12.27.2016

The Twilight Zone: Queen of the Nile

Next up:
Originally aired March 6, 1964.

"Jordan Herrick, syndicated columnist, whose work appears in more than a hundred newspapers. By nature a cynic, a disbeliever, caught for the moment by a lovely vision. He knows the vision he's seen is no dream; she is Pamela Morris, renowned movie star, whose name is a household word and whose face is known to millions. 

"What Mr. Herrick does not know is that he has also just looked into the face -
 
"...of the Twilight Zone."

Today's selection again features a movie starlet as a principal character. If you're wondering how many Twilight Zone episodes had characters whose vocation was acting, the answer is five, about half as many as those featuring astronauts (ten) or soldiers - at least eleven, but I think I'm missing a couple.

(Robots? Eight. Aliens? Seven. I thought that last one would be higher, myself.)

"Queen of the Nile" is another TZ that would fit comfortably in the pages of Vault of Horror or other classic EC. Simplistic but satisfying. 

Jordan Herrick - great name- is a cynic, according to Rod's intro up there. He doesn't seem too cynical throughout the rest of the episode, but okay. He has been invited to the home of Pamela Morris, famous movie actress, in his official capacity as a journalist, one with a reputation for digging for the truth and not giving up until he finds it. And the truth he seeks is Pamela's actual age.

He's ushered into her study, and as he waits for her to finish her swim, he looks at her various portraits around the room, particularly the oil portrait hanging on the wall. 

Although the portrait is dated 1940, she still looks exactly the same in 1964.
Well, when she's not making faces.

An older woman (Mrs. Draper) appears and is reproached by the actress. ("Didn't I tell you to stay in your room?") She retreats, but not before saying "I'm not going to stand by and watch it happen this time."
Later, Mrs. Draper (whom Pamela introduces as her mother) joins them for tea, but when Herrick asks to interview her, the actress dismisses her, telling him "her mind wanders."
Mrs. Draper catches Herrick before he leaves. She tells him Miss Morris is not who she claims and that she (Mrs. Draper) is actually the daughter of the actress.

The actress flirts aggressively and seduces him - to a point. This was '64, after all, so just a lot of touching and kissing and dinner and what not. It has its intended effect, as Herrick falls more and more under her spell, even telling her what Mrs. Draper mentioned. 

His journalistic instincts aren't completely dulled, though, as he asks his editor to look up some inconsistencies in her story, as well as Queen of the Nile, Pamela's first film.

His editor tells him there have been two Queen of the Niles, the first being an old silent film that ended with the tragic on-set death of the leading lady, Constance Taylor. Intrigued, Herrick begins to yank the threads of the various stories he's been told, eventually unraveling the impossible truth that Pamela Harris and Constance Taylor are somehow one and the same.

Confronted with the accusation, Pamela promises to tell Herrick the unvarnished truth.
 
Alas, the truth is that the actress is an ancient Egyptian queen who survives by getting men off their guard and then stealing their life essence with a magical scarab.

"Viola, if you want to live another day, get rid of it quickly."
At episode's end, another handsome young columnist comes to interview her, and it appears as if the cycle will begin anew.

"Everyone knows Pamela Morris, the beautiful and eternally young movie star. Or does she have another name, even more famous, an Egyptian name from centuries past? It's best not to be too curious, lest you wind up like Jordan Herrick, a pile of dust and old clothing discarded in the endless eternity...

of the Twilight Zone."

The inspiration for "Queen of the Nile" would appear to be the infamous Cleopatra with Liz Taylor (whom the episode's star resembles) and Richard Burton. Though the film almost bankrupted 20th Century Fox, it - or rather, its massive cost overruns and the torrid extramarital hi-jinks of Burton and Taylor - fascinated the public and ensured further immortality for the last native ruler of Ancient Egypt. A Cleopatra-infused episode of The Twilight Zone was just smart business in 1964.
Yet "Queen" doesn't seem to be one of the TZ's most popular episodes, nor was it as far as I can tell a ratings bonanza. I'm not here to tell you it's one of the series' best episodes, but, like "Black Leather Jackets" or some of the others covered in these pages, it's stuck with me over the years as a nice and particularly-Twilight-Zone-y little story. 

I like this sequence of the scarab's stealing Herrick's vital energies:
 

THE CAST

A long career in Hollywood appears to have come to an end with a 1985 episode of Murder, She Wrote.
Gave up acting for directing in the 70s.
The former Mrs. Peter Lorre was also T'Pau of the Vulcan High Command.

And as mentioned here:

"This was the final writing credit for Charles Beaumont, though it was his friend Jerry Sohl who conceived of the idea. 'I had a scarab ring many years ago,' Sohl told The Twilight Zone Companion author Marc Scott Zicree, 'and knew that the scarab ring was the symbol of fertility and immortality in Egyptian times. ... After about half an hour we had the story worked out. I just went home and did it, sent it in, and they shot it the way I wrote it.'

Beaumont was ailing from an illness that was, most likely, Alzheimer's Disease, and had lost the ability to concentrate sufficiently to complete any work. His friends pitched in to help out Beaumont and his family, with Beaumont receiving sole screen credit, though the fees were split. Beaumont died three years later, at the age of 38."

~

12.24.2016

Sade (Live)


Watching Sade recreate their songs in live performance drives home how remarkable of a band they really are. They make it look so effortless. These sentiments are hardly original, but there's something about Sade's studio sound that lulls the listener into forgetting there are actual musicians creating it all. Seeing is believing.

