Carmine Infantino

Comics artist Carmine Infantino died the other day. I primarily remember his work on the Marvel Star Wars series, which he drew during a hefty chunk of the period between A New Hope and The Empire Strikes Back, which was actually a really wild-and-wooly time for the Star Wars comics. At that point, nobody had any idea what was to come in terms of the Star Wars mythology and backstory and so on, so Marvel was flying about as blind as could be. The result was a sequence of issues that told some really fun and entertaining space opera adventure stories, and Infantino’s art was a big part of that.

A fine, fine artist.

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A to Z: Finzi

I haven’t heard a great deal of the music of Gerald Finzi, but what I have heard is always pleasurable, lyrical, and restrained, in the great tradition of the British composers who came to the fore after the Romantic period was winding down. That whole school of composers seems to stand in somewhat of a welcome contrast to the excesses of the full-bore Romantics; their music is generally more introspective than outgoing. Finzi is an interesting composer, who tends to be eclipsed by people like Ralph Vaughan Williams. Part of this is Finzi’s relatively small output, but he labored intensively on his music, and it always shows, at least in what I’ve heard of his.

I’ve chosen Finzi’s Cello Concerto for this post, because the cello is my favorite of the string instruments. Its wide range yields so many musical possibilities, and there are few things in music so beautiful as a cello singing out a lyrical melody set in the middle of its range. The cellos are where a string section gets the richness of its sound. There’s even a kind of nobility in the way the cellist has to hold the instrument, almost enveloping it.

Here’s the Cello Concerto by Gerald Finzi. It was premiered in 1955.


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Fixing the Prequels: Revenge of the Sith (part seven)

previously:

six
five
four
three
two
one


Diving right back in with both lightsaber blades ignited…or something like that. Anyway, when last we left, Palpatine had engineered Anakin Skywalker’s elevation to the Jedi Council, but the Council, angered at Palpatine’s machinations, denied him the traditional promotion to Jedi Master that usually is part and parcel of a seat on the Council. Anakin is then asked to report to the Council on the Chancellor’s dealings, which he is not comfortable doing. Then Palpatine revealed to the Jedi the location of General Grievous, forcing them to take action; he suggests that Anakin be given the assignment of going after Grievous, and again annoyed by Palpatine’s machinations, the Council gives the job to Obi Wan. So, thanks to Palpatine, Anakin’s already troubled relationship with the Jedi Order is now simmering, he’s been left behind on Coruscant to do nothing while the war enters its most critical phase, and Palpatine reveals to Anakin a Sith legend about the power to defeat death.

The die is pretty much cast at this point. Palpatine has sown the seeds of Anakin’s discontent with the Jedi, he has sown the seeds of Anakin’s temptation for power he can’t get with the Jedi, and he has sown the seeds of Anakin’s desire for action. Well done, Palpatine! All he has to do now is keep pressing.

At this point in the film, we cut from the start of the battle on Kashyyyk to Obi Wan departing Coruscant for the Utapau system, so he can investigate the report that Grievous is there. In the script, however, two scenes happen before that: a scene in which Obi Wan visits Padme, and another in which Padme meets with the Senators who are concerned over the Chancellor’s continued acquisition of power. I won’t quote either of those scenes, because they really don’t add much to the story, and I’m glad that Lucas cut them from the finished film. They’re OK, but hardly essential.

Instead, Obi Wan bids farewell to Anakin:

EXT. CORUSCANT-CLONE LANDING PLATFORM-DAY

ANAKIN and OBI-WAN walk onto a landing platform overlooking a docking bay where THOUSANDS OF CLONE TROOPS and armored weapons, tanks, etc., are being loaded onto a massive REPUBLIC ASSAULT SHIP.

ANAKIN: You’re going to need me on this one, Master.

OBI-WAN: Oh, I agree. However it may turn out just to be a wild bantha chase.

OBI-WAN starts to turn and leave.

ANAKIN: Master!

OBI-WAN stops and ANAKIN walks over to him.

