Upon its release this book was hailed as the greatest novel ever written about war. All these decades later, this book may still hold that honor.
The central figure of this novel is Paul Bäumer. This young man, who along with many of his classmates joins the Imperial German Army at the start of WW1. He learns how dehumanizing war actually is and becomes disillusioned with all he was brought up to believe.
There are plenty of great anti-war stories written but few hit as hard as this book does. This is a book that will move you greatly and stay with you long after you finish reading.
Much of the reason for this is the first-person narration of the story. Rather than simply telling the horrors of war, this is a deeply personal story of the effect it had on one individual. This makes the story feel all the more urgent and personal. By reading this from a first-person point of view, you see the dehumanizing effect of war firsthand. Our main character is instantly relatable being a person who is not that different from us. His normalness is at the heart of the story because at one time he is a simple relatable protagonist, while also being a stand in for all the young men who have been sent out to war and forever changed by it. This is especially shown during the scenes with Paul on leave. He returns to a world in which he once belonged and fit in. Only now, he finds himself no longer belonging or fitting into this world. By making him a bit of an everyman, you see how war changes even a normal person.
Erich Maria Remarque had fought in WW1, and he brings much of his own experiences to the main character's narration. Many have even referred to this book as semi-autobiographical. This makes all the difference. Even to those of us who have never fought in a war, this can easily be felt. It is obvious that there is a real feeling of authenticity and raw, honest emotion throughout the whole book. Though this is technically a fiction book, it is easy to forget that fact as you read. Because of this, the book here feels startlingly and terrifyingly real in a way that most anti-war stories don't. Remarque does not tone down or hide any of the horrors of war. They are all on full display here in a way that will make this story a haunting and emotionally exhausting way.
This is one of the all-time great literary masterpieces.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans singing a medley of Whispering Hope and Star of Hope. Whispering Hope beautiful hymn comes from the pen of Alice Hawthorne (the pen name for poet Septimus Winner), who is best known for her contributions to children's music with songs like, Where, Oh Where Has My Little Dog Gone? and Ten Little Indians. This lovely medley comes from Roy and Dale's 1973 gospel album, In the Sweet By and By.
This is followed by Jim and Jesse with If We Forget God.
Then comes Porter Wagoner and the Blackwood Brothers with The Family Who Prays (Never Shall Part). This cover of a Louvin Brothers classic comes from Porter Wagoner and the Blackwoods Brothers' 1966 gospel album, The Grand Old Gospel.
Country music has often focused more on the singers and the lyrics than anything else. That is why it is surprising that someone like Chet Atkins could make it as big as he did in Nashville. Chet Atkins was a guitarist rather than a singer and most of his output was purely instrumental. Yet his talent on the guitar can hardly be denied and he rightfully earned the nickname, "Mr. Guitar." His playing is a soulful and expressive as the voices of any of the great country singers. In 1962 Chet put out what I view as one of his finest albums, Chet Atkins Plays Back Home Hymns. This album is made up of instrumental versions of classic gospel songs. In this Cowboy Church post I have included his lovely version of Amazing Grace from this album.
Afterwards is The Louvin Brothers with O Who Shall Be Able to Stand. This self-penned song comes from the duo's 1963 gospel album, Keep Your Eyes on Jesus.
Now for the Hee Haw Gospel Quartet (Roy Clark, Buck Owens, Grandpa Jones, Kenny Price) with Keep on the Firing Line. Though they countryfied variety show first aired in 1969, the Hee Haw Gospel Quartet first appeared on the show in the late 1970's. Featuring regular members of the cast, this gospel group was one of the show's highlights for decades.
Today's musical selection ends with The Sons of the Pioneers with Leaning on the Everlasting Arms. This hymn began with a man named Anthony Showalter. As a fan of gospel music and an elder in a Presbyterian church, he held many "singing schools" at various churches in the south. One day he received two letters from former students who were struggling after their wives had passed. To respond to these letters, Showalter consulted scripture. He came across Deuteronomy 33:27, "The eternal God is thy refuge, and underneath are the everlasting arms." After reading this verse lyrics for a song chorus went through his head and he wrote down, "“Leaning, leaning, safe and secure from all alarms; Leaning, leaning, leaning on the everlasting arms.” After using this in the letters to his former students he sent this chorus to his friend hymnist, Elisha Hoffman. In the letter he also wrote, “Here is the chorus for a good hymn from Deuteronomy 33:27, but I can’t come up with the verses.” Hoffman then wrote the rest of the lyrics to which Showalter put to music. The hymn was published in 1887. Tim Spencer sings lead on this recording.
Now for the 20th episode of The Lone Ranger TV series.
Now for a message from the Reverand Billy Graham.
