Bill Petro

Mission: Impossible: III

I was privileged to see a private sneak preview the third installment of the Mission Impossible franchise, and what is arguably the first blockbuster popcorn movie of the summer of 2006.

Let me say from the onset that it starts with a bang and doesn’t let up. It’s non-stop action from beginning to end. It’s like watching 2 episodes in a row of the TV show 24. Total adrenalin rush. It has “video game” written all over it.

The female lead, and love of super-agent Ethan Hunt’s life is Julia, played by Michelle Monaghan, with a preternatural resemblance to Katie Holmes, Tom Cruise’s real-life fiancée. Ms. Monaghan has been seen in the films North Country, Kiss Kiss Bang Bang (ironically, the title of a song in the James Bond movie Thunderball), and Mr. & Mrs. Smith.

Speaking of Mr. & Mrs. Smith, in a scene in the first act of M:i:III, new recruit Lindsey, played by Keri Russell, and Ethan engage in “synchronized shooting” like that seen in the Brad Pitt/Angelina Jolie movie.

There were a number of other “tributes” as well. We see Ethan and Lindsey repelling on a cable like in Batman (the latest installment of which Katie Holmes was in, but that’s another subject.) The HQ role of Benji Dunn, played by Simon Pegg reminds one of James Bond’s Q, though the more eccentric one from the non-canonical Sean Connery outing Never Say Never Again.

There is skyscraper-to-skyscraper swinging, a la Spider-man. Indeed there are a number of great stunts, though it is at times difficult to believe that Tom Cruise did all of his own as claimed.

We can say that this time his hair is normal for a change. In the first installment, it was unusually short, it what many called “a bad hair day.” In the second it was quite long. In this one, it’s just right.

While this movie is back to the ensemble cast, unlike M:i-2 which was more of a “mano-a-mano” film, in this movie Ethan is not just one of the agents, as he was when he started in the first Mission: Impossible movie. Rather, he’s the leader of a group that seem more like his chorus.

Ving Rhames is a welcome return as Luther Stickell. Didn’t we see him play essentially the same role for Sean Connery in the 1999 movie Entrapment?

Jonathan Rhys Meyers is Declan the transportation expert. We don’t usually hear his natural Irish accent, but it’s evident here, and much better than the Irish accent that came and went when Tom Cruise tried it in the movie Far and Away. It’s interesting to see him play a good guy, as we’ve usually seen him do somewhat unpleasant characters earlier, as in The Magnificent Ambersons and Vanity Fair.

The Asian beauty Zhen is played by Maggie Q and has played in few English-speaking movies, though she’s a star of Hong Kong films.

Laurence Fishburne plays head of operations Brassel, though less iconic than he was in The Matrix.

The villain, and international weapons dealer is Owen Davian, played by recent Academy Award winner Philip Seymour Hoffman. It’s great to see how good he is at being bad. Quite coldblooded.

There is the usual intrigue, assumed and mistaken identities, and split-second timing we’ve come to expect of Mission: Impossible. And we’ve got the strains of the original theme music for the TV show written by Lalo Schifrin, including the military drums as the mission begins.

There were four units with filming going on all over the world, including the US, Berlin, Shanghai and Rome. Most of the Roman filming was in and around the Vatican, including Declan’s unlikely parking in the middle of the piazza of St. Peter’s.

The action is fabulous and there’s lots of eye candy – from beautiful locations to beautiful women to beautiful cars. The gadgets are improbable, but flashy. Nokia got listed in the credits (for some cool phones.) But Cisco was listed too!

The previous M:I movie came out in 2000, before the TV show 24 became a hit. There are many similarities to it in the new M:i:III movie, from hand-held camera action to the “speak or die” ultimatums. Yet somehow, this movie does not hook the viewer on a visceral level like 24. Kiefer Sutherland brings an angst to his role of Counter Terrorist Unit agent Jack Bauer that Cruise does not for his character. Rather he brings intensity, passion and fear. This is not as engaging, the audience does not care for his character like they do for Jack.

Final take: the movie is a bit formulaic. By that I don’t mean to say that it’s derivative of other spy movies, though it is, but rather I mean that they include the most successful elements of highly popular movies, mix them together in a winning formula, put it in a blender, set it on “cacophonous,” press all the right buttons, and out comes a movie that is sure to be a hit. It will please most of the movie-going public, though it’s a rollercoaster ride with little in the way of modulation or variety. But for my money, I’d give it a B. Jack Bauer needn’t worry about his job at CTU.

