RetroVox

’77 Granada for sale

nobody@vox.com(Jack Yan) — Fri, 04 Jul 2008 21:12:50 -0700

I was out at Nicole and Paul McKinnon’s today with my friend Cas, and I can now, with their permission, mention that the 1977 Ford Granada (left-hand drive) that was featured on this blog a few weeks ago is for sale, so that they can get a car for the family. Please contact me if you are in New Zealand (or even if you are nearby and you want a Granada) and I will hook you up with Paul. The car is in quite good condition and the interior is original. It has a 302 in³ V8.

Paul’s ’77 Granada

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Memorable ’70s New Zealand TVCs

nobody@vox.com(Jack Yan) — Fri, 04 Jul 2008 04:06:11 -0700

The youngsters at work hadn’t seen this 1979 TVC for Kentucky Fried Chicken before.

Kentucky Fried Chicken

However, the following TVC for Cadbury’s Crunchie is even older (1975) and they remembered it, due to its long run, even after the packaging changed. (There was a CGI version that updated the packaging—which is not worth talking about.)

Crunchie Train Robbery

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Park Avenue: from Michigan to China

nobody@vox.com(Jack Yan) — Sat, 28 Jun 2008 05:23:45 -0700

For some reason, I found the Buick Park Avenues of interest on Autocade today.

Buick Park Avenue (C-body). 1991–6 (prod. unknown). F/F, 3791 cm³ (V6 OHV). Attractive, roomy Park Avenue (the Electra tag disappeared), allegedly inspired by Park Avenue Essence show car of 1989. Characterized by darkened A-pillar. Supercharged Ultra model from 1992, but even base models had good performance. Thirsty, with sub-par steering and handling on base model. Not quite the top model, as Buick Roadmaster held that title for the early 1990s.

Buick Park Avenue (C-body). 1997–2005 (prod. unknown). 4-door sedan. F/F, 3791 cm³ (V6 OHV). Revised Park Avenue, roughly the same size as Buick LeSabre; now Buick’s range-topper in US. Sold on quality image and above-average ride; not a particularly inspired handler. Ultra models had thirsty supercharged V6. Portholes (Ventiports) returned for Ultra for 2003 model year. Final 3,000 called Special Edition.

Buick Park Avenue (WM). 2007 to date (prod. unknown). 4-door sedan. F/R, 2792, 3564 cm³ (V6 DOHC). Chinese-assembled version of Holden Statesman (WM), but with visual differences such as visually large grille, different bumpers, and no indicators and vents in wings aft of the front wheels. Smaller Australian-built 2·8-litre unit related to one from Cadillac CTS available on Chinese edition, along with 3·6 from Holden Commodore (VE). Otherwise mechanically similar to Statesman.

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Oldies, and not all goodies

nobody@vox.com(Jack Yan) — Fri, 27 Jun 2008 02:28:44 -0700

Not everyone in New Zealand has a brand-new car. At Bristol Motors in Upper Hutt, where I get my car serviced by Stephen Hamilton (one of the rare breed: an honest mechanic, ex-New Zealand Army), there are quite a few classics being looked after. New Zealand does not salt its roads, so many of these have been well preserved. I have blanked out the number plates of the cars shot indoors since these are not vehicles you would see passing by Bristol Motors’ building.

BMW 633 CSI and Hansa Coupé copy

Two Germans: a BMW 633 CSI (one of my old favourites from this company) and a Hansa coupé, from the now-defunct Borgward company. There’s a small plate inside mentioning Goliath-Werke AG, another name from the past. Next to them is a Bentley.

Riley

I am no authority on Rileys but I assume this is a 2½-litre model?

Vauxhall Velox convertible copy

Another rarity, a Vauxhall Velox drophead. A saloon version was parked outside:

Vauxhall Velox

If it were not for the SUV across the road, you’d have to ask what year this photo was shot:

What year is this

And finally, an Australian Ford LTD from the 1970s with a grille that aped Rolls-Royces and Lincolns:

Ford LTD badging

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Herbie lives

nobody@vox.com(Jack Yan) — Thu, 26 Jun 2008 04:21:08 -0700

Someone in Wellington must really love Herbie and The Love Bug. This is a Volkswagen Käfer done up with the perfect Herbie livery, it’s a 1963 model year (which I believe is accurate), and the interior trim looks right to me, too. The steering wheel is on the wrong side, but other than that, the detailing seems to be spot on.
I saw the driver once and I was tempted to shout, ‘Oi, Dean Jones!’
Which might get a better response than, ‘Hey, Lindsay!’