There are a couple of their live DVDs I don't have, such as Life Promise Pride Love and Live in Munich 1984. So really, that opening image up there should read "The live dvds that I personally have." But, unwieldy. It's mostly screencaps this time around, anyway, so who cares.

Two performances not included on any DVD I know of are "Is It a Crime" and "Sweetest Taboo" on Season 11 Episode 5 of SNL hosted by Tom Hanks. 

Couldn't find a link for "Sweetest Taboo", alas.

Good stuff. Paul's bass sounds particularly good on that rendition of "Is It a Crime." Everyone does, actually. That's what I'm trying to get across, folks - Sade is a damn tight band. A Captain Obvious remark if there ever was one, sure, but sheesh, folks. When people list the Greatest Bands Ever, two they always leave off are Sade and Earth, Wind, and Fire. Come on, people. Get with the program. By any objective standard, they belong in the conversation.

Okay, so as for the live DVDs I have, let's start with: 

(1994)

The first thing that pops out to the 2016 viewer of this concert is - no multiple costume changes? No army of jiggle dancers simulating sex acts? No bras turning into rockets or pinwheel flares what not? What?? How can anyone take this seriously? (Ahem.)

Not that 1994 was immune to such trends, although the degree to which they've become "the norm" twenty years later is a head-scratcher. The future belonged to a Madonna sensibility, and Truth or Dare Madonna at that, not "Into the Groove" Madonna, unfortunately, and not that on display here. As for that, Ms. Adu follows her usual on-stage persona - slinking around barefoot and sidewinding her arms above her head. 

"Slinking" sounds wrong. But it seems to be the most accurate word choice.
She does the big-arms Christ-pose thing, too, when hitting certain notes.

Very little banter with the crowd. That's the right approach. Performers should perform; audiences should audience. Unless you're Paul Stanley. Or Nina Simone. Okay, there are plenty of exceptions.

Pretty slick show. Opens with "Sweetest Taboo," which no one could possibly complain about. Again, watching the band recreate the studio version of these songs just illustrates the musical interplay between all the elements on stage. Like watching a finely-tuned orchestra bring Mozart to life. I'm not saying Mozart and Sade are comparable musical entities, of course. And they don't have to be.

The version of "Keep Looking" here pops more live than it does in the studio. And "Love Is Stronger Than Pride" is more uptempo, as well. "Red Eye" is a nice jam showcasing the talents of the band. I guess it was a B-side for "Smooth Operator." 

And this version of "Nothing Can Come Between Us" is great. "Cherry Pie" is pretty epic, too. (Can't seem to find the version on this DVD, so here's a similarly-epic rendition from Lovers Live.)"Pearls" is a strong solo showcase. A lot heavier guitar in "No Ordinary Love" (or it's higher in the mix) than on the album.

I prefer the studio version of "Paradise." Though this uptempo funkier version is pretty cool. During it, the dance routine Ms. Adu and Leroy Osbourne have worked out includes some simulated rabbit punches to Mr. Osbourne's face. Good sport. Not sure why that's part of the proceedings.

Stu kinda looks like Gary Oldman from True Romance here.


"Jezebel" isn't one of my favorite Sade tunes, but it's an appropriate show-closer.

Here's some pics. 

Paul looks a bit pirate-esque here. Particularly with that goutee. I like it, though.

Pretty colors. Everyone looks pretty damn cool. (Well, Stu's dreads are something else, but hey, it was '92.) A pretty simple set / stage compared to:

(2002)

As directed by Sophie Muller, who got her start with videos for the Eurythmics and the very first Sade videos from Diamond Life. (She's done quite well for herself since.) I sometimes want to refer to Ms. Muller as the fifth member of Sade, but that may be overstating it. (And it looks over frequent musical collaborators like Trevor Murrell and the gang.) So, I'll let the band determine who their official fifth member is, thank you very much, and leave it there.

I like the Lovers Rock songs, particularly "Every Word" and "Somebody Already Broke My Heart" much more here than I do on the album. (The video montage accompanying "Every Word" emphasizes that "Love Is What the Word Was." In case anyone was wondering.) Which probably means I'd like Lovers Rock more as an album had I seen the DVD before hearing the album. First impressions are so tough to overcome. 

Slight more crowd interaction in this one. As with the '94 one, she switches to slacks (and back to heels) for the encore. She starts in heels but ditches them for bare feet after a song or two. 


Could the band be a little sick of "Smooth Operator" by this point? How could you be? But if anyone could be sick of it, I guess it'd be these guys. 

 "Kiss Of Life" is the show-people-dance-in-the-crowd track. 

Here's some pics. 


Good stuff. If you're an unattached guy or girl out there of any age or persuasion, pick it up for the library. Any date that crosses the threshold to your home will thank you for it.


Last up:

(2011)

More of the same, but it's a "same" of such pleasure that that should be read as a ringing endorsement and not a been-here-done-that vibe. This was from their last world tour, for Soldier of Love

Which included a return to Mannheim, where one of their first video concerts was filmed.
 
Will they be returning in 2017? Rumors abound.


Ms. Adu has very much embraced onstage heels by this point in Sade's touring life. The always-barefoot Sade persona seems to be retired.

~ 
Merry Christmas and Happy Hanukkah from the Dog Star Omnibus Bullpen!

And from Sade, too, I'm sure.