There really never has been stunt like Tom Cruise’s dry hump of an Airbus while taking off from the ground and rising to 5,000 feet. It’s a ballsy move with a great payoff. As the subwoofers in the cinema kick in and Cruise’s little legs kick out behind him before the ground drops away in a heartbeat you’re thrilling not just because a movie star is doing this but the way that it is shot because the movie star is doing this. It is worth every penny of insurance money they must have paid. Rightfully so Paramount have made it the lynchpin of their media campaign from Tom Cruise endlessly talking about the stunt in interviews to it being the star of the teaser trailer and the teaser for the teaser trailer. The first poster featured the stunt with no interest in plot or co-stars. Yet even ballsier than doing the stunt itself is putting it in the first five minutes of the film where its link to the rest of the plot is minor at best. The message is implicit “You ain’t seen nothing yet folks.” And you haven’t. While it might remain the most spectacular stunt of the film there are three major set pieces to come with my personal favourite being the assassination plot at the Austrian Opera House. Beautifully choreographed to set up the space for the audience we see Hunt dangle above the stage of the opera Turandot in a dangerous tousle with a much larger opponent running out of time and options to stop a two pronged attack on a political leader. The beautiful aria Neesum Dorma is used to both ominous effect here as we near the climax of the piece and later as a poignant background music around the central connection between the two lead characters of Ethan Hunt and Isla Faust.

I suppose I should explain the plot but at this point these films survive on mood, performances and yes set pieces. Caring about Ethan Hunt seems almost inconsequential next to whether the car chase through Casablanca was shot well. Maybe because Ethan Hunt is really Tom Cruise and whether you like Mission Impossible depends on whether you like the Cruise persona. For my money only Simon Pegg shows up playing a character with heart and personality. I suspect this is why he gets the lion share of the support work. The rest are stand ins for roles. Ving Rhames the old friend who is loyal to the end. Jeremy Renner the stressed bureaucrat working the angles for his friends from the inside. How six years can make a difference? There was a time perhaps when Cruise would’ve been getting pushed into this role and Renner would be the star of the film especially given their age difference but I guess then The Bourne Legacy happened. Alec Baldwin earns his paycheque with a speech about Hunt that is either wonderfully tongue in cheek or stupendously over the top delivered straight and with gravitas in the way only Baldwin can. The villain appears fleetingly making the audience share the elusiveness Hunt feels for his prey. Right until the end the film lays breadcrumbs that Ethan Hunt the physically adept hero who has always beaten his opponents maybe outsmarted here.

I guess I still haven’t mentioned the plot. Before I do that may I just say that a Star is Born! Rebecca Ferguson plays the aforementioned female lead of the film, Ilsa a spy whose loyalties remain in question throughout the story. The camera lovingly lingers on her long lean legs coming out of an immaculately constructed ball gown but also frames her face capturing a thousand words unspoken in her meaningful but mysterious gaze. The script makes her the equal of Hunt in several showdowns and Ferguson herself sells her fight scenes and engages in two stunts with Cruise that back this up. It seems more than coincidence that all the middle aged male stars of previous entries could make it back but Maggie Q and Paula Patton were unavailable and it is disappointing but neither of those actresses ever made as big an impact in their roles as Rebecca Ferguson does here. God help me if they don’t bring her back in the sequel, hell she can even have her own spin off if she can bring herself to do another one with all the great offers she should get because Goddamnit ladies and a gentleman a star is born!!!

Beyond being Hunt’s equal, there is an elegantly understated romance at the heart of the film. Hunt can’t trust Isla for most of the film and previous entries in the film have seen Ethan turn his back on romance for the greater good. Isla suggests to Hunt later in the film when the stakes are getting high that they can run away together. They’ve paid their dues and there will always be another mission. This may be his last chance at happiness. The film may not go into depth about this but an exchange of looks between them later speaks a thousand words. They make their choices.

There’s something incredible meta about what each Mission Impossible film has been and where it has landed in Tom Cruise’s career, the first back in 1996 was Cruise’s first stab at a franchise and being an action hero, Jon Voight got the drop on him in a fight scene and at the dawn of CGI in blockbusters the finale involving the Channel Bullet Train heavily relied upon such effects but it also showed Cruise doing real stunts in some of the best sequences. 19 years later and Cruise’s biggest movies are his action movies at a time when maybe he should be slowing down and acknowledging his age. When the character Ethan Hunt is left to ponder how long can he keep up this line of work and keep serving his government loyally when they fail to reciprocate that loyalty there’s another layer to it. As are the jokes about Hunt’s capabilities but also limits. Whatever ego Cruise shows in real life, as producer and star he wisely pokes fun at the supposed invincibility of his hero. 