• You’ll like it if: mindless, senseless action with lots of gadgets is what you crave
• You won’t like it if: you are looking for plot sense, depth, plausibility, logic or character development

Bill Petro, your friendly neighborhood culture vulture
www.billpetro.com

Movie Review: Harry Potter and the Goblet of Fire

I had the opportunity to catch a private pre-screening of this movie. What a treat!

It opens in black and white with a dark and stormy night and the Warner Brothers logo. Then a snake slithers along the ground… and then the title. But soon afterwards it explodes into full color fireworks of the World Cup of Quidditch. But we aren’t shown this exciting game as it’s portrayed in the book (you’ve got to cut something from the 734 page book. They were toying with making two movies from it, to be released close together, but ultimately decided against it.) Rather we’re ushered into a different contest, the TriWizard Tournament competition.

It soon becomes clear that this isn’t your previous kiddies movie. As the first PG-13 movie in the Harry Potter franchise, it’s darker, more frightening and more mature. In many ways, it is the most satisfying of the series. However, the appearance of the personification of Lord Voldemort and some other scenes may be too intense for younger viewers.

This is not about fun and games, the struggles here are about life and death.

This movie picks up our heroes at the age of 14, whom we haven’t seen since they were 13, and the awkward challenges they face with their teenage years including testing the nature of their friendship. Associated with the TriWizard Tournament is the Christmas Eve night Yule Ball (a Christian holiday mentioned amongst the magic?) As each of our trio struggles with who to go to the dance with, some of the sly humor comes out.

As the visiting contestants from two other foreign wizarding schools arrive at Hogwarts, the special effects are the most dazzling yet. With a submarine sailing ship and a pegasus-pulled carriage, it’s fabulous.

The budding romance between Ron and Hermione is set aside as she is squired to the dance by an older visiting Bulgarian contestant. But Hermione is now revealed as a budding lovely young lady. This was hinted at in the previous movie, but now showcased with her dramatic entrance to the Ball.

While Ron complains and mostly mopes, he does get one delightful scene with the delicious Maggie Smith as she instructs her charges in the fine art of formal dance.

Harry, on the other hand, laments how difficult it is to ask a girl to the Ball when they tend to “travel in packs.” His gaze has turned to a new face, the fresh face of Katie Leung in the role of Cho Chang, picked from an audition of 3,000 young ladies. The clumsiness and awkwardness of adolescence are poignant and touching, deftly and honestly handled.

Even Hagrid gets in the act with the French school mistress Olympe Maxima, an effecting and rather touching scene where both reveal some of their giant histories.

The climactic portion of the movie deals with the Tournament, with three tasks: in air, the water and on land (no it’s not Earth, Wind, and Fire… though when one thinks of dragons, one does tend to think of fire.) The contest with the dragon shows the decidely Gothic spires of Hogwarts’ roofline in great array. But, it is the second contest that shows Harry’s character.

Harry Potter is an “everyman”, a rather ordinary boy with extraordinary power. But as a hero he’s unexpected and reluctant, not the quickest in mind or body, but his character is revealed in each trial as that of “strong moral fiber.”

The third trial, in an ever changing hedge-maze really shows what he’s made of as he faces difficult choices as he competes for the same goal as the other combatants.

Meanwhile, the co-starring roles of the Hogwarts’ faculty is delightful. Brendan Gleeson does a terrific job as the curious “Mad Eye” Moody, a new Professor of Defense against the Dark Arts, and his arch Dublin accent puts him just short of a Pirate. He’s had significant roles in recent movies, including Menelaus in “Troy” and Reynald in “Kingdom of Heaven.” He is probably best remembered as Mel Gibson’s right-hand man Hamish in “Bravehart” which was filmed mostly in Ireland. Ironically, Gleeson spent 10 years teaching school before becoming an actor.

Miranda Richardson plays the role of Rita Skeeter the gossip reporter for the Daily Prophet. You may remember her in the role of Madame Giry in the movie version of “Phantom of the Opera” or as Queen Elizabeth for fans of the BBC series “Blackadder II.”

Alan Rickman’s deliciously loathsome Professor Severus Snape is a delight to see at any time. My first recollection of him is as the bad guy in “Die Hard” but he’s been in a ton of English movies and other fine American ones. And who can forget him in “Sense and Sensibility?”

While the other professors have less screen time than in the previous movies, Hogwarts’ headmaster Albus Dumbledore (Michael Gambon, knighted as CBE) has decidedly more exposure. We’ve loved him in “Gosford Park” and many other roles especially in West End Theatre in London.