ANAKIN: (continuing) Master, I’ve disappointed you. I have not been very appreciative of your training . . . I have been arrogant and I apologize . . . I’ve just been so frustrated with the Council. Your friendship means everything to me.

OBI-WAN: You are strong and wise, Anakin, and I am very proud of you. I have trained you since you were a small boy. I have taught you everything I know. And you have become a far greater Jedi than I could ever hope to be, and you have saved my life more times than I can remember. But be patient, Anakin. It won’t be long before the Council makes you a Jedi Master.

OBI-WAN starts down the ramp, then turns back.

OBI-WAN: (continuing) Don’t worry. I have enough clones with me to take three systems the size of Utapau. I think I’ll be able to handle the situation . . . even without your help.

ANAKIN: Well, there’s always a first time.

OBI-WAN laughs.

They talk for a few more minutes before ANAKIN watches OBI-WAN depart.

ANAKIN: Obi-Wan, may the Force be with you.

OBI-WAN: Good-bye, old friend. May the Force be with you.

OBI-WAN heads down a ramp toward the waiting Republic cruiser.

This is a nice little scene that I’ve always liked. The way the film ends up playing out, this is the last time Anakin and Obi Wan are together, as friends and comrades, before things go terribly awry. This, to me, only highlights the awful tragedy of what’s about to unfold, because it so completely takes the Jedi, and Obi Wan among them, by surprise. Their undoing comes from within, and they never saw it coming. I’d make an addition here, though:

As the Republic cruiser lifts away from the platform, Anakin turns to depart as well, when a Clone trooper approaches him.

TROOPER: Master Skywalker? The Chancellor is requesting you right away.

Anakin sighs.

ANAKIN: Very well.

Next is some nice banter and stuff as Obi Wan gets ready to investigate Utapau for General Grievous. No need to quote that stuff, but it’s another little character moment that I like. Real camaraderie has grown between Obi Wan and the clone troopers, at least a few of them. It’s another example of the Jedi’s complete lack of awareness of the tragedy to come.

Meanwhile, the following transpires in the script but not in the film. I’d restore it:

EXT. CORUSCANT-CITYSCAPE-CHANCELLOR’S TRANSPORT-DAY

The Chancellor’s Transport races through the city and heads for the Senate Office Building landing platform. Waiting on the landing platform is a LONE JEDI. The Transport lands, and CHANCELLOR PALPATINE emerges with FOUR ROYAL GUARDS and MAS AMEDDA. The FOUR ROYAL GUARDS move off in another direction as PALPATINE greets ANAKIN, who has been waiting for him.

PALPATINE: Well, Anakin, did you see your friend off?

ANAKIN: He will soon have Grievous’s head.

PALPATINE: We can only hope the Council didn’t make a mistake.

ANAKIN: The Council was very sure in its decision.

They exit the landing platform.

INT. CORUSCANT-SENATE OFFICE BUILDING-MAIN HALLWAY-DAY

They enter the main hallway of the Senate Office Building. They pass SEVERAL SENATORS, including REPRESENTATIVE JAR JAR BINKS from Naboo.

JAR JAR: Helloo Annie. Good en to see yousa . . .

The Gungan waves to Anakin.

ANAKIN: Hi, Jar Jar.

JAR JAR: Oopsin da Chancellor!! So sorry, Your Highness, sir.

Anakin turns back to the Chancellor. [None of this appeared in the movie, but I would not restore the Jar Jar bit. Nothing against Jar Jar, but it’s just a pointless bit.]

PALPATINE: There are rumors in the Senate about Master Kenobi. Many believe he is not fit for this assignment.

ANAKIN: Not fit? Why would anyone think that?

PALPATINE: They say his mind has become fogged by the influence of a certain female Senator.

ANAKIN: That’s ridiculous. Who?!?

PALPATINE: (slyly) No one knows who she is … only that she is a Senator.

ANAKIN: That’s impossible. I would know.

PALPATINE: Sometimes the closest are the ones who cannot see.

ANAKIN becomes worried.