I never did get to the plot but not to fret. Mission Impossible 5 is mostly style over substance, well cast, excellent set pieces and exotic locales. What little character motivations there are shown is mostly in furtive glances but what glances. Hell do a whole super cut of Rebecca Ferguson looking down the lens of the camera and I’ll watch it. Did I mention a star is born?! The first entry is still the best film of the lot, however both my frustrations with this entry and my love of it give rise to the same feeling and that feeling is…I am quite looking forward to Mission Impossible 6. Well done Mr Hunt. Mission Complete.


 -Lloyd Marken

When Legends Retire: David Letterman

David Letterman announces that he will be retiring from the LATE SHOW with DAVID LETTERMAN on the broadcast tonight, Thursday, April 3 (11:35pm-12:37am, ET/PT) on the CBS Television Network. Photo: Jeffrey R. Staab/CBS ©2014 CBS Broadcasting Inc. All Rights Reserved

David Letterman announces that he will be retiring from the LATE SHOW with DAVID LETTERMAN on the broadcast tonight, Thursday, April 3 (11:35pm-12:37am, ET/PT) on the CBS Television Network. Photo: Jeffrey R. Staab/CBS ©2014 CBS Broadcasting Inc. All Rights Reserved

When legends retire, you stand up and you applaud. For the past month of shows the audience in the Ed Sullivan Theatre have been rising to their feet as David Letterman walks out to do his monologue at the beginning of what are to be the last episodes of The Late Show with him at the helm. The monologues are not the strong suit of the show and five minutes later only one good guffaw may have been unleashed. Still they are on their feet clapping. Most likely not for the monologue or even the show to come. Most likely not for the guests on that night. Possibly not even when things are going particularly well. No they’re rising to their feet and giving a standing ovation for over 6,000 shows over 33 years. A lifetime of memories that Letterman gave us from a lifetime of work. They’ve come from around the country, most are long-time fans, and they’ve paid money, booked tickets and waited outside. They haven’t done this for nothing. They’ve done this because they want to see the man in the arena either one last time or for the first time because one more times are fast running out. A pilgrimage to let the man know it mattered, what you did mattered and we are grateful. Part of this is nostalgia and sentiment for time passing. Would we have appreciated him signing on for another year of not being Jimmy Fallon or Jimmy Kimmel? But the outpouring of love and reminiscing runs deeper.

Letterman’s origins come from so long ago we kind of take for granted how much he changed the comedy landscape. Tenure gives you respectability as Letterman has pointed out adamant that he is no Johnny Carson but Judd Apatow, the two Jimmies, Conan, Jon Stewart, Ray Romano, Stephen Colbert to name a few have cited the importance of how 80s Late Night show changed everything. The hyperbole of the moment includes Late Night television will never be the same. You hear laments about how talk has left the genre of talk shows. So it’s important to remember in September there is going to be a lot of buzz devoted to Colbert’s arrival as the second ever host of The Late Show and the ensuing interest to see if Fallon can stay No.1 and if Fallon remains king what will this mean for all the new players.

Time marches on and the world continues to turn. In a moment as we all get misty eyed about Dave and his achievements it’s easy to forget sometimes that he’s been a little lazy in recent years, a little a bit of a prick to people who didn’t deserve it, a little too awkward around young starlets. So why the love? Seriously is it all for the revolution that was Late Night in the 1980s? I mean why didn’t Jay Leno get this much press last year? Seriously he didn’t. 22 years at the top in the ratings, far nicer to people and probably on average funnier moment to moment than his rival. Partly this was due to the fact that Leno had gone away before and come back but also because critics have never loved Leno as much as Letterman.


Maybe it’s because Letterman is 33 years of Late Night, the last link to an age when Johnny Carson was still on the air. Conan O’Brien has become the elder statesmen and he is only has 11 years to go to match Dave’s record, Kimmel has 20 years, Colbert has 20 and Fallon has 27 years to go. Although television as we know it going to be around in 2022 let alone 2042. They might make it and hell if any goes with 20 or 25 in the bank it will deserve our recognition. However this is about more than longevity. It’s about more than all that the gap toothed youngster did in the 1980s. All this love is about Dave.