Obligatory Movie trivia: he once auditioned for the role of James Bond after George Lazenby’s single performance in “On Her Majesty’s Secret Service” but was turned down as they didn’t want to hire another “unknown.” More ironic still, he appears in the 2004 movie “Layer Cake” with Daniel Craig, who has been cast as the new James Bond in the next 007 outing “Casino Royal.”

But this film especially felt the absence of Richard Harris in the role. Gambon seems to be more of an academic functionary and a less wise and powerful wizard than Harris. Something about Harris suggested his kind affection for the lonely orphan Harry. And Harris has played his share of regal characters.

Obligatory Theatre trivia: I had the pleasure of seeing Richard Harris in person doing the role of King Arthur in the revival of “Camelot” some 25 years ago in Los Angeles. While Harris did have a hit single in the 60s with “MacArthur Park” he is not known for his singing. However, he was a stand in for the original Richard Burton, who is even less known for his singing, but Burton had been permanently sidelined from the revival tour by a pinched nerve in his back.

At the end of each movie, Dumbledor has a brief interview with Harry where he asks simple yet deep questions and imparts some wisdom. The same happens here as he notes that with his coming of age he will have to make decisions “between what is right and what is easy.”

Ralph Fiennes is cast as the now corporeal Lord Voldemort. Lithe and reptilian he is both charming and loathsome as the evil wizard who years ago killed Harry’s parents. Harry’s contest with him is quite dramatic and revealing. I’ll say no more.

This is the first Harry Potter movie where John Williams does not do the music, other than the theme, and he wasn’t missed. I find the theme too reminiscent of his music in “Hook” and rather distracting in the Potter movies. Instead, in this movie the music is by Patrick Doyle, who had a small role as an actor in my favorite movie “Chariots of Fire” (1981). He’s also done the music for “Bridget Jones’s Diary” and “Gosford Park.” It’s got more of a sense of wonder and whimsey.

This movie was sincerely entertaining, a real pop-corn pleaser for the holidays, but those who know me have heard me describe the Harry Potter books as “Diet Tolkien” or “C.S. Lewis Lite.” While it does enjoy magic, it is derivative of Ursula K. LeGuin’s wizard school in “A Wizard of Earthsea” books. And the creatures, culture, history, and languages in no way compare to the depth and scope of Tolkien. Not that J.K. Rowling is not a good writer, it’s just that Tolkien was a professor and new his history, language and literature to a level far beyond Rowling. And Tolkien’s close friend, fellow professor and novelist C.S. Lewis was equally popular, especially with his magic series. Tolkien is my favorite writer of fiction, but I love Lewis’ non-fiction writing.

It will be interesting to see what December’s movie “Narnia: The Lion, the Witch, and the Wardrobe” brings.

Grade: B+

• You’ll like it if: You like action, special effects, teen romance
• You won’t if: You’re disappointed by movies that don’t cleave close to the book, or are easily frightened

Bill Petro
http://www.billpetro.com/

Concert Review: Chicago/Earth, Wind & Fire at Red Rocks in Denver

Red Rocks above Denver is a natural amphitheater that has been hosting concerts for almost a hundred years and is where the Beatles appeared 41 years ago. Paul McCartney, during his last concert in Denver commented that when the Beatles performed there, they had a hard time finishing their set, due to the elevation. The walk from the parking lot alone is a formidable ascent.

The teaming of these two legendary bands is phenomenal, each performing for over three decades. Earth, Wind & Fire (EWF) originally came from Chicago. The band Chicago, I’m not sure where they’re from.

The play list for Chicago and Earth, Wind & Fire was essentially the same as their Platinum selling DVD recorded in Los Angeles in 2004 Chicago/Earth, Wind & Fire - Live at the Greek Theatre.

Everyone cheered and rose to their feet as both bands entered together to do the Chicago song “Beginnings” with 21 musicians on stagetrading guitar licks between the bands

Already, the smell of burning herbs wafted across the twilight air. By the end of the evening the air was redolent with the unmistakable fragrance of superheated recreational pharmaceuticals.

EWF then did some funky dance music from “We Can Make It Happen” as the bands intermingled sides and shared lyrics.

They slid right into “We can make it happen,” then upshifted into an energetic tune with their trademark high voices.

Philip Bailey, the young lead singer of EWF is local to Denver and said, “Nice to be home. We used to sneak over the fence back there to see Chicago.”