PALPATINE: (continuing) Idle Senate gossip is rarely true and never accurate. I’m sure your Master will do fine. But you and I both know they should have sent you.

In the script, the deleted scenes paint a picture that Palpatine is trying to drive wedges all over the place: between Anakin and Padme, between Anakin and Obi Wan, between Anakin and the rest of the Jedi. I’d keep a very small bit of it – this bit, to be precise:

PALPATINE: Well, Anakin, did you see your friend off?

ANAKIN: He will soon have Grievous’s head.

PALPATINE: We can only hope the Council didn’t make a mistake.

ANAKIN: The Council was very sure in its decision.

PALPATINE: As they always are. Master Kenobi is capable, but you and I both know they should have sent you. Well, since the Council has decided that you are to watch me and report on my doings, you can have the pleasure of watching me meet with one group of Senators after another.

ANAKIN: Anything important?

PALPATINE: From this faction? No. Just jockeying for power when the war comes to an end. It’s all very silly…the usual business about taxation and trade routes….

ANAKIN looks bored as PALPATINE continues discussing statecraft.

Next, in the film, Anakin has another vision of Padme’s childbirth, but this one is a bit different:

INT. POLIS MASSA-MEDICAL CENTER-DREAM

PADME calls out in pain. OBI-WAN is near her and softly speaks to her.

OBI-WAN: Save your energy.

PADME: I can’t!

OBI-WAN: Don’t give up, Padme. Don’t give up . . .

That’s interesting in that he’s now seeing Obi Wan as involved somehow, as being present at the birth of Padme’s children, and not himself. This is a pretty interesting vision because that’s the one that ends up playing out, but in this context, it starts feeding into Anakin’s anxieties.

The next scene is where we really start to see some of Anakin’s internal turmoil. The scene as is works OK, but I’d still re-tool it:

INT. CORUSCANT-PADME’S APARTMENT-LANDING ROOM-DAY

ANAKIN snaps awake from the dream.

ANAKIN: No!

He is on the couch, where he had dozed off. He hears the sound of an approaching and slowing speeder, and he stands as PADME climbs out of the speeder that has just halted outside. C-3PO had been piloting.

PADME: Thank you, Threepio.

She smiles when she sees ANAKIN; they embrace and kiss.

PADME: I didn’t expect you.

ANAKIN: I had some free time, I guess. Chancellor Palpatine is in his daily meditations, and the Council doesn’t seem to think I’m to be allowed to do anything else.

PADME: It’ll be all right. You don’t always have to be on the front lines.

ANAKIN: I’m a Jedi. Yes, I do.

PADME lays down her parcels and pours a glass of water.

PADME: If you’re with the Chancellor, I’ll see you tomorrow. I’m part of a group of Senators who are meeting with him tomorrow about reducing the scale of executive power once—what is it?

ANAKIN: I sense someone familiar . . . Obi-Wan’s been here, hasn’t he?

PADME: He came by this morning.

ANAKIN: What did he want?

PADME looks at him for a moment. ANAKIN seems tense.

PADME: He’s worried about you. He wanted to talk about you before he left.

ANAKIN: Did you tell him about us?

PADME: No! But…I think he suspects. Maybe. We can trust him, though!

ANAKIN: He’s a Jedi.

PADME: You can’t trust a Jedi? Anakin, listen to yourself!

ANAKIN: You’re right…I just feel…weak. Like I’m not useful to anyone. And I shouldn’t feel that way. I’m the most powerful of all the Jedi, but I’m stuck here.

PADME tousles his hair.

PADME: Here’s not such a bad place to be.

ANAKIN: You know what I meant.

PADME: I know, but why worry about it? You said that you’re going to leave the Order when the baby comes, anyway. Is that still what you want?

ANAKIN: I want you. More than anything.

He puts his hand on her belly.

ANAKIN: I have to know that you’ll be safe from whatever is in my nightmares. I have to stop it.

PADME: Anakin, I’m sure you’re worried about nothing.

ANAKIN: I don’t think so. The Force shows me what will happen–

PADME: What might happen.

