paul

The Windmills Of My Mind

I Think Ryan O'Neal Speaks for All of Us When He Says...

May 13, 2010


I'm convinced this should be adopted as America's new National Anthem, both the music and lyrics. It's concise enough for idiots to remember, and so accurately reflects the Zeitgeist.

Paul Tatara

The Windmills Of My Mind

Once More, with Better Graphics

May 12, 2010

Sometimes you just don't feel like it, and, for the past several days, I haven't much felt like cooking up a new entry for Wall of Paul. So, since I don't think it's right to leave loyal readers hanging for too long, I'm dusting off a Nov.11, 1998 review of the 60th anniversary re-release of "The Wizard of Oz."

This may well be my favorite piece that I ever wrote for CNN.com, and it generated lots of (positive) mail. However, as I've pointed out before, CNN always did an exceptionally shitty job of illustrating my reviews. This time, lucky you, the pictures are more interesting. - Paul

The Wizard

(CNN) -- Forget the seemingly endless string of vampire and slasher movies that we've been forced to endure lately, I'm here to argue that the scariest movie to hit our theaters in 1998 is "The Wizard of Oz." The film has been reissued for its fast-approaching 60th anniversary, in a hallucinogenic new print with colors that practically leap off the screen at you.

It scared the hell out of me when I used to watch it between my fingers when I was a kid, and (though it might say too much about my own emotional development) I still get the heebie-jeebies from a lot of it. I can feel a vague twinge in my stomach during particularly troubling moments, and there's more of them than you might remember.

It seems a little ridiculous to have to convey the entire plot. In fact, one of the main things that struck me while finally seeing it on a big screen is just how iconographic many of the movie's key images are. Over and over again you get really terrific songs and dance numbers, and then there's stuff like "Surrender Dorothy" and those ruby slippers that are so surprisingly impervious to removal. (I think a magic shoehorn would've been a great plot device.)

So I guess the best way to deal with this is to explore the individual characters and moments that make me want to hide. Frankly, all of the characters are a little bit out-of-whack all of the time, except when they're so far gone that they're actually a flying monkey or a murderous tree.

Judy Garland

Dorothy (Judy Garland) -- The pre-amphetamine Garland plays Dorothy, a Kansas farm girl who's evidently failed being 12 years old and has been forced to repeat the age well into her teens. It's a wonder she doesn't have five o'clock shadow. The famous line after the farmhouse drops down in Oz is that they're not in Kansas anymore, but you gotta hand it to Dorothy and Toto (not the band). They're pretty damn resilient when you consider the variety of colorful nightmares they're about to endure. Garland, it needs to be reiterated, sure could belt out a show-stopper when she wanted to. And just try not to dig those happenin' slippers.

The Scarecrow (Ray Bolger) -- His insides fall out on the street, and they pick them up and cram them back in as if nothing happened. If he gets too close to an open flame, he lights up like a Zippo. Bolger's the most ingenious dancer of the bunch, though, and I feel comfortable around people who are so happy to announce their own stupidity.

The Tin Man (Jack Haley) -- Oz never gave nothin' to the Tin Man that he didn't already have.

The Cowardly Lion (Bert Lahr) -- The Cowardly Lion doesn't scare me. I just don't like him. He seems inebriated, and you can easily see the string that makes his tail wag. Come on.

Glinda, the Good Witch of the North (Billie Burke) -- Could this chick be any more full of herself? "Yeah, all the witches on the west side are ugly. Not gorgeous like me." Factor in the magic wand and she's like a delusional homecoming queen with a cattle prod. Anybody who's attended high school knows that that's trouble.

The Munchkins (a bunch of very short people) -- As seen in "Under the Rainbow." Creepy city. Their bizarre fashion sense alone is enough to make me cower behind a couch cushion. I mean, their shoes have flowers growing out of the tips, for God's sake! Then you notice the hair -- half of them have that little swirl on top, like they're a Dairy Queen cone.