The Book of Philemon
1 Paul, a prisoner of Christ Jesus, and Timothy our brother,
To Philemon our dear friend and fellow worker— 2 also to Apphia our sister and Archippus our fellow soldier—and to the church that meets in your home:
3 Grace and peace to you from God our Father and the Lord Jesus Christ.
Thanksgiving and Prayer
4 I always thank my God as I remember you in my prayers, 5 because I hear about your love for all his holy people and your faith in the Lord Jesus. 6 I pray that your partnership with us in the faith may be effective in deepening your understanding of every good thing we share for the sake of Christ. 7 Your love has given me great joy and encouragement, because you, brother, have refreshed the hearts of the Lord’s people.
Paul’s Plea for Onesimus
8 Therefore, although in Christ I could be bold and order you to do what you ought to do, 9 yet I prefer to appeal to you on the basis of love. It is as none other than Paul—an old man and now also a prisoner of Christ Jesus— 10 that I appeal to you for my son Onesimus, who became my son while I was in chains. 11 Formerly he was useless to you, but now he has become useful both to you and to me.
12 I am sending him—who is my very heart—back to you. 13 I would have liked to keep him with me so that he could take your place in helping me while I am in chains for the gospel. 14 But I did not want to do anything without your consent, so that any favor you do would not seem forced but would be voluntary. 15 Perhaps the reason he was separated from you for a little while was that you might have him back forever— 16 no longer as a slave, but better than a slave, as a dear brother. He is very dear to me but even dearer to you, both as a fellow man and as a brother in the Lord.
17 So if you consider me a partner, welcome him as you would welcome me. 18 If he has done you any wrong or owes you anything, charge it to me. 19 I, Paul, am writing this with my own hand. I will pay it back—not to mention that you owe me your very self. 20 I do wish, brother, that I may have some benefit from you in the Lord; refresh my heart in Christ. 21 Confident of your obedience, I write to you, knowing that you will do even more than I ask.
22 And one thing more: Prepare a guest room for me, because I hope to be restored to you in answer to your prayers.
23 Epaphras, my fellow prisoner in Christ Jesus, sends you greetings. 24 And so do Mark, Aristarchus, Demas and Luke, my fellow workers.
25 The grace of the Lord Jesus Christ be with your spirit.
Thank you for joining me. Come back for another service of Cowboy Church. Happy trails to you until we meet again.
After the great Super Mario Odyssey, it was hard to image where the video game franchise could possibly go for a follow up. Somehow it was followed up by a game that was just as good, if not better.
The basic story of this Mario game is very simple. Bowser gets a hold of a magical wonder flower, that turns him into a powerful fortress. Mario and his friends (old and new), team up together to stop the evil Bowser.
There is so much fun to have with this game. Most every Mario 2D platformer has been a lot of fun (even if some are even better than others), yet this manages to stand as one of the best. The main complaint about other fairly recent 2D Mario games was their familiarity. As much fun as The New Super Mario Bros. games were, there is nothing in them that was new to the franchise. This game however is full of creativity. The levels themselves are imaginatively designed and tons of fun. Nearly every level also has a Wonder Flower which when touched changes the level or gameplay in some way. Each of these ways are incredibly creative and keep most every level feeling fresh and new. There are also badges you can collect. Like in the Paper Mario games, each of these badges gives you a different ability. However, you can only choose one badge to wear at a time. Adding this to a Mario platformer is a great idea and adds a bit of fun strategy to the game. There are also some new power ups (including one that makes you an elephant) that are very creative yet feel right at home with the classic powerups. Beyond the new additions here, this game also has lots of good old-fashioned platforming.
One thing that doesn't work here however are the Search Party levels. Advertised as puzzle levels, they really are anything but. In each of these levels there are hidden tokens around a small stage, and you have to find them all. This would be a great idea, if this game actually provided puzzles for you to solve to find each token. This is not the case here. You just jump around randomly until by chance you find something. This is not fun and can honestly get rather annoying. Luckily there are only four of these levels. The boss battles can also get repetitive as you simply fight Bowser Jr. over and over in similar fights. However, Mario fans have grown to accept things like this.
Hello my friends and happy Saturday morning. Once again, it is time for some classic cartoons.
Today's cartoon selection begins with the classic Disney short, Donald's Camera (1941). Bob Carlson animated much of the footage of the woodpecker. Studio publicity stated that Bob Carlson was an avid birder, making this a perfect casting choice. A review from an issue of The Film Daily (Dated October 24, 1941) called this "One of the best." The same review went on to say, "Packed with laughs this Disney Donald Duck short hits the mark for hilarious entertainment." This short film made its TV debut on an episode of The Mickey Mouse Club that aired on November 22, 1956.
Next comes the Fleischer Screen Song cartoon, Show Me the Way to Go Home (1932). The title song was written in 1925 by the songwriting duo, Jimmy Campbell and Reg Connelly. Other songs by the duo include If I Had You, Goodnight Sweetheart and Try a Little Tenderness (which they co-wrote with Harry M. Woods).
Now we join our friend Scrappy in The Pooch Parade (1940).
Next is the Columbia cartoon, The Merry Mouse Cafe (1941).