–

Chicago left the stage and EWF opened their solo part of the show with an instrumental of blaring guitars superceeded only by horns gone wild. It was more felt than heard.

Then they did “Party People”, heavy on the thump, that was followed by “Party Like It’s Saturday Night”

The awaited “Boogie Wonderland” was pure discomania.

Philip played the kalimba, a beautiful African thumb piano.

It was a real treat to watch aging boomers recapturing their youth. But the middle aged gent in front of me was dancing to the music in a way that suggested he never had rhythem, even in his youth.

Then EWF did some blues followed by the love song co-written by Chicago’s Bill Champlin “After the Love Is Gone.” He invited the participation of the audience to sing along, and instrumental solos covered the fact that he just couldn’t hit the notes anymore.

EWF did some songs from their forthcoming (on September 20) CD, Illumination

They then did “Hearts Afire ” followed by Philip doing a riff from somewhere “Over the Rainbow” where he hit notes higher than many women I know. What a set of pipes!

This was followed by the Beatles cover “Got to Get You ionto My Life” and “12th of Never.” It was a funkalicious fantasy.

They had 12 people on stage, though only two from the original band: Verdine White and Ralph Johnson. They had 3, count ‘em 3 drum sets — and bongos. Did I mention the cowbells?

–

Following the break, Chicago started their part of the show with a drum duel between their drummer and EWF’s drummer, and were later joined by steel drums by EWF. While there were 8 people on the stage, only 4 were from the original band: Robert Lamm, Walt Parazaider, Jimmy Pankow, and Lee Loughnane.

Then was “Great Shouts of Joy.” Great horns, but Bill Champlin’s weak voice couldn’t hit the notes so he kicked beyond it. Where EWF made up for their lack of precision with energy and enthusiasm, Chicago made up for weak voices with horns and guitars. While the horns were brassy, they couldn’t make up for the missed vocal fidelity.

When Chicago did “Color My World” the crowd went wild, especially for the flute solo.

Phillip Bailey of EWF (mercifully) sang “If You Leave Me Now” as no one in Chicago had the voice for it.

At Red Rocks, the wind came up and microphones got wind blasted.

Chicago did lots of hits from the 70’s. When they sand the lyrics “I Love You, you know I do, you love me too” one longed to have their former bassist/vocalist Pete Cetera on the stage.

They did “I am Alive Again” but not nearly as many people were on their feet as they had been for the entire EWF section. Indeed, while I came to hear Chicago and not EWF, Chicago suffered by comparison following EWF.

Chicago did some hits from their landmark album “Chicago 16″ from 1982: “(Youre a) Hard Habit to Break.” When the sang “Being Without You” it pointed out that the band was without Pete Cetera. Did I mention that? I felt that way more than once.

“Old Days”, good times I remember brought them to their feet again.

When they did “Just You And Me” they covered their weak vocals with improvizational instrumental emblandishment.

The crowd came alive for “Saturday ion the Park”
“Feelin’ Stronger Every Day” then brought everyone to their feet.

“I’m a Man” sounded like a plane taking off.

Chicago’s final song was the rambunctious double hit from Chicago 16 “Hard to Say I’m Sorry/Get Away”. It was a veritable rock-o-rama.

–

EWF joined them for the encore including “25 or 6 to 4″ and “Shining Star” but I did not stay, I’d had enough.

Bill Petro, your friendly neighborhood culture vulture
www.billpetro.com

Concert Review: James Taylor at Coors Amphitheater in Denver

I’ve seen James Taylor in concert about half a dozen times from the Greek Theater in Berkeley to Red Rocks above Denver. This performance at the Coors Amphitheater in the Denver Tech Center was the most relaxed I’ve seen. It is wider than either of the other venues and seemed to add greater intimacy and immediacy to his style. He has a very easy going style with audiences and a relaxed manner but I’ve never seen him so chatty with the crowd. He was cracking jokes, handling hecklers and signing autographs several times between acts and encores.

He began with a relaxed acoustic “Secret Of Life,” then was joined by the band for “Summer’s Here,” where each mention of “beer” in the lyrics brought people holding their Coors beer bottles high.

Andrea Zonn, one of his female singers is also a terrific fiddler. Her Irish tunes were delightful, especially as he performed the unexpected “The River is Wide.”

He performed two of his original pieces that were distinguished by having had Ray Charles cover them: “Nothin’ Like a Hundred Miles” and the mournful “Everybody Has the Blues.”