I’ve been watching David Letterman since 2001; I was a university student living in public housing in Australia with a TV and five channels. In the middle of the night if you didn’t want to watch Tony Robbins infomercials The Late Show was it. This was before torrents. Before YouTube. Before cheap DVDs. I had seen Jay Leno on my parent’s cable and thought he was funnier and nicer. Kevin Eubanks seemed more hip than Paul Schaeffer and the bigger stars seemed to be on Leno but this was nothing else on so I watched. Then something funny happened. One night I was over at my parents place and I asked my siblings to turn the channel over to him at the allotted time. They didn’t get it. They mocked it but that’s when I knew, I was a fan.

Was dropping random objects in a giant water tank mesmerising television? No it was not. As sexy and talented as a grinder girl was I don’t think I needed to see her that many times or hula-hoops lady either but stagehands Pat and Kenny reading Oprah transcripts –that never got old.

Alan talking sexy to the camera. Love it.

When Biff yelled out at a jogger with a bullhorn “You’re going to die anyway.” While passing by in a car I laughed so hard.

Letterman himself played over and over a clip from a Gap Jeans commercial just because he liked the girl in it. Given at the time he was 30 years her senior that is perhaps a little leery for today but it spoke to my youthful hormones and on some level you knew Jay wasn’t doing stuff like this. Dave was the rebel and as the years ticked away that became why I loved him. When you think about some of his best interviews some of the ones that immediately come to mind were distinctly unpleasant. Letterman would milk the awkward tension and unpleasant vibe for all it was worth.

A personal favourite was Paris Hilton coming on the show after her time in jail.

I’ve seen the clips of Cher, Madonna, Andy Kaufmann and Harmony Korinne from before my viewing time as well. They’re all solid gold as well as any number I watched live with Bill O’Reilly though they have mellowed around each other somewhat.

Regis Philbin who was an unknown to me here in Australia has been on the show more than anybody else for a reason. Some of the best shows Dave had were with Regis. Just two old guys on a couch arguing like an old married couple.

But other interviews I’ve loved with Letterman had nothing to do with awkward pauses and glib putdowns. If Dave has become known for openly showing disinterest in the parade of young stars with repetitive products to shill he has become the go to guy for former Presidents, current politicians, war heroes and journalists to be interviewed by.

Some of the celebrity ones have been stellar.

I’m not interested in pointing the finger at younger rivals and complaining that they can’t do this. The Dave of Late Night couldn’t have brought gravitas like the Dave of now. They can grow into it just like he did.
Yet Dave does bring something only he can. I don’t know if it’s the Midwest in him or his interest in wordplay but there’s something deeply unique and profoundly simple in the some of the way he talks about things. On Robin Williams he described his comedy force arriving at the Comedy store in comparison to the other comedians. “We’re like morning dew and he comes in like a hurricane.” When jousting with Bill O’Reilly “You’re putting words in my mouth just like you put artificial facts in your head.” Or when returning to the air after September 11, 2001 “We are told these attacks were carried out by zealots fuelled by religious fervour and if you live to be 1000 years old will that make any sense. Will that make any Goddamn sense.”

Johnny Carson tucked America into bed for 30 years. If nothing else David Letterman did it that night. He still has that power. Letterman was the last to return to the air after Robin Williams’s sudden suicide and we waited to see what he would say about the man he had known for 30 years having passed away. By recounting the early days of the Comedy Store he acknowledged the extraordinary talent and generosity of the man. There was no homespun homily either. After a clip throughout the years he closed with “I had no idea the man was in so much pain, that the man was suffering. Robin Williams what a guy.”

David Letterman doesn’t lie. This is troublesome when he’s bored by someone you or the populace likes. Yet that brings its own reward. When at 67 years of age he bounds onto the stage and says the indie rock band playing was good you know he means it. When he introduces a guest as the very funny or the very talented it’s high praise.

Not lying allowed him to interview Warren Zevon and not gloss over then fact that he was dying. Zevon is a musicians’ musician who amongst other hits wrote and performed Werewolves of London. But in 2002 when Dave has Zevon it’s fair to say he wasn’t the biggest star in the world. Long-time Letterman fans knew him thought from multiple appearances including sitting in for bandleader Paul Schaeffer. He devoted the whole show to him and me who didn’t know Zevon or their mutual history was mesmerised. “It’s lung cancer.” Zevon told him and David responded “That’s tough.” with a heartfelt grimace having gone through a quintuple bypass a couple of years earlier. Mortality was circling the now middle aged rock’n‘roll baby boomers.

You can hear a pin drop in the clip as the audience goes deathly quiet. Zevon cracks wise throughout the interview and looks great if a little thin but does not shy away from what is happening. Death is a part of a life but seldom is it dealt with on television with such authenticity. It is here. Hear Dave’s voice crack when he tells “Stop it Paul” who is offering Warren to play the songs in any order. Warren Zevon performs three songs on the night and while his voice can’t quite ascend to its full range during the ballad Mutineer he is right on point throughout his last public performance. Looking over at his fellow musicians in recognition and thanks at the end of every song I am always moved by the concentration on every band member’s face as they nail the horn finale of Mutineer.