Now it is time for a commercial break.
I love of the cartoons of Chuck Jones from any period but there is something special about his films from 1942 and 1943. At this time, he was fully getting away from his slower paced cuter output of the late 1930's but had not yet gotten to the style of films he would make in the 1950's that everybody is familiar with today. So, what we get from output during these two years are cartoons that experiment with what you can do in an animated short. It doesn't hurt that he worked with such experimental artists as layout man John McGrew. Chuck gave McGrew plenty of freedom and what John accomplished in these movies is nothing short of amazing. This is especially shown in The Case of the Missing Hare (1942), where experimentation is seen in every moment. Just watch the abstract backgrounds that show a mixture of two colors at a time, but the colors change when there is a strong action in the foreground. This is something someone may not notice on their first watch, but it is something they can feel. A review in The Film Daily stated, "Here is another hilarious, the Leon Schlesinger creation that keeps growing in comic strength with every new release." I think anyone watching this cartoon today will recognize that the antagonist is not Elmer Fudd, but one reviewer from The Exhibitor didn't as in his review he stated "...this has Elmer, as a magician..." A review from the same magazine less than a month later stated, "Elmer isn't in this." The latter is right. A review in Variety called this "One of the better Bugs Bunny subjects."
Now for the Color Rhapsody cartoon, Ye Olde Swap Shoppe (1940). The following is a 1940 review from The Exhibitor. "A pretty good little entry in the color cartoon handicap. 'Ye Olde Swap Shoppe' lacks that certain something that would give it ranking with the top subjects. Three little mice frolic in and on various doo-dads in the barter shop. Good. (1511). L.S. M."
Next, we join Daffy Duck in Scrap Happy Daffy (1943). This short film marks Daffy Duck's last appearance in a black and white cartoon. It is also simply a delightful film. The short is directed by Frank Tashlin, who would go on to direct many live-action feature films. His Looney Tunes are some of the most cinematic and feature wonderful filmmaking. The use of editing and montage here are excellent and holds up quite well to many of the great live action films of the time. Yet this is also simply a very funny cartoon, including one of the funniest fade-out/fade-ins in the history of cartoons. This cartoon appears in Jerry Beck's book, The 100 Greatest Looney Tunes.
Now to close with a song.
Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry.
Resources Used
The 100 Greatest Looney Tunes edited by Jerry Beck
Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin.
Donald Duck: The Ultimate History by J.B. Kaufman and David Gerstein
What always comes to my mind with these live action remakes is does anyone actually rewatch them? I can't picture anyone buying the Blu-ray for this movie or even choosing to watch this on Disney+. The 2016 Moana still exists and why would anyone pick this over that wonderful animated treasure. This is a near shot for shot, line for line remake of the original. It is the same movie but without the charm and magic of the original.
Despite being a "live action" remake, a good deal of this movie is CGI. All the non-human characters are CGI and most of the environments are as well. This CGI looks incredibly fake. When you see these live action actors sharing the screen with the CGI characters and environments, they do not mesh together at all. Because of this the film never quite feels real to us in the same way that the fully animated one did. The worst offenders are Hei-Hei the chicken and Pua the pig. The idea of cartoony animal comic reliefs works perfectly in an animated film but much less so in a live action one. It doesn't help Hei-Hei and Pua are given extremely cartoony designs here (again something that works in an animated film but not a live action one). These characters simply cannot believably inhabit the same space as the live action actors. Because of this, whenever one of these characters appeared on screen, I was completely taken out of the movie.
Though Dwayne Johnson was perfectly cast as the voice of the animated Maui, he does not make a good live action one. The most obvious reason for this is not his fault. The wig and bodysuit he is wearing just simply looks silly on him. He looks like he is wearing a cheap Halloween costume. Like with the CGI characters, this just simply takes you out of the story. Also not helping is Maui's living tattoos. Every time they move, you have a close up of them and you don't get to see the rest of the character. In the animated version it is easy to believe this character has living tattoos. In this live action version, the cinematic trickery is so obvious that any sense of magic or fun is strikingly absent. Instead, we are just again taken out of the story every time one of these scenes appears. Meanwhile Dwayne Johnson’s performance simply feels phoned in most of the time. For much of the film, you feel like you are watching Dwayne Johnson instead of watching Maui.
There is still some enjoyment to be found here. Afterall, the basic story is still good, the songs are still fun and Catherine Laga'aia is a great live action Moana. Still, this is not enough reason to watch a movie that is still simply just a weaker version of a great movie that already exists.
This is just another lackluster remake. Come on Disney, you are so much better than this.
P.S. I think Disney made a big miscalculation by remaking a movie that is only 10 years old and had a sequel only 2 years ago. Though people love Moana, it is not old enough for anyone to have nostalgia for it. And nostalgia is the main factor in the popularity of previous live action Disney remakes. Without the nostalgia and with the original fresh in the mind of movie goers, there is no appeal to this kind of shot for shot remake.
