Introducing "Harvey"'s fairy tale character: Elwood P Dowd

Spotted this on IMDB - a review I wrote three years ago. I actually found it fascinating to read given the time between now and then has left me with no real recollection of writing this nor which angle I chose to present in the commentary. Funny how fickle the brainbox can be.

This is a delightful film. Jimmy Stewart's Elwood is a timeless character. When we live in a world which is constantly looking forward or backwards, Elwood P Dowd is a character who reminds us how perfect our lives would be if could live in the now, enjoying the singular moment. It is Dowd's ideology as much as his "imaginary" friend that makes "Harvey" so captivating.

Of course, Elwood Dowd could be far less perfect than we imagine. The back story seems to imply he undertook some sort of personality shift seven years back (he says he took life seriously for thirty five years, he is now forty two as I recall). From the events he describes on his first encounter with "Harvey", his recalled dialogue infers this event was after his character transformation. Considering how his big sister, Veta seems to feel their mother should have warned her about Harvey when she moved in, it seems unlikely it was his mother's death that caused any sort of dramatic character alteration.

So Dowd's character - for some reason - shifted from normal to unique. His life now is simplistic yet to himself, very busy. He spends a lot of times hanging around in bars meeting people. To him, that's a vocation, and with life itself being such a rich tapestry of character and history, who is one to argue? His approach to each day is structured on much repetition. His dialogue and mannerisms are very uniform and repetitive. His approach to all people remains equal. Elwood does initially give the audience the impression of someone who has had suffered breakdown, as someone who probably isn't quite normal. But as the film reminds us, when "normal" is actually quite nasty and stressful, would those "normal" people see being so very nice as a mental deficiency? The film doesn't dwell on the question as to whether or not Dowd suffers from mental illness. It could be character just was hit by some amazing epiphany seven years earlier. Unlike more contemporary offerings, it's not interested in what makes us who we are; it is more interested in what we are at present.

While it's clear that Elwood was never always as simple and gracious as he is now. The film doesn't concern itself with any catalyst for this change; in fact, it seems to deliberately avoid talking about it. The beauty in "Harvey" is that Elwood is as much a fantasy character as the mischievous "imaginary" Pooka Harvey himself and in my opinion, just as fascinating.

The timeless character of Elwood is solidified by the play/films disinterest in creating a resolution for his identity, even if all the unhappy people attempt the contrary. I prefer to see the change in Elwood as being an epiphany rather than a breakdown. It just seems to suit his almost fairy tale perfection. He doesn't see the bad in others. All behaviour has its reasons and all actions can be dealt with positively. Even when confronted with selfish concerns, he sees the lighter side. While the film doesn't leave any doubt to whether Harvey exists or not, it does leave the audience to make up it's mind on Elwood. That to me is the beauty of this film. The actual fairy tale character is definitive, but Elwood isn't. Is he a drunk? Again, personally, I don't feel he is. He never shows any behaviour indicative to a drunk. He goes and has a drink when he meets people as part of a ritualistic pattern, but the alcohol never pertains importance to him beyond that. Again, if we take Elwood's almost fantasy built persona - something we would all want to aspire to - to be able to socially drink very regularly without dependence seems quite fitting. That's my opinion, but really it's up to you to decide.

So I think, deep down, we would all want to be Elwood Dowd. Not so much for the Pooka invisible friend, but simply because his existence shows us how life ought to be taken. This is of course, an impossibility given the responsibility of today's lifestyle. Life is too complicated for an existence firmly entrenched in the present and while we have to accept that we can't be like Elwood, it would be nice to think we can try.

For me Mary Chase's "Harvey" presents a dream existence made manifest, and that is very much thanks to Stewart's beautifully performed Elwood Dowd.

Surgical Spirit: "Black Jack" Volumes 2, 3 and 4 Get a Clean Bill of Health!

For Toon Zone News
06-19-2009,

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There are some books simply too good to review— books that really don't require the help of some meager assessor; that are happy enough to stand tall without third party endorsements. In essence, there are some books that make my job more without meaning than I could ever succeed at.

Vertical have been hot on the presses releasing more of their Black Jack collection. Toon Zone reviewed volume one earlier in 2008 and here we are again with volumes two, three and four putting me back in the hot seat looking for something more discerning to say about this range of graphic novels other than "Well, Black Jack is simply brilliant, innit?"

Of course the quality of Black Jack is hardly a secret. Written by manga's legendary godfather, Osamu Tezuka, Black Jack is the long-running series of short stories that follow the extraordinary feats of surgery performed by an unlicensed Japanese doctor of the same name. The tales frequently carry a moral or sociological message, usually catalyzed by some emergency requiring Black Jack's surgical skills. (Black Jack's universe seems to exist on an abundance of car and HGV crashes throughout the four volumes.) The stories drift between resolutions of hope and despair, often ending on an abrupt coda.

