satisfied.  It has all the gore, grit, male bonding and f-words you would expect to find in a piece of filmed entertainment about World War II.  “The Pacific” looks expensive and you can tell that great care and effort went into rounding up vintage vehicles (both American and Japanese), weaponry and other equipment in order to make this production as “realistic” as the producers could make it.

“The Pacific” tells the story of a group of young Marines fighting the Japanese on the remote islands of the Pacific that the allies (the Americans, mostly) needed for the establishment of air and naval bases from which to stage the eventual invasion of the Japanese mainland.

Ashton Holmes (left) posed for this publicity photo with Sid Phillips, the Marine vet Holmes plays in "The Pacific" (HBO).

You’ve likely never heard of most of the fighting men profiled here, but the experiences of two of them — Sid Phillips and Eugene Sledge of Mobile, Ala. — were related in great detail in Ken Burns’ documentary, which means anyone who remembers that miniseries (and no one who watched it will ever forget it) will already know the fates of Sid and Eugene (played in “The Pacific” by Ashton Holmes and Joe Mazzello, respectively).

While that doesn’t exactly spoil “The Pacific,” it does qualify as a scoop for Ken Burns, who gets credit for popularizing the story of Sid and Eugene before Spielberg and Tom Hanks.  As a newspaperman, I know such a situation would rankle me, though I have no idea how Spielberg and Tom Hanks feel about it.

In the end, “The Pacific” might leave you with the same feeling of loss that other high-quality productions about World War II have left you with.  You watch these things — whether fictional or documentary or a combination of both — with a sense of awe over what the United States and its fighting men accomplished in two parts of the world against some of the toughest foes in the history of civilization.  And then you realize we likely aren’t capable of doing that again.  All we really know how to do these days is make great movies about war, though we have forgotten how to actually fight them.

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