ANAKIN: I won’t let this happen, Padme. I won’t let you die.

They embrace and kiss again…not noticing the PROBE DROID outside their window.

INT. JEDI TEMPLE – MEDITATION ROOM.

MACE WINDU sits in the meditation chamber by himself, looking at holographic footage of ANAKIN and PADME kissing. Then he looks at a report on a computer screen, and shakes his head.

My purpose there is to get a lot of stuff in play: Padme’s ongoing involvement in what will become the Rebellion, Anakin’s anger at the Jedi and how it’s starting to color his perceptions of the Order itself, and his continued fear of losing his loved ones. And the fact that for all Anakin’s worrying about Obi Wan finding out about his marriage, it’s Mace Windu who knows.

Next comes the arrival of Obi Wan Kenobi on Utapau, his discovery of General Grievous there, and the start of that battle. This is one of my favorite parts of the movie, and I wouldn’t change a single thing about it. Not one bloomin’ thing. This entire sequence is just cool, from Obi Wan’s landing on Utapau (the music does this really cool rendition of the “Force Theme”), and then his jumping on the back of some beastie to ride, and then his confrontation with General Grievous which serves as a diversion as the clone troopers attack. I love this entire sequence. It’s just terrific.

Back on Coruscant, though:

INT. CORUSCANT-JEDI WAR ROOM-EARLY EVENING

KI-ADI-MUNDI, ANAKIN, YODA, MACE, CLONE COMMANDER CODY, and AAYLA SECURA talk via holograms.

CLONE COMMANDER CODY: Master Windu, may I interrupt? General Kenobi has made contact with General Grievous, and we
have begun our attack.

MACE WlNDU: Thank you, Commander. Anakin, deliver this report to the Chancellor. His reaction will give us a clue to his
intentions.

ANAKIN: Yes, Master.

ANAKIN leaves the room. COMMANDER CODY’s hologram disappears.

MACE WINDU: I sense a plot to destroy the Jedi. The dark side of the Force surrounds the Chancellor.

Kl-ADI-MUNDI: If he does not give up his emergency powers after the destruction of Grievous, then he should be removed from
office.

MACE WiNDU: That could be a dangerous move … the Jedi Council would have to take control of the Senate in order to secure a peaceful transition . . .

Kl-ADI-MUNDI: . . . and replace the Congress with Senators who are not filled with greed and corruption.

YODA: To a dark place this line of thought will carry us. Hmmmmm. . . . great care we must take.

Interesting! The Jedi are scheming to put matters right if the Chancellor does not leave his office after the war ends. I’d clarify this scene just a bit:

INT. CORUSCANT-JEDI WAR ROOM-EARLY EVENING

KI-ADI-MUNDI, YODA, MACE, CLONE COMMANDER CODY, and AAYLA SECURA talk via holograms. ANAKIN enters.

MACE WINDU: You’re late.

ANAKIN: I’m sorry, Master Windu. I was detained.

MACE WINDU: Indeed.

ANAKIN and MACE WINDU exchange glances, but nothing is said.

CLONE COMMANDER CODY: Master Windu, may I interrupt? General Kenobi has made contact with General Grievous, and we have begun our attack.

MACE WlNDU: Thank you, Commander. Anakin, deliver this report to the Chancellor. His reaction will give us a clue to his intentions.

ANAKIN: Yes, Master.

ANAKIN leaves the room. COMMANDER CODY’s hologram disappears.

YODA: It has come. The last battles of the war, these are.

MACE WINDU: I sense a plot to destroy the Jedi. The dark side of the Force surrounds the Chancellor.

YODA: Manipulated by Darth Sidious, you believe he is?

MACE WINDU: That’s the most likely way of it.

Kl-ADI-MUNDI: If Chancellor Palpatine does not give up his emergency powers after the destruction of Grievous, then he should be removed from office.

MACE WINDU: That could be a dangerous move … the Jedi Council would have to take control of the Senate in order to secure a peaceful transition . . .