They're also way too enthusiastic, if you ask me. The mean old witch was just killed, fair enough. But, hell, it happened right there in front of them and two minutes later they're gettin' down like it's Fat Tuesday. I refuse to even discuss the full-bodied horror of The Lollipop Guild.

Margaret Hamilton

The Wicked Witch of the West (Margaret Hamilton) -- I mean it; I have trouble looking at her! This is what a witch is supposed to look like -- big, bent nose; Jay Leno chin; green skin. And she's not afraid to dress like a witch, either. Nowadays you get Nicole Kidman with hip-hugger jeans and a pierced bellybutton. It wouldn't occur to you to rub oil on Margaret Hamilton, and it shouldn't. She's a witch!

There are several tremendously frightening witch moments, particularly when she overtakes Auntie Em's plaintive image while Dorothy has her face crammed right up against that crystal ball. Then she actually mocks the way Dorothy's crying! And mocks her good, too. I also like the shot where she's standing by the window, egging on squadrons and squadrons of flying monkeys. This particular image used to pop up in my nightmares when I was kid. Honest. I should sue the Mervyn LeRoy estate.

The flying monkeys (actual flying monkeys) -- Oh, man! These guys are the key to the whole thing. I like the kind of monkeys that used to go on Ed Sullivan and impersonate Maurice Chevalier. Not this! Their eyes are what do it. They seem like they're grasping everything just a little bit better than I am. And they hop around in what looks like a vaguely aroused manner when the witch starts screaming ... which, again, probably says more about me than it does anybody who worked on the movie. Besides, just imagine the ordeal of incoming monkey poop. I'd like to see the lost dance routine for that sequence.

The Wizard of Oz (Frank Morgan) -- The guy's schizophrenic. When he gets all warm and fuzzy right near the end and starts handing out symbolic tchotchkes, are we just supposed to forget that he made the whole gang crawl in horror 30 minutes earlier and sent them on a deadly mission to retrieve the broom? He was lookin' to kill 'em. Plain and simple.

Apocalypse of Oz

Actually, you can get some fresh mileage out of the movie by comparing the plot to "Apocalypse Now" while you watch it. Our tormented hero (Dorothy) goes on a dangerous mission up-river (The Yellow Brick Road), all the while wondering what she'll do when she meets Col. Kurtz and his followers (The Wizard and all those crazy bastards at The Emerald City).

There's nothing to worry about, though, because the Wizard turns out to be a big, fat guy who's full of himself and realizes that you can't play God forever. You could even dub "The Ride of the Valkyries" over the flying monkey attack. (No napalm, though. That might freak out the Scarecrow.)

"The Wizard of Oz" is "The Wizard of Oz." There's not much more that I could tell you. This is not a director's cut with previously censored nude footage of Miss Gulch. It really is quite a trip to see this new print, though. Rated G. 101 minutes.

Paul Tatara

The Windmills Of My Mind

One from the Heart

May 7, 2010

70s tribe Logo

Ah, it seems like old times in Cleveland again.

My friend and loyal reader, Jody Whipp (hello also to Deanna), alerted me to this going-viral video of Indians announcer Bruce Drennan, who finally lost it, on TV, after watching the Tribe nestle into last place in the American League Central. The Indians now sport a 10-17 record, and appear to be in a bit of a free-fall…if it’s possible to be in only a bit of a plunge to one’s own death. We’re worse than the fucking Royals, for heaven’s sake, and the Royals still have those idiotic waterfalls in the outfield.

But let Drennan, who's like the bastard child of Paul Lynde and John Goodman, have his say.


The era of the Indians giving at least a few teams pause when they play them is currently a thing of the past. And, believe me, I’ve been there before. Drennan sounds an awful lot like my Uncle Stanley, who, by his late forties, was so thoroughly fed up by the Browns and the Tribe he only wanted to know which players got booed when you attempted to tell him about the game you attended the night before.