During the interview Letterman asked Zevon if he knew anything about life that he did not know yet. Zevon answered “To enjoy every sandwich.” The sentiment is so simple and so profound it shows the similarity of their two sensibilities. At the end of the final performance Letterman strolls over and advises Zevon and us all to enjoy every sandwich.

It immediately spoke to him and he repeated the exchange in a tribute show to Zevon the following year when the news came that he had passed away. It was a lovely touch earlier this month when a cover of Mutineer was played and Letterman mentioned Zevon by name after. That whole show was just so real and I pray to God that tradition is maintained in the late night shows to come.

Not lying has brought him forgiveness too. Coming clean about having an affair with staff was an incredible low point. I used to watch Stephanie Birkitt on the show that is a few years older than me and I had a big crush on her. We’ve all got our own sins to make up for but I am pleased to see Dave trying as much as the rest of us, maybe even more and while it’s none of my business I hope Regina is now happy and at the time gave’em hell. I hope Birkitt and also those affected will be allowed to get on with their lives from this moment. But when Dave says he did a terrible thing and he has a lot of work cut out for him it kind of makes me happy to still count myself as a fan.

I just like Dave. But I also like the entire crew that he has brought in front of the camera. Rupert Jee from the Hello Deli, the aforementioned Alan Kalter, Pat and Kenny, Biff Henderson. Then there is Paul Schaeffer. Paul Schaeffer it turns out was just as hip if not more hip as Kevin Eubanks. He’s backed some of the biggest names in the business on the show and made some of the most magical musical moments on the show possible. Every night as the commercials have come and gone I have gotten used to the bands rendition of this song and that. I can’t believe they’re not going to be there anymore. This would have been more than an achievement but Paul has become one of the funniest sidekicks on TV even sometimes nailing a punch line as Dave searches for one. This supporting cast of characters has been as much fun as Dave has.

Yet it all does come back to Dave. When I think about my favourite bits from the last decade I usually recall stories he told at his desk in between the monologues and the guest interviews. One day he told a story of stealing the car keys of paparazzi following him while he jogged. When he threw the car keys away he closed with the line “I felt like Clint Eastwood.” Another story about a bear breaking into his house is a well-known classic

as well as the countless riffs on the Conan vs. Jay war of ’09

Last year when announcing his retirement he again was in story mode and it softened the blow beautifully while also making you realise the one thing you were going to miss most about him – that of the storyteller.

For two years I had Craig Ferguson and he became my favourite but he’s already gone. Maybe that’s a good thing because while I was still watching Dave these past few months have reminded me why Letterman was my Late Night host for all these years. I’ve seen a lot of clips of Johnny Carson and I get why 1992 was such a pivotal moment in American culture. Carson was everything. When Letterman says he is no Carson I understand what he means but Letterman is Letterman and that in itself is something special so let me put it out there in this little obscure part of the internet. Dave always feel free to come back and do anything you want big or small. It won’t taint your legacy and we’ll be happy to see you. Adam Sandler struck a nerve with me when he sang “Because you’re the king of comedy, my best friend on TV.”

When Craig Ferguson’s last show aired in the middle of the night I stood up alone in my living room in my boxers as Craig finished singing and the audience applauded. I smiled sheepishly knowing how stupid I was behaving but wanting to feel connected in some way.
No doubt I’ll be on my feet again this Thursday. Because that’s what you do when legends retire. You stand up and you applaud.

-Lloyd Marken

Two More Weeks with my Favourite Late Night Host Craig Ferguson

Two more weeks.

That is all you have left.

Two more weeks and then Craig Ferguson will no longer host The Late Late Show.

If ratings are anything to go by this is hardly the concern of most but a few.

I count myself as one of those proud few.

There I was one night recently lying on my couch watching Ferguson at 11:30pm and I just smiled. It had been a long long day and the sandman was at my door but I had held on, left the TV on. Because he’s my guy, it’s my show and I just smiled.

This is my Late Night TV show. My favourite. I only started watching two years ago when I got a digital TV. Maybe only a year ago did I discover all those old clips on YouTube and start mentioning to my friends that they should watch.

And now all too soon he’ll be gone and that will be that.

So it’s important to savour these last few nights of a truly unique late night talk show.