“Fire and Rain” seemed to be what everyone was waiting for. And “Handy Man” lit up the audience. With 8 instrumentalists and three background singers there were quite a lot on stage. The harmonies were rapturous. He improvised still more beyond his already jazzed up live versions (which you can hear on his Live album) than his studio standards.

At numerous times during the concert he joked with the audience. He talked about his “Elvis collar” that phenomena which occurs when the wind blows your collar up. At another time we couldn’t hear the question from the audience, but his reply was

“…their pitching is a little weak, but it’s still early in the season.”

When people felt compelled to call out song requests, “Mexico” came out loudest. His reply,

“We’ll get to it (holding up his blackboard). See, it’s right down here. We’ll have to get through this crap first though.”

Later, when someone was quite insistent about a song he said,

“I’m going to do this song instead. It’s really just like that song, except there are some differences, actually it’s not at all like that song. Never mind.”

When he did get to “Mexico” it he introduced his Cuban drummer who dazzled the audience. Following a 20 minute break, he pointed out that to be environmentally friendly the second half’s songs were written on the backside of his blackboard. He performed “Sonny’s Eyes” and a song he said he learned from the Dixie Chicks “Some Days You Gotta Dance.”

His horn section was terrific: Walt Fowler on trumpet and Lou “Blue Lou” Marini on sax and flute — you’d know him from the Saturday Night Live Band and The Blues Brothers.

James’ performance this time of “Carolina” used the backup singers like an a cappella church choir. I’ve never heard it so good.

He did a rather long introduction to “God Have Mercy on the Frozen Man” where he told the background to the story, then got off-track and decided to forget it. He similarly had a long intro to “Line Em Up” discussing the Nixon Whitehouse juxtaposed to the last verse relating to the marriage of 5,000 people by Rev. Moon at Madison Square Garden. He said there was so much matrimonial energy that some of it leaked outside and some people on the street were spontaneously married.

But one introduction caught the crowd by surprise.

“This is a song I wrote for my nephew… on the occasion of his birth. It’s been a number of years now. He was named after me and this was intended as a cowboy lullaby” — and now the audience has figured it out — “His grandmother is in the audience tonight.”

Could this have in fact been both the grandmother of Sweet Baby James as well as the mother of James Taylor? This performance had an an according and a steel string guitar. Lovely.

He did “Country Road” and donned his electric guitar to play “Steamroller Blues.” It turned into a jam session featuring solos by trumpet, keyboard, and guitar. He ended with “How Sweet It Is.”

The expected encore brought him back to do the old Drifters’ hit “Up On the Roof.” By now, the sky above the venue was dark. As he sang about “the stars up above” a shooting star lit the sky.

He followed this with “Summertime Blues” and left the stage, only to return with another encore and signing of autographs for the front row. A good time was had by all.

Bill Petro
www.billpetro.com

Theatre Review: The Philadelphia Story at the Old Vic in London

Sometimes you meet famous people when you attend the theatre in London — I did at a recent performance in early June. I attended the new London version of “The Philadelphia Story” which though most people know by the Katharine Hepburn-Cary Grant movie, was originally a play. Indeed, it had been originally customized to Hepburn. The one in London is being done this year while Kevin Spacey is the artistic director of the Old Vic theatre. He also stars as CK Dexter Haven. Jennifer Ehle has the staring role of Tracy Lord, and she makes the part her own. You may remember her as Lizzy Bennet from the British miniseries “Pride and Prejudice.” But more on this play later.

I hadn’t been to the Old Vic in years, indeed not since Patrick Stewart was doing his one-man version of “A Christmas Carol.” Back then I thought I’d go to the stage door around back to meet Captain Jean-Luc Piccard of the USS Enterprise. So did a couple of hundred other “Star Trek: the Next Generation” fans. While I did not get to meet him, I did get close enough to breathe the same air molecules. But that was all.

One time though, my waiting at the stage door paid off. I waited behind the Wyndhams Theatre in London following Dame Diana Rigg’s performance in “Media,” for which she subsequently won a Tony on Broadway. It’s a real Greek tragedy: everyone dies in the end, and she kills them. Dame Diana breezed out 45 minutes after the show and apologized to the two of us waiting for autographs. I said I’d been following her career since the TV show “The Avengers” in the 60’s. She cooed, “Oh, the black and white ones?” She signed my program and I floated back to my hotel.