Black Jack plays on a breadth of drama that weaves a tale around both simple and complex characters types. More often than not, Tezuka turns his critical eye upon the medical profession, taking the opportunity to pull the strings on a variety of doctor and intellectual stereotypes and making them dance to his satirical melodies.

Simply put, Black Jack is a joy to read. Aside from a few visual elements that prove a reminder of its vintage status, the stories remain relatively timeless. One story in volume three called "Your Mistake" requires a spool based tape recorder as a central prop—a reminder of the days before cassettes, CDs and digital downloads. You can read volume four without a single reminder of the time differential between ourselves and the author—only a few footnotes give away some of the minor satirical swipes at his contemporaries in Japanese manga.

The age of Black Jack does raise a question: how can a book dealing with a medical surgeon first written over thirty-five years ago possibly carry any significant value to today's society? Strangely enough, many of the stories are indeed significant, particularly to our current climate, to coin a relevant pun. In volume two we have "Assembly Line Care" which questions the balance between bedside manner and hospital efficiency; "Where Are Thou Friend?" is about the malady that is mankind upon the planet. Volume three's "Dingoes" questions the ravages of mankind on the animal ecosystem and in "Shrinking" we seen theological faith struggle against secular humanitarianism as our medicines save more people only to see others die under surplus demand upon resources. All of which are contemporary issues, all of which Tezuka was querying three decades ago.

Of course, many of the Black Jack stories simply stand the test of time by centering on the timeless moral issues. The question of euthanasia for instance is neatly explored in volume three's "Two Dark Doctors". The internal struggle between the family unit is a popular theme, and Tezuka enjoys examining blood relationships through a some surprising facets. In volume four we have a trilogy of family plights; "Burned Doll", a tale of a gangster's willing sacrifice for his son; "Lost and Found" focuses on dying wife and mother and her family's desperate plight to raise the funds to save her, and "Heart of a Giant" looks at the risks a parent will put on his ill son for the sake of fame and fortune. Whether it be a broad sociological question or a very personal tale, Tezuka opens up the tender wounds found between human fragility and social morality.

While the stories avoid being trapped in the past, it's perhaps Black Jack's fantastical ability to perform feats of surgery that prevents the reader from questioning the book's contemporary relevance. Black Jack can graft skin, re-attach limbs and even transplant bodies in ways no one can, and this little zest of fantasy completes the timeless illusion.

As always, Tezuka's artwork is an eclectic blend of caricature and incredibly textured linework. The testament to his work comes in the decades of imitators who have drawn from his skills. His sequential narratives are almost faultless in visualization and pacing. There is little change within the artwork between the three volumes—Tezuka's style for Black Jack is very much set from the start. In fact, the only evidence of change comes in volume four where there is a tiny modicum of self-referential humour that leaks into the story and visuals. It seems by the forth volume, Tezuka has become very aware of the restrictions of Black Jack's story format and occasionally lampoons it—but never to the detriment of the tale itself.

Vertical have continued their unique and quite understated approach to the book design. The stories are bound with a stylish blend of block color and line art. The black and white stories themselves are laid out well with handy notes that help decipher the underlying cultural ambiguities—and, in one case, inaccuracies—to Tezuka's work.

To look for fault in Black Jack would be just that: looking—no, hunting—for faults, just for the sake of a balanced review. There is no critical balance to be found in Black Jack; it's simply damn good. If I were to impart a little personal ego into this review, I read volume four after having a wisdom tooth extraction—and there is nothing better to dull jaw discomfort than tales of people suffering far greater than yourself. Forget drugs, Black Jack was a great chemical substitute. Take that as my medical diagnosis. Now, go prescribe yourself a copy—or three!

"One Piece": Straw Hats off to Third and Fourth Voyage

For Toon Zone News
06-15-2009,

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Sailing forth, undaunted by the near-infinite number of episodes to come, I am lured in by One Piece, as a sailor is lured by a siren. The One Piece: Second Voyage DVD boxset ended on a nail-biting cliff-hanger, but and now we're back to finish off season one (and begin season two as well!) with One Piece: Third Voyage and One Piece: Fourth Voyage.

For those less in the know than me, One Piece is an anime serial authentically translated from its manga origins. It regales with the tale of a young pirate who seeks to sail the dangerous Grand Line in search of the fabled One Piece. Possessing this treasure is said to rank you as "King of the Pirates". Along the way, Luffy picks up (and occasionally drops off) a menagerie of odd crewmates, the Straw Hats, each with a curious longing and particular ability. The first season establishes his core crew through its run of forty-seven episodes.