What do you get with Ferguson at the helm that you don’t get with my David Letterman, Conan O’Brien, Jimmy Fallon or Jimmy Kimmel?

I’ve been a long time watcher of Letterman who has the best interviews and the relaxed style of a veteran that can only exist by having been around. Watch him announce his retirement or pay tribute to Robin Williams, Jimmy Fallon the King of Late Night currently doesn’t have that gravitas nor storytelling ability. Fallon might grow into it. As a host celebrated for his boyish good looks, social media savvy and youthful enthusiasm people fail to notice he regularly acknowledges the history of the medium and seeks guests who are part of its rich history. Kimmel will keep Letterman’s snark alive and well. His comedy has edge and his most classic bits are just as newsworthy as any of the endearingly daggy games Fallon gets big guests to play. I really would have liked to have seen Conan O’Brien get a fair shake at The Tonight Show. I doubt that he would have been the success that Jimmy Fallon is now but for my money he is a better host. Conan felt like my generation’s Carson. He lampooned the things I knew and loved. He had the guests on that were my popular culture and his bits were just my sensibility.

But Ferguson…Craig Ferguson is my favourite. For starters I love double entendres, the more obvious the better and Craig has made an art of doing the obvious ones and doing several in an episode.

I love how he flirts with many of his female guests. Sometimes the way he fawns over how great an actress looks and then quickly mentions a male guest is looking good does raise concern of whether he comes across as someone who places too high a value on the way a woman looks. But he seems genuinely a fan of Shailene Woodley not just because she is beautiful but because she is smart and confident. While he happily flirts with someone younger like Kirsten Bell whose many appearances on the show have become legend because of their easy rapport, he is also flirts with peers like Robin Wright, Mary McCormack and Sandra Bullock and more venerable guests like Betty White. Some of the best bits have been when the women call his bluff and not only flirt back but confront him with doing something else. His nervous smile and clear discomfort with Kate Mara or Berenice Marlohe show he is happily married and out of his depth. Gwendoline Christie who plays Brienne of Tarth of Game of Thrones was on recently and is a great example of this. For a woman I know for being dressed up in armour, being stern and heroic and noted for her height it was a fantastic change of pace to see her being sexual and funny.

Secondly I love the zaniness of the show. This might have cost him in the end a shot at the 11:30 timeslot but that race had probably already been lost when Geoffrey Peterson and Secretariat became permanent fixtures. He has great chemistry with Josh Robert Thomson who voices, wait for it, The Gay Robot Skeleton Geoffrey Peterson. Yes Craig has a skeleton mannequin off to the side of the stage and also two guys in a horse suit named Secretariat off to the other side in a stable. I figured this was pretty weird but hardly off putting in this day and age. So imagine my delight when I found my baby boomer mother was put off by Geoffrey. “He’s a symbol of death, it’s kinda creepy.” She’d tell me. No offense Mum but your discomfort kind of makes Geoff and Craig just a little bit cooler and I thought at 34 I was way past these delights. Ferguson stated in several interviews that Thomson and him will be working together in the future. I’m not surprised. Often the best lines of the night belong to Geoff Peterson and not in a threatening manner to the lead host. Part of their act is essentially Ferguson throwing to Peterson for a punch line or at least to help him build to one. At least twice every night when a joke stalls Peterson pops in one that did work a few minutes before but in a mocking manner as if the show really never pulls off anything.

That’s part of the appeal for me too. Since the show airs at 12:30 at night in the States it’s like a best kept secret. It’s production values look cheap and half the time it’s guests are B-Grade. I cannot back up if this is actually true but the impression they try to sell is that Craig comes out and rather than do a monologue written by ten writers and put on cue cards he rattles off a few points of interest from the day and see where it takes him. This means when everybody else is referring to Governor Christie or the Presidential elections Craig might be mentioning an obscure International Day of…  There’s a devil may care attitude to proceedings and an acknowledgement this late in the game that the people watching aren’t mainstream America but fans most of which aren’t casual viewers. You either get this or you don’t and if you get it you’re not normal-you’re one of us. That’s a terribly nice feeling when you sit down to watch something. If you think you’re odd, you’re not alone and maybe you’re a little bit cool because you get it and not everybody does. The opening number written and performed by Ferguson implores you to stay up and that you’re part of a group. It’s hard to stay up. It’s been a long long day and the sandman is at your day. But hang on. Leave the TV on. And let’s do it anyway.

Let us do it anyway.