The night I attended I had a good seat in the second row of the stalls (translation: first level of balcony) and during the second interval (translation: intermission, and yes, there were two) across the row in front of me walks Rosemary Harris returning to her seat. I could not take my eyes off her. You know her as the kindly Aunt May Parker from the current Spider-Man movies, but in her day she was an actress of great renown and prowess both in London and on Broadway, having won Tony, Obie and Emmy awards and has appeared opposite Richard Burton, Laurence Olivier, and Michael Redgrave.

I spoke with her for a few minutes as we left the show. Her presence there was significant for two reasons. First, she had done 5 plays in this same theater, indeed, her picture is on the wall with Peter O’Toole in Hamlet in 1963. But more importantly, the starring role of tonight’s play was her daughter, Jennifer Ehle. I told her that I thought her daughter had done a marvelous job in the role, and I asked her what she thought. She thanked me and said it she was quite proud to watch her. I asked her if it was a thrill to she her daughter perform in the same theatre that she had performed in in 1963. She said yes and that she had to pinch herself… and that she had also performed here along with Richard Burton in Othello “in 1954, or was it 55?” (It was 1956.) And she had done Julius Caesar, Troilus & Cressida, and Uncle Vanya, and she couldn’t remember them all, there were five.

I told her that her daughter had made the part her own, and so she had. The play is a bit different than the movie, where Tracy’s brother Sandy is absorbed into the role of CK Dexter Haven, making Cary Grant’s role much larger. In the play, the lines and the plot elements go to her brother, consequently CK Dexter Haven has a rather smaller role. Ms. Elhe is the dominant role and she embodies the character so that you forget that she’s not the person you usually associate with the role. Her vocal range and presence on stage gave her a gravitas that grows on you. Her “American” accent was almost flawless, as were most of the British Actors. Her younger sister Dinah was played with whiny adenoidal delight by Talulah Riley in her stage debut. Nicholas Le Prevost’s Uncle Willy was a particular delight with a somewhat expanded role. Julia McKenzie’s Margaret Lord was a special breath of off-handed humor.

Kevin Spacey, as I mentioned, had a smaller role than expected, but he had fun with it. He delivered some of his lines as W.C. Fields or Groucho Marx. He was nimble and light on his feet and seemed almost outside the play at times. He did with volume and anger what Cary Grant did with tone and eyebrow. But Spacey’s emotion revealed nuances I hadn’t caught in my dozen viewings of the movie, and he can throw away a line like nobody but Sean Connery as 007.

As I left the play, Ms. Harris and I spoke for only three or four minutes, but at 78 she is gracious and poised. I told her it was a treat to meet her and she thanked me as we parted and walked into the night.

Bill Petro, your friendly neighborhood theatre buff
www.billpetro.com

JAMES “SCOTTY” DOOHAN

The actor James Doohan, who played the beloved engineer Montgomery Scott, or “Scotty” on the original Star Trek’s U.S.S. Enterprise died today at his home in Redmond, Washington. He was 85 and had been battling Alzheimer’s disease, Parkinson’s disease, diabetes, lung fibrosis and, most recently, pneumonia. Born March 3, 1920, in Vancouver, British Columbia, he fought with the Royal Canadian Artillery during World War II, and landed on the beaches of Normandy, France, as part of the U.S.-led D-Day invasion. He lost a finger in the war, and it was rarely noticeable in the show, as they usually used a “stunt hand.”

He is immortalized by the phrase “Beam me up, Scotty,” although Capt. Kirk never issued that order during the TV series, and indeed didn’t utter it until the subsequent fourth movie.I met Mr. Doohan in 1975 on the campus of the University of California at Berkeley when I was a student. He was doing a play on campus about Ulysses S. Grant and I was doing a show featuring theatrical fencing (and you though I only studied history.) When I saw him sitting on the lawn I excitedly told my acting-student fencing partner, “That’s the actor Jimmy Doohan!” He replied, “Who?” I said “Scotty, from Star Trek.” We sat on the grass with him and talked for about an hour. We spoke about theater, which he loved, and how he would do that exclusively, if it paid well enough but needed to do the occasional movie or TV show to pay the bills. He had a rather gruff Canadian accent and discussed his skill and delight in accents. In the play, he portrayed an American Civil War officer. A Scottish post-doctoral friend of mine used to say, “When he comes on, we watch and laugh at how bad his accent is!”

When my friends, who knew what a Star Trek junkie I was, ask if Mr. Doohan and I spoke about Star Trek, I replied, “No, I didn’t want to seem like a sniveling fan.”

Here’s to ya, lad

Bill Petro, your friendly neighborhood Trek junkie
www.billpetro.com