Herbie 1

Herbie 2

Herbie 3

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‘I dream of Gene Genie’—now download the Manc Lion

nobody@vox.com(Jack Yan) — Mon, 23 Jun 2008 19:12:51 -0700

Just been brought to my attention: your own downloadable Gene Genie cellphone illustration!

http://www.voeveo.com/images/wallpaper/81694

It’s Ashes to Ashes Gene rather than Life on Mars Gene. And, fortunately, not US Life on Mars Capt Gene Hunt of the LAPD.
I should also note that Voeveo is a Wellington, New Zealand-based company (as all the great internationals should be), one that has done well globally in spite of our government.

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It’s like I’ve landed on a different planet (yes, Sam, it’s Los Angeles)

nobody@vox.com(Jack Yan) — Fri, 16 May 2008 20:40:29 -0700

My name is Sam Tyler. I had an accident and woke up as an American. Am I mad, in a coma, or back in time?

Sam Tyler and Annie Cartwright US style

Here’s the first official image from the US Life on Mars, photographed by Vivian Zink for ABC. It’s not overly American in the casting department: Irish actor Jason O’Mara is Sam Tyler, Canadian actress Rachelle Lefèvre is Annie Cartwright. Not pictured is the other Irish expat, Colm Meaney, as Gene Hunt. What is interesting is the image confirms that Annie is a detective from episode one in the States, rather than a uniformed police officer.

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Life on Mars trailer—the American version

nobody@vox.com(Jack Yan) — Fri, 16 May 2008 22:25:27 -0700

Here’s the full publicity picture from US Life on Mars, including the American Gene Hunt himself (Colm Meaney), Sam Tyler (Jason O’Mara) and Annie Cartwright (Rachelle Lefèvre).

Life on Mars US

What is American for ‘You great, soft, sissy, girly, nancy, French, bender, Man. United-supporting poof!’?
Here’s another pic from the network:. Question: who’s the old dude on the left? Is this the American Ray?

Cast photo

   And, finally, the trailer, which is of great interest to me. Fans of the original, you’ll notice many things are repeated from the first episode in the UK, except the Americans drive on the wrong side of the road—so Sam stops his Jeep on the right side. (He is, interestingly, struck from left to right, too.) The suspect’s name, Colin Raimes, is the same, Sam’s girlfriend in the present is called Maya, and even the Life on Mars title card looks very much like the original with a few changes for US tastes. IMDB says Edmund Butt, who scored the original, has the same job this time around.
   Gene seems less tough in this incarnation though. Maybe Philip Glenister desensitized us?
   I was laughing through most of it (note the American VO with ‘Back in the nick of time’, used in the second series) but unlike most Brit fans, I am looking forward to this.

US Life on Mars trailer

Un pub pour la nouvelle série américaine Life on Mars, avec les photographies de publicité. Il y a beaucoup de similitudes avec la série originale britannique du BBC.

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A US Life on Mars (LA pilot) critique

nobody@vox.com(Jack Yan) — Fri, 20 Jun 2008 07:31:12 -0700

Life on Mars USA—well, let’s say it’s little wonder ABC wants it reshot and the leak is a great way to get comments from fans, many of whom have downloaded the unscreened pilot as made by David E. Kelley and directed by Thomas Schlamme.
   The storyline is identical to the original, which is not a bad thing, but the British media comments about the American version lacking something are not far off the mark. They are not being anti-American or unduly negative.
   First, some neutral comments: the LA setting does not annoy me. To me, New York City, especially Manhattan, is not different enough between 1972 and 2008 unless one heads down to Battery Park and some of the reclaimed-land bits. It should also shut up all those who moaned about the Bowie song not being on the TVCs (a “duh moment”—of course it would be in the programme but not in ads, and since when was the song in the British ads?).
   Now, the good points:

the second half does draw you in, even when you know what is happening;
re-elect Nixon posters on the high street;
no Nelson, replaced by a waitress pouring coffee at a cafeteria—good character, but Sam needs someone whom he can chat to;
a reference by Colm Meaney to Klingons;
Annie being a detective actually works; and Rachelle Lefèvre gives a good performance;
the briefing scene with Sam and Annie and the camera going around the performers;
sexism by a detective during Sam’s briefing (responding, ‘Her titties’);
the musical score (by Edmund Butt?);
Sam’s realization that Colin Raimes lives next door to Kenmore—well acted and directed;
final shot of Sam and Annie on the hotel roof with ‘Life on Mars’ playing is a different take on the original—and is quite nicely done.