The show follows a standard format. Monologue (kinda), a section where Craig reads tweets and e-mails from viewers while riffing with Geoff, interview 1, interview 2 and finally a summation of the night with What Did We Learn on the Show Tonight Craig? I’ll admit that I look forward to the monologues and tweets and emails reading most nights. The only difference between the two is the stimuli and that he stands up for the monologue and sits down to read the e-mails and tweets from viewers in the second one. Both rely on repeated jokes that are told every week and appear to be adlibbed by Ferguson and Thomson to hopefully come up with a punch line that will be successful enough to end the segment on. When you think about it, this is gutsy live performing that is a wonder to behold. Nobody else does this. Everybody else had monologues that are polished, topical and get smaller laughs more often. Craig and Geoff crack me up though and there’s an energy that comes from the comedians themselves not knowing how they are going to get to where we’re headed. It’s two mates basically trying to crack each other up.

The interviews can be hit or miss but it’s not because Ferguson is a bad interviewer. Ferguson is interested in ideas and owing to the later start time he gets on people that don’t have to be big celebrities. Novelists, old comedians and the former Mayor of Reykjavik sit down on his couch and not just to plug some product but to merely tell their story. His interview with Reverend Desmond Tutu won him a Peabody Award and he had a whole episode where he discussed a range of topics with Stephen Fry. The latter being a tribute to the former format of the show under Tom Snyder who really did a TALK show. When somebody sits down for an interview he asks the kind of random casual questions you’d do with a friend you haven’t seen in a while or stranger you just met at a party. He infuses every interview with a sense we can talk about anything. Many years ago he had an interview with Alec Baldwin and he read his cards for the interview which were prepared by his staff. The first question was “How have you been?”  He tore up the cue cards and has made a point of doing so ever since.  Anthony Hopkins talked to him about being in the army not so much his latest movie. Kevin Bacon talked about his Mum’s cooking not so much his new TV show. Shailene Woodley talked about pipe smoking and Matthew McConaughey about acting and Don Cheadle about colonoscopies. Ferguson will rope in things going on in his life at the moment like becoming a vegetarian or a new love for British TV show Foyle’s War or an incident of road rage. They often feel like genuine conversations with people he is either friends with or is getting to know. I doubt this is true but that’s what it feels like. So much so that I am surprised when I see them show up on other talk shows. Kevin you bitch?! What will Craig think? Why didn’t you ever do a Footloose re-enactment on his show? Yeah silly I know but that’s how friendly they sometimes seem. If the guest and him are struggling to find a focal point he may pull out his pipe and pretend to be a therapist. This works on so many levels. First off it mocks the LA mentality that everybody, especially rich famous people, are seeing a therapist. Secondly it invites celebrities to talk about their secret fears, hates or dreams. To share something real and personal. Thirdly in a very real way it has gotten quite a few quests to mention they have done therapy. This has opened up to a wider audience however subtlety that everybody goes through a range of issues of emotions in their lifetime and if you need to see a therapist then you are not the only one. While we’re on the topic of acceptance having a gay sidekick however not real is a step in the right direction too. There may be a lot of play on word jokes but honestly after you’ve heard of Geoff’s active sex life isn’t this making more conservative people used to hearing about a gay person having an active sex life. Yes I know he’s a skeleton and he’s not real. I still love him and still think it’s a relevant point. A mainstay of the show is him closing with an awkward pause. Like a lot of gags they can get too repetitive but there’s something comforting in the repetition and most times it leads to something amusing if not hilarious.

I think it’s high time we get someone on Late Night who isn’t a middle aged white guy and I’ll tell you why. Because while Ferguson is those two things he is also a Scotsman and that alone has brought an outsider’s perspective to proceedings. He’s well-travelled, well read and refers to pop culture that sometimes Americans don’t know about. The aforementioned Foyle’s War and Doctor Who for example. He’s taken the show on the road to New Orleans, Scotland and France. There is something wonderful in that. The idea to introduce your audience to large ideas, a wider world and obscure entertainment that nobody else knows about. Compare that to a company man like Fallon who only mentions what’s coming up next on the show this week.