My research has only been recreational, but it appears to me that the differences between show and comic, in content and style, are few and far between. In the early stages of the story (yes, the Third Voyage starts at episode 27, and that is very early for One Piece) we are still exploring our central characters. This hero exploration doesn't end until half-way through the fourth box-set with Nami's arc.

What makes this show such a popular affair is hard to pin down. I doubt it is a widespread interest in pirates; aside from Pirates of the Caribbean (a film that owes its success more to a blend of Disney ride and Depp than the pirate genre), pirates don't tend to be popular in contemporary media. Yet somehow One Piece succeeds in breathing life into a genre that has shown very little measure of success since Jim Hawkins set sail for Treasure Island. I think the magic ingredients don't come from any single element. One Piece is a multiplicity of originality, great characters, action, drama and humour—and it's never quite clear where or how the story is going to go from episode to episode.

As much as I'd like to find an excuse to criticise Third Voyage (and thereby at least look like I am fulfilling my criteria as an objective and non-biased reviewer), but I really am hard pressed to find anything to complain about, and those things I did find are rectified in the fourth boxset. For instance, the go-happy theme tune that continues through the third boxset—which I've always disliked—disappears during the fourth. How can you fault a show that clearly not only performs, but reads minds?

Well, Third Voyage does suffer from an incidental and unfortunate dearth of Luffy, who spends a great deal of the set traveling from plot arena A to plot arena B. So the middle episodes of Third Voyage do feel a little empty—but a diamond remains a diamond no matter how you cut it. Moreover, Luffy's adventures at the beginning and end of this set carry more energy and zing that the bastard child of sugar and caffeine. One Piece is more than Luffy, but I doubt it would be quite as unique and memorable without him.

Third Voyage is a strong collection of episodes that delves deeper into the world and the central characters of One Piece. The back-story to Nami proves surprisingly tragic; the Fishmen are seemingly unbeatable as an adversary; and there are deep pockets of humour found everywhere. And who cannot but feel a surge of pleasure when Luffy takes his passion for his crew to the nth degree in some violent and often shockingly bloody manoeuvres?

Fourth Voyage manages to excel even Third. This final first season boxset carries a brilliant run of stories. Partly this is because the series begins to move away from the more formulaic stories it has featured. After the Fourth Voyage wraps up the Nami story-arc, we are given an unusual yet relevant array of single character episodes that not only give our heroes but the audience too a little time for recuperation. In fact, we even move away from the crew for the first time and focus on the antics and situation of other One Piece characters. I found this change both refreshing and enjoyable—particularly the escapades of Captain Buggy which at one point made me, dare I say it, "LOL".

The final adventure on the disk (and the beginning of second season) brings the crew to the last town before the Grand Line and again the formula is shattered somewhat by a whole menagerie of storylines, character moments and comedy. Furthermore, this arc avoids the battle-come-verbal sparring contest and—shock horror—Luffy doesn't save the day as usual. So there some very surprising twists as the show progresses into its second term that pretty much demolishing the only criticism I've been able to muster in fifty-three episodes.

The DVD packaging for all the Voyages remain consistent throughout, and again the marathon option is present so you can watch the show without credits and recaps. As with the previous two boxsets, there is a single commentary track on each boxset—both are highly enjoyable. Third Voyage's commentary is with the buoyant Eric Vale (Sanji) and the Fourth Voyage features the lovely Luci Christian (Nami). Both are hosted by ADR director Mike MacFarland. While mentioning the voices, a quick kudos to the whole of FUNimation's voice cast for One Piece who deliver their lines with little difficulty managing to bridge the show's dramatic spectrum.

As I'm sure 80% of those reading this knew before myself, One Piece is really the king of anime. It's a wide, open genre, but I don't think I've experienced such a consistent gem from the East. It can be funny, it can be very bloody (strutting in its naked, uncensored glory) and strangely poignant.

Hyperbole as my friend, this is the magnum opus of Eastern anime, neatly drawing from all the necessary attributes of drama to make a solid, unbeatable package. If you didn't know it already, this is a show that keeps going from strength to strength and one day may become a street corner substitute for the narcotics trade. Yes, gushing aside, it's that good. Go score yourself some One Piece.

James (and Troy) interview Klea Scott!

This was a great interview. The wonderful, talented and oh-so-charming Klea Scott, chatted to Troy and myself for nearly an hour and a half. Time shot by. She really does take the reins for this interview and imparts lots of juicy, fun and candid information about her career, Millennium and of course, Lance Henriksen (whom she worked with closely on Millennium for those silly people not in the know).