And the bad points:

dull first act;
Sam tells everyone in the police station that he’s from 2007 so it gives no reason for him to have a closer relationship with Annie;
bad special effects for 1972 Los Angeles (though I assume these are temporary) and I can see modern cars in the high street scene where Sam goes into the record store;
Stephanie Chaves-Jacobsen is very pretty but I felt no chemistry between her and Jason O’Mara—while they are meant to be distant, I never felt Jason’s Sam Tyler cared for Maya before her abduction;
Gene Hunt is not foul-mouthed and not even politically incorrect except for the orientation (punching Sam) and abusing a woman helping with police enquiries;
generally no sexism other than the scene mentioned earlier—contrast this to, say, the movie The Taking of Pelham One Two Three, from 1974;
no racism (an Obama-for-president reference might be interesting if it’s remade);
Gene Hunt asking Sam nicely to join him for an interrogation—and lack of tension between the two beyond unconvincingly trading a few punches;
absence of humour;
no Chris and Ray, and Lenny Clarke is no substitute (I expect he will be recast);
not much in the way of contrasting 1972 and 2007 methods;
Sam’s 1972 arrival does not seem particularly tormenting to him and I was not drawn in to his feeling any confusion. Jason O’Mara almost seems too rigid and suffers in comparison to John Simm;
bland performances from O’Mara and Meaney—watch the scene when Beryl Raimes tells them about the music next door ceasing to annoy her and contrast it to the original—which can be blamed in part on direction;
certain lines copied verbatim from the original.

   I know the majority of people who will see the US one will not have seen the original. However, I believe it lacks a lot of sparkle and even cohesiveness and it could harm the series’ chances Stateside. The comparisons do need to be made: the success of Life on Mars was based on how deeply we were drawn in to Sam Tyler’s predicament. The American producers need to understand (if they don’t already) that it is possible to create that effect, but possibly with another director (with respect to Mr Schlamme).
   This first US version lacks that depth—and it is nothing to do with it being American.
   A remake prior to the fall début in ABC might not be a bad idea because there is room for improvement, especially for the underdeveloped Gene Hunt character and O’Mara’s rigidity.

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Life on Mars needs life

nobody@vox.com(Jack Yan) — Fri, 20 Jun 2008 20:06:29 -0700

I’ve rewatched the Life on Mars American pilot (the one which will not air) and it’s improved slightly on a second viewing, but not much. Some general comments:

Colm Meaney as Capt Gene Hunt

Colm Meaney as Capt Gene Hunt: Meaney is a terrific actor—he was brilliant in Layer Cake—and I thought he would bring that sort of demeanour to his Gene Genie. But apart from the orientation scene when he tells Sam it’s 1972, and threatening a witness, he’s plain nice. Even though he knows Sam claims he’s from 2007, he asks him nicely to interview a witness. He also doesn’t smoke, there’s no hint of him being the high sheriff of his domain, nor is there any hint of racism or homophobia. I had hoped he would evoke John Wayne in McQ or Gene Hackman’s Popeye Doyle but the man is given no room to be a “licensed hood” in the script. He’s certainly not ‘an overweight, over-the-hill, nicotime-stained borderline alcoholic homophobe with a superiority complex and an unhealthy obsession with male bonding’ as was described in the original series;
Jason O’Mara as Det Sam Tyler: rigid, and never feeling that much confusion over being back in 1972. With John Simm, we felt a sense of disorientation, but we don’t with O’Mara’s performance. O’Mara is a great leading man but shows none of the vulnerability here that I think the Sam Tyler role needs. I don’t know much of his work, but I believe he has that Celtic edge that’s needed to pull off the role well—but he needs better direction;
Rachelle Lefevre as Det Annie Cartwright

Rachelle Lefèvre as Det Annie Cartwright: playing the straight woman to Sam Tyler, it’s not hard to see why she was cast first by David E. Kelley. Her performance is about the only one I would rate highly, and it’s on a par with Liz White’s PW Annie Cartwright without being an attempt at copying her. Although her publicity shots are rather glamorous, the Rachelle Lefèvre in the programme looks more down-to-earth and real. Perfect.

My other comments about the overall storyline in the earlier post stand. It is missing something in the first half, but the second half and, in particular, the last act where Sam is in the diner to the rooftop scene with Annie are quite well done.

Rachelle Lefevre and Jason O’Mara in Life on Mars (unaired pilot)

It’s still mostly inconceivable that everyone in the department knows Sam thinks he’s from the future, yet no one throws him into the funny farm. There’s a veiled threat, not much more. The story lacks humour and there is little “how far we have come” about it other than in technology and location—the social commentary seems to have disappeared for a straight twenty-first-century cop show that just happens to be set in 1972. There is only one sexist line—but in a 1972 police department, one would expect much more misogyny. Heck, there was more in The Mary Tyler Moore Show.
I normally complain about network tinkering, but in this case I think it’s needed. I just hope the remake of the remake fixes the problems in Kelley’s Life on Mars, as some network types tend to worsen things. Simply having more dialogue with the creators—Graham, Pharoah and Jordan—might help, rather than the two hours Kelley reportedly spent. Even The Office in the US had the hand of Gervais and Merchant. Life on Mars needs help, because, put simply, it lacks life.

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