Finally I just like Ferguson. He’s not mean like Letterman or Kimmel can be. But he’s more real and honest than Fallon and less zany than O’Brien.  In the serious moment of the show he talks about his aim to be honest with everything he does with the show. That kind of nobility can only come from a man who’s lived life. The son of a postal worker and a teacher. A former punk rocker who became a stand-up comedian who worked odd jobs including bouncer and construction worker. A Scotsman who brings an outsider’s perspective to Americans and yet as a newly minted citizen has an idealism and deep love for his adopted nation. A man who is well travelled and well-read who in between the smutty humour will quote Kaufman, Beckett and Freud. An actor who I remember fondly playing Mr Wick on The Drew Carey Show, an author and a screenwriter. A doting father and happily married husband who knows the pain of divorce. An alcoholic who hasn’t had a drink in two decades. This all informs his act and beneath the scramble to make you laugh is a determined journey to make you engage.  Even I can recognise that Craig makes it a little bit about him sometimes but in doing so it draws us in as viewers and I believe has drawn in some of his regular guests. Mary McCormack a regular spoke on last night’s episode that she loved when he spoke about his Dad. He said he’s never gone back and watched it but at the timehe just had to do it. It was almost ten years ago when the show had been on the air for a year when his father passed away and he talked about his father in the opening monologue. It says something about how real that love and loss is and it was about his father and not him when he says he’s never gone back to look at it. As soon as I got into Ferguson and read up about him I immediately youtubed it. Fathers and sons are a particularly pertinent topic for me and this did not disappoint. He talks about a man who loomed large in his life and that he looked up to. A man who was tough and taught him right from wrong but also looked out for him. The man couldn’t let his father pass without acknowledging it and the same was true after the Colorado shooting or the Boston Marathon Bombing or his mother’s passing.

How could he make us laugh when something sad had happened? He had to be honest in that moment and about how he felt. His feelings are faultless because in remaining true to how he felt he has honoured the dead. That honesty was even more powerful and profound when he spoke about his alcoholism in the wake of Britney Spears being carted off in the back of an ambulance with a shaved head. Here was someone famous and wealthy who couldn’t keep it together and so was throwing it all away. In our ignorance we may have judged her a little for risking it all through bad decisions. You can’t beat this rap with money Ferguson said and then wished her good luck. To not hop on the band wagon with such insight into addiction and some courageous openness about his own past sealed the deal. Craig Ferguson is my favourite and I will miss him when these two weeks are up.

Plus Puppets.

The Absurdly Appropriately Titled ‘About Time’


Richard Curtis was recently on The Late Late Show with Craig Ferguson.
The two of them go back a bit to when Ferguson was large alcoholic comedian and Curtis was the writer of the Blackadder and Mr Bean TV series.

Surprisingly their patter was strained. Ferguson made jokes at his own expense about times when he was suffering from his disease. Curtis at one point said I believe quite genuinely “I’m so happy to see you doing so well.”

Curtis understood the need to be funny on the late night talk show but he couldn’t trivialise the depths Ferguson had recovered from nor the heights he had scaled since. It revealed a part of his nature that has been evident in his work since the beginning. Curtis can do funny but he is quite prepared to acknowledge the harshness of life as he did in the interview and as he has in his work.

Curtis was the writer or arguably the best romantic comedies of the past two decades, certainly of those from Great Britain.  Four Weddings and a Funeral, Bridget Jones Diary, Notting Hill and Love Actually all contain themes of courtship and the trend continues in his new film About Time. Curtis has publicly stated this could be the last romantic comedy he directs. Like Clint Eastwood’s last western Unforgiven, Curtis approaches this film as if to make a final point on the sub-genre that he helped establish. Dormhall Gleeson plays a young man who on his 21st birthday is told by his father that the men in the family can travel through time to any moment in their lives. They just go hide in an enclosed dark space (preferably a closet ) and concentrate really hard. Tim decides he will use this gift to find love. We follow him as he falls in love with the lovable Mary played by Rachel McAdams. Their courtship takes up the first third of the movie and the hook of the trailers has had Dormall doing over awkward date mistakes. Stuff up the first time you have sex. Go back and do it again. Say the wrong thing when meeting the in-laws for the first time. Go back and do it again.

These scenes contain the bulk of the wit that the British writer has shown in abundance ever since the Blackadder series. Yet Curtis as hinted at by his interview with Ferguson is aware of the tragedy or pathos of life as well in his work. . ‘Four Weddings’ as it is often shortened to, after all also had A Funeral. After making us laugh all throughout Blackadder Goes Forth with over the top characters the series ended with a poignant reflection of what happened to so many on the Western Front all those years ago.

His most ‘ROMCOM’ romantic comedy Notting Hill still has a close friend to Hugh Grant’s lead confined to a wheel chair following an accident.

His ensemble masterpiece Love Actually features several people recovering from or tempted by adultery and the human cost this entails. Not to mention a father and son grieving over a premature death and a sister making sacrifices in her private life to be there for her brother who needs her. Life is not pub fist fights, spectacular cross country road trips and Vegas skydiving. Instead of being full of James Bond derring do life’s most dramatic incidents can be car accidents and hospital visits that can knock the trajectory of our destinies away from us. His heroes and heroines don’t kiss for the first time in front of the Eiffel tower but in a back street of Notting Hill or a small cafe in Spain and it’s just as spectacular and romantic because it’s our lives.