Kl-ADI-MUNDI: . . . and replace the Congress with Senators who are not filled with greed and corruption.

YODA: To a dark place this line of thought will carry us. Hmmmmm. . . . great care we must take.

I think it needs to be shown that the Jedi are on the right track, but they are also one step behind, which ultimately ends up destroying them. This is an important point and a subtlety that I think often gets lost amongst Star Wars commentators: the Jedi in the Prequel Trilogy are not at their best. Indeed, they are a slow-moving train wreck. Here they are planning to act to restore the Republic’s democracy, but Palpatine will be able to use that very plot against them.

And that’s where we’ll stop. Next time, Anakin – who has been teetering on the brink – finally tips. Or…is he pushed? Hmmmmm…tune in!

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O tempora! O mores!

Dear baseball players of the world:

You are ruining everything!

So some dope interrupted the Murdoch family’s stammering and mumbling today by “throwing a pie” at Rupert Murdoch, which actually meant waving a styrofoam plate in Murdoch’s direction as some sort of foam slid off it, till Mrs. Rupert Murdoch jumped up and clobbered the “pie” guy.

Back in 1998, when Bill Gates got hit by a pie, it was variously reported to have been a “cream pie” or a “custard pie,” and Gates said through a spokesperson that the pie “wasn’t that tasty” — suggesting that it was, at least, an actual, edible pie.

The decline from a real pie to a lazily produced plate of foam should be familiar to baseball fans. Over the past decade, the baseball “pie” has stopped resembling a pie at all, till players are content to celebrate victories by smacking the hero of the game in the face with a towel full of shaving cream.

Even a fan of the pie-in-the-face like myself has to admit a certain amount of befuddlement over your adoption in recent years of this lovely ritual. But it’s hard to find it a cool thing when what you’re doing is just using a towel slathered with shaving cream. First off, shaving cream…ewwww. Second off, a towel? Really?

So, if you baseball players want me to take your slapsticky victory celebrations more seriously, stop doing this:

Or stop calling it pie. This is a pie:


National Pie Day! Too bad I won't be officially observing it. Alas!


That’s what you’ve got to use. After all, a thing worth doing is a thing worth doing right. No compromise is possible on this point. A pie in the face is a wonderful thing! A shaving-cream towel in the face is…wildly not. Harumph!

Love,
-Me

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Film Quote Friday: Casablanca

In honor of Roger Ebert….

Rick: Last night we said a great many things. You said I was to do the thinking for both of us. Well, I’ve done a lot of it since then, and it all adds up to one thing: you’re getting on that plane with Victor where you belong.

Ilsa: But, Richard, no, I… I…

Rick: Now, you’ve got to listen to me! You have any idea what you’d have to look forward to if you stayed here? Nine chances out of ten, we’d both wind up in a concentration camp. Isn’t that true, Louis?

Captain Renault: I’m afraid Major Strasser would insist.

Ilsa: You’re saying this only to make me go.

Rick: I’m saying it because it’s true. Inside of us, we both know you belong with Victor. You’re part of his work, the thing that keeps him going. If that plane leaves the ground and you’re not with him, you’ll regret it. Maybe not today. Maybe not tomorrow, but soon and for the rest of your life.

Ilsa: But what about us?

Rick: We’ll always have Paris. We didn’t have, we, we lost it until you came to Casablanca. We got it back last night.

Ilsa: When I said I would never leave you.

Rick: And you never will. But I’ve got a job to do, too. Where I’m going, you can’t follow. What I’ve got to do, you can’t be any part of. Ilsa, I’m no good at being noble, but it doesn’t take much to see that the problems of three little people don’t amount to a hill of beans in this crazy world. Someday you’ll understand that.

[Ilsa lowers her head and begins to cry]

Rick: Now, now…

[Rick gently places his hand under her chin and raises it so their eyes meet]

Rick: Here’s looking at you kid.

I think it’s time to watch Casablanca again.

