Payday (Daryl Duke, 1972)

FOR MAURY DANN, EVERY DAY IS “PAYDAY”

In a rare starring role, Rip Torn plays Maury Dann, a hard-living country singer traveling the Deep South honky tonk circuit. Dann’s good ol’ boy smile charms even passing fans, but in private he is a greedy, entitled, and pitiless tyrant ruling from the back seat of a Cadillac sedan. Set over a day and a half, Payday reveals Maury’s unrepentant selfishness and cynicism, bedding young fans, popping pills, and casting off members of his entourage once they have outlasted his needs. Dann’s self-serving and hedonistic ways come to a head in a late night parking lot scuffle, transforming his megalomania into inevitable self-destruction.

Music critic and Payday producer Ralph Gleason declared that the objective of this staggeringly jaundiced portrait was a desire to provide an honest portrayal of life in the country music business. Under the direction of Daryl Duke (The Silent Partner), Payday rejected the polished image of country music, pointed the way toward the approaching outlaw country movement, and placed a spotlight on the magnetic presence of Rip Torn.

Special Edition Contents:

  • High Definition Blu-ray (1080p) presentation
  • Original mono audio (uncompressed LPCM)
  • Optional English subtitles for the deaf and hard of hearing
  • Feature-length audio commentary with director Daryl Duke and producer Saul Zaentz
  • Risk Management, a new interview with actor Michael C. Gwynne
  • Ride-along, a new interview with actor Elayne Heilveil
  • Passing Through, a new interview with actor Cliff Emmich
  • The Music Man, a new interview with music supervisor Ed Bogas
  • Original theatrical trailer
  • Reversible sleeve featuring two artwork choices

FIRST PRESSING ONLY: Illustrated collector’s booklet featuring new writing by musician and scholar Kim Simpson

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Clapping Music (Peter van der Ham, 2005)

In anticipation of our next proposal for a Criterion treatment, MMC! thought it might preview that upcoming discussion with an oddly related short – Peter van der Ham’s Clapping Music (2005). The film performs Steve Reich’s minimalist score “Clapping Music” through a scene from John Boorman’s Point Blank (1967) where Angie Dickinson flails away at an impassive Lee Marvin, hitting him 1,344 times before crumpling at his feet. The effect of the short is fascinatingly hypnotic and it offers a kind of weird portrait of cinematic chauvinism in its exaggerated futility.

And so, if you like van der Ham’s Clapping Music, Point Blank, and novel editing choices, you should love MMC!’s next imagined Criterion edition! (Maybe I’ve said too much?)

SFFF Day 2 Report – Frenemies

The second day of the Saskatoon Fantastic Film Festival leaned into bad behaviour, mostly by men, mostly among (supposed) friends. The program started light with Brent Hodge’s Who Let The Dogs Out (2019), an MMC! favourite of this year’s Calgary Underground Film Festival. Hodge, Alberta-born and in attendance at the SFFF, has found a niche with his self-described “comedy documentaries” like Freaks and Geeks: The Documentary (2018), I Am Chris Farley (2015), and A Brony Tale (2014), and Who Let The Dogs Out further confirms Hodge’s mastery of the subgenre. Devoted to the Baha Men’s 2000 hit “Who Let The Dogs Out,” its myriad authorship claims, and its various legal battles among friends and stranger alike, Hodge distills Ben Sisto’s eight-year exploration and three-hour lecture on the track into a tight, enthralling 62-minute doc. Sisto acts as the song’s scruffy biographer, travelling the world’s music studios, courtrooms, and high schools to trace the origin of the song’s ubiquitous catchphrase. This BOSUD (a “biopic of someone undeserving,” to use Dennis Bingham’s terminology) is a definite crowd-pleaser, being far more fascinating that its novelty subject matter should allow for. The SFFF was the last festival stop for Who Let The Dogs Out as it now transitions to cable and streaming platforms. Look for it on Crave in Canada!