The film is a Richard Curtis film as we’ve come to expect but by adding an unusual sci-fi element of time travel Curtis now in the middle of middle age goes deeper.

Here even before the courtship of Tim and Mary we are introduced to the family and given the set up for pay offs later on. The pathos will go deeper this time because we see the whole journey. The zany free spirited sister Kit Kat played by Lydia Wilson  for example may be zany for more than one reason and it could be masking deep hurt. On The Late Late Show Curtis casually remarked “It’s about the meaning of life.” masking the accuracy and profoundness of this statement.

The film gives way gradually to what happens after you fall in love. When you build a life with someone and have children. Children are of course the rebirth of the line that you are linked to through your parents. As the circle of life rolls over one must give way to the other. All of that is on show in About Time…yes people there will be a wedding and a funeral.

McAdams is one of the most wonderful actresses working in Hollywood today but she’s been stuck as the love interest too much ever since The Notebook. (A great turn in career comedy Morning Glory playing off two vets in Harrison Ford and Diane Keaton rather than her love interest failed to register with audiences). Notable exceptions include when Woody Allen invited her to play against type in Midnight in Paris and when she held her own against Sherlock Holmes.

Here she is the girl again, super cute and a little feisty but she gets to play new notes as a Mum and see the warmth in her as she sits next to her sister in law and agrees she needs to make a change to her life.

Dormhall Gleeson is so subtle in his performance here that you may take for granted how easily he slides from awkward teen to concerned brother to doting father. He provides voice over narration that never oversells anything and yet easily recognises the beats of our hearts. It is because of him that we feel this family of his is just like our own. We may not recognise every personality type but we do recognise the love they share for each other.

You will laugh out loud as Tim slyly comments of another would be suitor being a dick literally minutes of screen time after we have seen him distressed in an alternate time line after being usurped by this man as her established boyfriend.

Yet notice how his stern and yet frightened gaze directed at his sister’s boyfriend is years away from the boy who squirts sunscreen all over the back of a girl he is trying to woo.

I have no doubt the time loops and logic are inconsistent as the film goes on. But to the people who would look to dissect I say wholeheartedly I couldn’t give a shit. The time travel element is a story device more than anything else. Logic aside there are some neat touches, one is despite Tim’s special power he cannot always get the outcomes that he wants. An obvious one  is if somebody doesn’t like him his power can do little to change that as displayed early on. However notice later on Mary tells him not to scamper off during a crisis. It hints that Mary is no fool and while she remains out of his time travelling some things are still becoming obvious. It’s a legitimate question to ask how can this man have this ability and not come clean with his significant other about it but watch the film and see Tim’s ultimate decision about time travelling and you may get why.

I never once felt this film didn’t present their relationship as equal, grown up and complex despite a scence where yes McAdams tries on twenty dresses before going with the first one. By the way the first would’ve been my pick too.

One montage shows the central couple in the first bloom of love walking through their local train station throughout various days. In one shot she twirls around as he holds her hand. Later we see frustration spilling out from within them and at each other after one of their kids has torn up a project for work. Late night dates will give way to people being grumpily woken up following nights apart because someone has something ‘reaaallly’ important they need to discuss with you. The fumbling of first time sex will give way years later to jokes about whether it should be done tonight or not.

My God we do twirl around in those first few heady days but because of that a hand being held all that time later at a funeral by the same person lets us know of a different passion, a different love but one just as powerful and far more lasting. We are all twirling around train stations at some point, before holding hands in backyards and on beaches as the day goes by. Smiling without having to say a word. Maybe even on instinct spinning once more because you remember. Because some feelings don’t leave us.

One more thing. Bill Nighy who Curtis made a massive star out of with Love Actually here plays the father. Perhaps to right the wrong from The Boat That Rocked a film that touched upon fathers and sons but failed to choose Nighy to be the father nor to nail nearly as wonderful a depiction of that theme as this film does. I’m not giving anything away to tell you that the central relationship of this film is arguably not really between Gleeson and McAdams.

Nighy is an actor so beloved that when he shows up in a movie you can’t help but smile. His first line had me grinning even though he wasn’t saying anything funny. I was just so happy to see and hear him. Such an effect from an actor makes him perfect casting for the role of the father. The world loves Nighy and that love will give the film absolute weight later on when he tells Tim what he used the gift of time travel to do with his life. Because if you’re a father and you can travel through time that is exactly what you would do.

This is one of the year’s best.