Monday brings another big interview. Along with Troy we'll be interview X-Files and Millennium writer/producer/legend, Frank Spotnitz. A little bit excited about that.

A couple of reviews will be blogged during the week that I did for Toon Zone. Need to add some variety to La Blog methinks.

La Plug:

Ladies and gentlemen, it is my pleasure to inform you of a very special edition of our Millennium Group Sessions Podcast to be released on Sunday 21st June. Klea Scott, Emma Hollis herself, spoke exclusively to BackToFrankBlack about her recollection of her time on Millennium for the first time since she provided the Season Three DVD commentary almost a decade ago.
We, as fans, owe a debt of gratitude to the sheer exuberance Klea still has for Millennium and for the way in which she has rallied to support this campaign and here's where you can help. Use your Blogs, Twitter accounts, Myspace pages and more to tell all you know about this very exclusive scoop. Let everyone know, Klea Scott is in the house!

To download from BacktoFrankBlack.com

• For the enhanced image complimented podcast for Itunes and Ipod lovers: Click here! (19MB 75 mins)

• For a high quality podcast (no images embedded into this one): Right click here and select "save link as.." (approx 69.5MB 75mins)

To download from ITUNES

• To subscribe to the Itunes podcast, simply load up the Itunes store on your Itunes application, search for BacktoFrankBlack and wait for the podcast to pop onto the list. Then click "subscribe" - you will need to sign up to a free Itunes account to do this - but Itunes does run a great service for podcasts of all types (including our friends ThaDarkSideVibe and Spooktalkular)

BacktoFrankBlack Podcast #4 - now out!

Another podcast comes your way. This one was fun - and despite having had to listen to it several times in post, I've enjoyed it. I hope you will too.

Troy did a wonderful job slicing this together, removing a terrible killing silence I created in the interview. Austin was a man after my own heart (or am I a man after his - that sounds almost romantic). Check out his music at myspace: www.myspace.com/acidengine.

Done some wonderful little interviews still waiting to be released. The sexy Keegan Connor Tracey (missed out on doing a video cast for that lovely lady - she'd done her hair for it too!) from BSG/Millennium, the bubbly, smart, Klea Scott (Millennium), the laid-back wisdom of Michael Buie (Millennium) and my all time favourite, the amazing, cheeky and charming Jon Polito.

In other news, news in which doesn't have me abusing this blog to promote the BacktoFrankBlack podcasts, will have some reviews I did for Toon Zone up shortly, including the humourous School Rumble, the wonder of more Black Jack and the fantastic, hilarious, sea-faring antics of One Piece.

Time for La Blurb:


BacktoFrankBlack: The Millennium Group Sessions, hosted by Troy Foreman and co-hosted by Jim McLean is now available for free download via our website AND on ITunes!

Please download our free podcast to support the campaign and the guests who have graciously contributed their time to the campaign!


To download from BacktoFrankBlack.com

• For the enhanced image podcast (with some pretty exclusive photos) for Itunes and Ipod lovers: Click here! (20MB 73 mins)

• For a high quality podcast (no images embedded into this one): Right click here and select "save link as.." (approx 69.5MB 73mins)

To download from ITUNES

• To subscribe to the Itunes podcast, simply load up the Itunes store on your Itunes application, search for BacktoFrankBlack and wait for the podcast to pop onto the list. Then click "subscribe" - you will need to sign up to a free Itunes account to do this - but Itunes does run a great service for podcasts of all types (including our friends ThaDarkSideVibe and Spooktalkular)

BacktoFrankBlack: Millennium Group Sessions 04 - Comedy

In this forth episode, Troy Foreman and Jim McLean give you, the potential endearing listeners, a podcast that looks at the most controversial of all the topics Millennium dealt with: comedy! Looking at episodes like "Jose Chung's Doomsday Defense" and "Somehow Satan Got Behind Me" Troy and Jim will be discussing the pros and cons of the comedy within the show and speaking to Millennium's only character to have urinated in a cup of coffee - the multi-talented Austin Basille will be speaking about Millennium, Hollywood and beyond! Expect the usual news updates on the campaign and the cast/crew of Millennium - including a very new way to support the campaign! (90 mins) - PLUS - Podcast BLOOPERS, keep listening to the end.

This free podcast is available on a fortnightly basis via ITUNES and BacktoFrankBlack.com. We'll naturally update you all on information on the podcast from this blog as well.

With ITUNES, anyone who has an Itunes friendly account will be able to subscribe easily and download the podcasts as they are released. We recommend the ITUNES friendly enhanced podcast because each episode will have its unique set of images to accompany the chatter!