Although I’ve sounded like this on occasion myself - a lot of ground has been covered between my first-ever Tribe-conscious season back in 1970 and the hull of a man who types before you today - I usually get more metaphysical than Drennan does, locating, in my anguish, the interconnectedness of all manner of things, from the astronomical rent you have to pay in Manhattan to the Indians stinking to high heaven yet again. Drennan keeps it between the lines, but the sheer grandeur of his despair, how he manages to be both unpretentious and operatic at the same time, is very entertaining.

This is a long-suffering Indians fan yelling, “I’m mad as hell, and I’m not going to take it anymore!” But he will. He’ll take it much more, because he has no choice, does he? Big wheel keep on turnin’, you know, and the Indians aren't going anywhere.

                                                ***

Oh! Since I’ve noticed that far fewer Facebook readers are likely to click on my "new article" posts when they’re adorned with a sports photo or, worse yet, the logo of a Cleveland sports franchise, I’m including this picture of two hot girls from the cast of “Glee” hugging each other.

Hot Girls from Glee

That should reel ‘em in. Suckers.

Paul Tatara

The Windmills Of My Mind

Give It to Wilt! Give It to Wilt!

May 4, 2010

NBA Basketball

With the NBA playoffs in full swing now, and with my Lebron James-led Cavaliers losing by a cool 18 points to the Celtics last night, I think we should take a few moments to go properly googly-eyed at the single greatest basketball player who ever lived. Those of you who think classic black & white movies are inherently less significant because they’re were made before you were born, however, may find it hard to swallow that we won’t be discussing Michael Jordan, who regularly put a turbocharged ass-whuppin’ on his peers, but not to the phantasmagorical degree we’re talking about here.

No, we’re heading to the early 1960s, a miraculous time when professional basketball players could take only two steps while holding the ball and driving to the basket, simply because that’s what it says in the rulebook! And if they nailed one from half-court, let alone from a few steps above the key, it counted for exactly two points, just like any other shot.

Back in those days, nobody thought to trademark a silhouette of themselves dunking the ball behind their head so it could be plastered on overpriced merchandise. But one athlete dominated the sport to a degree that was very nearly equal to Babe Ruth’s unchallenged sovereignty over major league baseball in the 1920s. I’m talking about, of course, 7-foot 1-inch Wilton Norman “Wilt” Chamberlain— aka “Wilt the Stilt” and-or “The Big Dipper.”

Wilt Trotter

That’s Wilt in 1959, the year he played for, of all teams, the Harlem Globetrotters. At the time, the NBA wouldn’t accept a player straight out of college if he didn’t finish his last year of classes. So Chamberlain, who was sick of being triple-teamed and watching his opponents freeze the ball for minutes at a time in order to avoid confronting him during an actual play for the basket, left the University of Kansas to bide time with the Trotters. This allowed NBA players to breath easily for another season. But they knew he’d be coming sooner or later, and, when he did, the game was literally changed forever.

Drafted by his hometown Philadelphia Warriors, Chamberlain scored 43 points and pulled down 28 rebounds in his first-ever professional contest...although it wasn’t all that much of a contest. He would go on to average 37.6 points and 27 rebounds during the 1960 season, numbers that were (and remain) so utterly sick, new rules were eventually instituted to try to keep the Stilt at least a little bit in check. First, the lane was widened so he couldn’t hang out waiting for an easy dunk, and the concept of offensive goal tending was also introduced. My personal favorite, however, is that the league finally decreed Chamberlain could no longer leap from the line during foul shots and deposit the ball mere inches away from the basket!

I’ve never heard of another professional sports league that substantially altered the rules because one player was so overwhelmingly talented the others couldn’t compete. This wasn’t simply a matter of Chamberlain being bigger than everyone else, either, although even when little-boy-Paul was rooting for him in the early 1970s, he was still a more impressive physical specimen than virtually anyone else on the court. Chamberlain was graceful— he could move; there was nothing lumbering about the way he carried himself.

One of Chamberlain's least-heralded but still astonishing exploits is that he never fouled out of a game. Never! He wasn’t falling on top of people or hacking through them like they were so much shrubbery. He was a basketball player, an absolutely superb basketball player who happened to be as big as a fucking tree.

