Country star Tompall Glaser has died at the age of 79. The singer passed away at his Nashville, Tennessee home on Tuesday (13Aug13) after battling a long, undisclosed illness.
Born Thomas Paul Glaser, he embarked on a career in music with his two brothers, Chuck and Jim, during the 1950s.
They left their home in Nebraska for Nashville after receiving an offer to sing back-up for Marty Robbins, and he soon signed them to his Robbins Records label as Tompall & The Glaser Brothers.
The vocal trio appeared on songs such as Johnny Cash's Ring of Fire, Roy Orbison's Leah and Robbins' own tune El Paso, but it wasn't until 1966 that the group scored its own hit, Gone, On The Other Hand.
Tompall & The Glaser Brothers' other notable releases include Rings, Lovin' Her Was Easier Than Anything I'll Ever Do Again and Maria Consuela.
Glaser achieved some success as a solo star, particularly with 1975's Put Another Log On The Fire (Male Chauvinist National Anthem). He also helped to pen Bobby Bare's The Streets of Baltimore and co-produced Waylon Jennings' landmark Honky Tonk Heroes album in 1973.
Glaser later featured on Wanted! The Outlaws, which brought together previously released material from Glaser, Jennings, Willie Nelson and Jessi Colter in 1976.
The siblings also established their own publishing company and recording studio, affectionately called Hillbilly Central, after becoming disillusioned with the Nashville music business, earning themselves a reputation as country rebels.
Jennings famously recorded his Dreaming My Dreams album at the new facility, while John Hartford, Billy Ray Reynolds and Roger 'Captain Midnight' Schutt use the studio for their own works, too.
It’s not a conflict most of us are new to: the butting heads of an evangelical Christian and an atheist. Of course Matthew Chapman’s thriller The Ledge takes this typical opposition and adds a salacious complication: a beautiful woman. Now with such a ubiquitous conflict Chapman has lots of room to explore more fully the back and forth between these two schools of thought but unfortunately the film only skirts that concept and uses it as a more of a means to an end rather than a conversation.
The film focuses on three different men and in that two different debates. The first pair comes together when one of them threatens to jump to his death from – you guessed it – a ledge. The first man Officer Hollis (Terrence Howard) finds out his children aren’t biologically his right before being called to talk Gavin (Charlie Hunnam) off his perch. Of course as he finds out Gavin is on the opposite side of that fence; Hunnam’s character not only covets but sleeps with his neighbor’s wife. While this conflict of interest for Howard’s character is one of the more interesting aspects of the film it's overshadowed by the clandestine love affair and a slew of turgid inconclusive theological discussions.
As Hollis tries desperately to sort out his own demons and get Gavin off the roof the would-be jumper slowly unravels the details of the romance that landed him there. If he doesn’t jump at noon “someone else” dies. Now it doesn’t take a genius to figure out that “someone else” is Shana (Liv Tyler) the wife of that evangelical Christian neighbor Joe (Patrick Wilson). Is that enough plot for you? Because it was certainly more than enough for me. As we wind our way through this ambitiously complicated story we encounter Joe’s textbook impenetrable Christian ideals thrown right up against Gavin and his homosexual roommate. Oh yes the plot tries to get into that debate as well.
The capable cast does its best to bring the hefty winding story back down to earth and they almost succeed. Hunnam is the weakest of the bunch but he’s really there as a bit of beefcake to tempt Tyler’s sheltered character. The real heavyweight here is Wilson who despite being dealt a fairly narrow character who rattles off the same overzealous discourse we’ve heard time and again gives his performance everything he’s got. Joe isn’t much more than his stalwart religion and his mounting anger but Wilson tries damn hard to offer just a little something extra. Howard similarly lends weight to his character’s story though it unfortunately becomes little more than an afterthought once the romance between Gavin and Shana gets going.
In fact that romance is the most enjoyable aspect of the film even though it begs us to focus on the theological and moral questions at hand. The forbidden love builds awkwardly and organically something so many films tend to gloss over in order to get to the all-important first kiss. Luckily for many of the big questions that go unanswered in the film their chemistry carries the plot along and almost manages to distract us from their lack of resolution.
The Ledge seems to be a case of Chapman biting off more than he could chew. Every aspect of the plot is a worthy intriguing topic but when they all collide in a mere two-hour period it’s a challenge to give any of the components the attention and depth they really deserve.
In a screen adaptation of the Philip Roth novella The Dying Animal this highly charged sexual drama comes to the fore as its central character wraps himself around a dangerous life-changing relationship. David Kepesh (Ben Kingsley) is an engaging very successful professor whose personal life he closely controls--never letting commitment get in the way and keeping the women in his life at arm’s distance. Although he can go on The Charlie Rose Show and charm with the best of them his emotional needs have remained hidden to him--that is until a gorgeous young student Consuela Castillo (Penelope Cruz) enters his classroom and rocks his tightly monitored world. Suddenly everything he thought he knew about his own human nature and longings are thrown out the window. He becomes obsessively involved with the much younger Consuela--SO obsessive in fact that his jealousy and possessiveness take their toll and eventually drive her away. Drowning his sorrows in other personal matters he will discover that this relationship is not quite over and the woman who haunts his dreams is going to come back into his life with an urgency neither one could possibly have imagined. Kingsley an Oscar winner over a quarter of a century ago for Gandhi has perhaps his richest role since then as professor Kepesh a man overwhelmed by desire he never knew he was capable of. It’s certainly unusual and definitely refreshing to see an actor who is just hitting retirement age get such a full-bodied and sexual role. Let’s face it Kingsley is no Brad Pitt but he certainly represents a group of men who are still in the game and even just discovering their full romantic potential in the autumn of life. Of course what red blooded American male wouldn’t fall hook line and sinker for the rapturous Cruz. Her Consuela is a woman in complete charge of her being--until events out of her control bring out the vulnerability. Without revealing plot spoilers there are two distinct parts to this complicated and fascinating performance and Cruz effortlessly nails both. The supporting cast is also top notch with Patricia Clarkson a particular standout as Carolyn the professor’s long-time lover who finds her mutually convenient affair threatened for the first time. There’s also Dennis Hopper as a distinguished poet and David’s good friend; Deborah Harry as Hopper’s long-suffering wife; and Peter Sarsgaard as the prof’s distant son are all fine in the exceptionally well-cast film. Spanish director Isabel Coixet (My Life Without Me) brings an intimacy and strong woman’s touch to a story that might have had a different spin if directed by a man. After all how many Hollywood films have we seen with 60 and 70 year-old male stars cast opposite much younger actresses that fail to examine the irony of those pairings? This relationship is shown warts and all in a much more emotionally complicated way than most films dare. Emphasis on Clarkson’s spurned lover also adds a nice touch and we can completely empathize with this smart sexually alive woman whose main sin is her age similarity with the man she has slept with hassle free for over 20 years. A major studio would never touch a story like this that deals with the sexual proclivities of mature adults unless it had something to do with Batman and Catwoman. We can thank Coixet’s sharply detailed work behind the camera particularly in intimate bedroom conversations and a smart adaptation by Nicholas Meyer which gets right to the heart of Roth’s ultimately heartbreaking story. Those expecting something along the raunchy lines of the aging author’s Portnoy’s Complaint will be in for a surprise with this independently made contemplative beautifully crafted and acted romantic drama. Finally a film for grown ups.