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The Devil and Daniel Mouse (Clive A. Smith, 1978)

An inspiration to the Nelvana animation studio’s first feature, Rock & Rule (Clive A. Smith, 1983), The Devil and Daniel Mouse (Clive A. Smith, 1978) was the Canadian animator’s second television special. Following 1977’s A Cosmic Christmas (Clive A. Smith, 1977), this Halloween program takes its inspiration from Stephen Vincent Benét’s classic short story “The Devil and Daniel Webster” and mines Canadian artistic anxieties over American cultural imperialism and selling out. Struggling folk duo Jan and Daniel Mouse are fired from their last gig and Jan sells her soul to the demonic record producer B.L. Zebub, transforming her into the hit sensation Funky Jan. Success is bittersweet for Jan as she misses Daniel but when B.L. claims his payment under the contract, it’s Daniel who stands up for her in a trial of the damned that culminates in a musical final statement that carries the day. The short features some solid tracks by John Sebastian of The Lovin’ Spoonful and singer-songwriter Valerie Carter, as well as some stunning animation for the infernal B.L. Zebub.

Those looking for more on The Devil and Daniel MouseRock & Rule, and the failed early efforts of Nelvana to achieve its own commercial and artistic independence should consult Keir-La Janisse’s excellent essay “A Song from the Heart Beats the Devil Every Time: The Fear of Selling Out in Nelvana’s The Devil and Daniel Mouse and Rock and Rule” in Gina Freitag and André Loiselle’s The Canadian Horror Film: Terror of the Soul.

Josie and the Pussycats (Deborah Kaplan and Harry Elfont, 2001)

Designed for the film lover in mind, SHOUT SELECT shines a light on films that deserve a spot on your shelf. From acknowledged classics to cult favorites to unheralded gems, SHOUT SELECT celebrates the best in filmmaking, giving these movies the love and attention they deserve.

LONG TAILS AND EARS FOR HATS!

Re-discover the Pussycats, Josie (Rachael Leigh Cook), Melody (Tara Reid), and Val (Rosario Dawson), three small-town musicians with big dreams but little future! The chance of a lifetime arrives out of the blue when Wyatt (Alan Cumming) of MegaRecords signs them to an awesome recording contract without even hearing them play. Suddenly, Josie and the Pussycats are living life in the fast lane with sold-out concerts, chartered jets, a number one single, and global stardom. Their good fortune comes at price however and the Pussycats soon discover that they’re being used by their record label’s maniacal CEO Fiona (Parker Posey) to control the youth of America. Featuring a hit soundtrack of pop-punk songs and purr-fectly hilarious performances, Josie and the Pussycats is a modern cult classic about friendship, rock music, and capitalist conspiracies.

Special Features:

  • NEW HD Film Transfer
  • NEW “Back To Riverdale” With Directors Deborah Kaplan and Harry Elfont and Stars Rachael Lee Cook, Rosario Dawson, and Tara Reid
  • NEW “Here and Meow” With Singer Kay Hanley
  • NEW “In Through The Backdoor” With Actors Seth Green, Donald Faison, and Breckin Meyer
  • Audio Commentary With Directors Deborah Kaplan and Harry Elfont and Producer Marc Platt
  • Backstage Pass
  • Deleted Scenes
  • Josie and the Pussycats “3 Small Words” Music Video
  • Dujour “Backdoor Lover” and “Dujour Around The World” Music Videos
  • Theatrical Trailer
  • Production Notes

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The In-House Carol (Brad Neely, 2009)

I feel like 2018 is the year that the internet had enough of people saying that Die Hard (John McTiernan, 1988) is a Christmas movie and I’m thankful. Don’t get me wrong; I love me some Die Hard but the self-congratulatory smugness of the Die Hard-as-Christmas classic declaration had its day long ago. To both celebrate and hopefully memorialize this effort in a once clever and now tired idea, MMC! wishes everyone a safe and happy holidays with Brad Neely’s 2009 Baby Cakes short, The In-House Carol, a crudely fashioned and hilariously daft portrayal of Die Hard love gone too far.

SEASON’S GREETINGS TO ALL!!!