Wilt 5

It’s a professional sports truism that statistics don’t tell the whole story, but there’s no denying they can tell a considerable chunk of it. Chamberlain’s stats read like a tall tale told by somebody’s grandpa— Paul Bunyon in satin shorts. They’re so impressive they appear to be misprints when you compare them to those of the stars who followed in his wake. Forget, by the way, anyone who preceded him, even the Minneapolis Lakers’ formidable George Mikan, who was the league’s first genuine superstar. At that point, you might as well be juxtaposing a cruise missile and a pop gun.

Check these numbers out, all of which are records, and by a considerable distance:

* Chamberlain averaged 22.9 rebounds per game for his career, and 27.2 for a season. Shaquille O’Neal has averaged 11. The highest Shaq has ever managed in one season is 13.9. Chamberlain once pulled down 55 boards in a single game (and he landed 46 another time.) He also hauled in 1,000 or more rebounds in a season 13 times!

* Chamberlain averaged 50.4 points per game during his 1961-62 season with Philadelphia, which is just ridiculous. Jordan’s best was 37.1. Nowadays, 50 point games are rare enough that they can sometimes make the front page of the newspaper, let alone the sports section.

* And, of course, there’s Wilt’s signature achievement, a feat so staggering it truly doesn’t sound possible. On May 2, 1962, during a game in Hershey, PA, Chamberlain scored 100 points against the New York Knicks. By himself. This sounds like something you’d pretend to do against your friends in the back yard, rather than actually pulling it off in the NBA.

Wilt 100

The home crowd had seen Chamberlain score more than 60 on multiple occasions, so no one, including Chamberlain, was expecting 100 when he hit the locker room at halftime with 41 under his belt. But even the Knicks’ arm-hacking, quadruple team defense couldn’t stop him in the second half, and he hit the century mark on an alley-oop dunk with under a minute to go. He also nailed 28 of his 32 free throws, which would normally suffice as a good game all by itself.

To put this in further jaw-dropping perspective, Kobe Bryant scored 81 in a game back in 2006, and, even with the benefit of three-point range, he was treated like Christ on ESPN. But he was still 20 points away from passing Chamberlain. So, to paraphrase Edward G. Robinson, “Who’s your Messiah now?!”

                                                ***

Nobody Else Like Wilt

By the time I became aware of Chamberlain’s existence and realized he was several steps removed from the rest of humanity when it came to all things basketball - I had the above poster, a life insurance company promotional giveaway, hanging on my bedroom wall when I was 8 years-old - he was playing for L.A. and had actually “filled out" to over 300 pounds of solid muscle.

But Chamberlain was forever haunted by the fact that his arch rival, Bill Russell, guided the Boston Celtics to an incredible 11 NBA championships while Wilt had managed only one with Phillie. If you want a musical equivalent, Russell was John Lennon to Chamberlain’s Bob Dylan. Both of them were massively gifted geniuses who spurred each other on to better work.

Russell, however, benefited from being a member of one of the most talent-filled, brilliantly operated organizations in sports history. He was surrounded by stars, and, every bit as importantly, lesser players who knew how to make the stars shine that much brighter. Chamberlain, more often than not, was left to do it by his lonesome, and he didn’t gain any brownie points by broadcasting an exceptionally well-earned degree of arrogance about his abilities; I imagine Neil Armstrong also occasionally brags about walking on the moon.

Wilt with Lakers

It was only when the Lakers set then-records for consecutive wins and the most wins in a season, then took the championship, that people began to grudgingly accept that Chamberlain was the best the game had ever seen. When it comes to winning rings, and solidifying your reputation, it certainly doesn’t hurt to have Jerry West giving you a hand at point guard.

The word “superstar” gets bandied about far too often in modern sports, but if anyone who’s played basketball in the past 50 years deserves the title, it’s Wilt Chamberlain. He wasn’t looking down on everybody just because he was tall. There was a pedestal permanently affixed to his sneakers.

Paul Tatara

RSS Feed