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A to Z: Enescu

Form in music is a tricky thing. There are many forms, and they all determine how the melodic material is treated. Sonata form, passacaglias, toccatas, canons, fugues, double fugues, waltzes, theme-and-variations – lots and lots of forms, and studying nothing but form can consume a music scholar’s time for years and years.

And then there are pieces like this, which are essentially formless. It’s the Romanian Rhapsody #1 by Georges Enescu, and it’s nothing more than a collection of tunes. That’s it: just one tune after another, in this case, one dance tune after another. And at least one of them is a drinking song. This only goes to demonstrate that the most banal material, in the hands of a gifted composer, can rise well above its musical station.

I could go on for a while, but I won’t. This piece is just pure pleasure from start to finish, even if I have recently learned that it (and its brother work, the Rhapsody #2) eclipsed the rest of Enescu’s output to a degree that really irritated the composer. As for a performance, this one is absolutely scintillating. The video and sound quality aren’t the greatest, as it’s a videotape from 1978, but every single flicker of fire is there. The conductor, Sergiu Celibidache, was a native Romanian who obviously had the requisite affinity for this music, and you can really tell just by watching his conducting. The inspiration to dance is there, and he doesn’t always quite resist it. (And if you listen closely during the more fiery passages, you can hear him shouting. That’s always fun.)

So here is the Romanian Rhapsody #1, by Georges Enescu.


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A to Z: Dvorak

Antonin Dvorak is often cited as Czechoslovakia’s greatest composer. His music is melodic and emotional, without being overly cloying; his orchestrations are always marked by clarity and deftness. He’s not the most profound composer around, but I’ve never yet heard a piece of his that wasn’t rewarding in some way.

His most famous work is likely his Symphony No. 9, which is subtitled “From the New World”, because Dvorak composed it while living for a time in the United States, both in New York City and in a Czech community in Spillville, IA. (Spillville is not too far from Waverly, where I went to college, and I drove through it with my parents a time or two. It’s a lovely small town in the hilly country of Northeast Iowa.)

While the symphony was inspired and influenced by Dvorak’s time in America, it’s overstating things to say that its musical content springs from American music of the day. A lot of the melodies are pentatonic in nature, which is a fact common to many folk regions of the world, not just the Americas, and in any event, Dvorak’s orchestrations and developments of those melodies are purely in the Germanic symphonic tradition. So it’s not really a symphony of “American” music; it’s more of a musical gift to America from a very gifted Czech. And what a gift it is – the “New World” Symphony is one of the most purely pleasurable works to hear in the entire classical repertoire.

A personal story about this symphony: I heard it performed by the Buffalo Philharmonic years ago, under the baton of Semyon Bychkov. During the second movement – the gorgeous slow movement – for some reason the audience seemed to get a collective frog in its throat, and there followed the worst rash of coughing from the audience I have ever heard at a concert. It was astonishing, well and truly astonishing. But even more astonishing was when Maestro Bychkov, after completing that movement, laid down his baton, turned, and admonished the audience for all the coughing. It got a lot quieter in Kleinhans Music Hall after that…and after picking up his baton again, Bychkov added: “For those of you who missed the second movement the first time, we will now perform it again.”

I got Bychkov’s autograph after that concert. He was sitting on a couch smoking, but as soon as he saw me, he jumped up, asked around for a pen, and urged me to continue attending concerts and studying music. He struck me as a very warm and friendly man.

Here’s a fine live performance of Dvorak’s Symphony No. 9, “From the New World”. As you listen, you’ll hear hints of what’s called a ‘cyclical’ structure, when melodic material from previous movements is referenced. Also note that the trumpet players in this European orchestra seem to be holding their instruments on their sides. Those are rotary-valved trumpets, which are common in Europe. Same instrument (albeit with a slightly darker sound), just made slightly differently from the American piston-valved instruments. Anyway, enjoy!


(And by the way: anyone claiming that the opening bars of the fourth movement are obviously where John Williams stole his Jaws theme from will be beaten over the head with a stale baguette. I meanit, folks!)

Tomorrow: Drinking songs, classical-style!

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