Sunday, July 23, 2017

Instincts

Baseball scouts scour diamonds all over the country hoping to find the pot of gold otherwise known as the "five tool player."  They are as rare as goldilocks planets sought by NASA's astronomers.  In fact, out of the twelve hundred men currently on Major League Baseball rosters, you could make an argument that there are only two such players, center fielder Mike Trout of the California Angels Of Anaheim and right fielder Bryce Harper of the Washington Nationals.  Their current contracts are indicative of the rareness of their combined individual talents.  Trout, at age 25 considered to be the best player in baseball, is in the third year of a six year contract that's worth $144,500,000.  Harper, age 24, is in the first year of a two year $35,250,000 deal.

So, what are the five tools?  They are the ability to hit for average, the ability to hit with power, fielding, arm strength and speed.  That final tool is probably the most misunderstood, because its valuation requires more than simply using a stopwatch to check how fast a runner can get from first to home on an RBI double.  (In a recent game, the Twins' Byron Buxton did it in a jaw-dropping 9.4 seconds.  Unfortunately Byron, at this stage of his nascent career, is only a two tool athlete.)  A player with speed is still limited on the base paths if he does not have great instincts and awareness, which go hand-in-hand.

Last Sunday's game between the Twins and the Houston Astros presented a classic example of excellent speed combined with acute instincts and awareness.  It was the rubber game of the three game series in Minute Maid Park.  A Twins victory would not only be a series win for the underdogs; it would amount to a season highlight and a potential launching point for an unexpected run at the playoffs.

The 'Stros were hanging on to a 3-2 lead going into the bottom of the seventh inning.  Their # 9 hitter, Jake Marisnick, was up first.  Ordinarily having a team's nine-hole hitter lead off an inning bodes well for the opponent, but Marisnick is not your ordinary nine-hole batter.  His very good .826 OPS is evidence of just how strong Houston's lineup is from top to bottom.  Marisnick makes Twins starter Kyle Gibson throw eleven pitches during the at-bat, eventually drawing a walk.  Gibson looks exhausted, having thrown 107 pitches, when manager Paul Molitor comes out with the hook and brings in rookie reliever Trevor Hildenberger, making only the seventh appearance of his big league career.

Next up for Houston is their leadoff man, designated hitter George Springer.  Key Moment # 1:  On the second pitch to Springer, Marisnick easily steals second base, not even drawing a throw from Twins catcher Chris Gimenez.  Marisnick was able to get a huge lead because Hildenberger, a righty, did not pay much attention to Marisnick on the first pitch to Springer.  Thus Marisnick correctly predicted that he wouldn't draw much attention on the second either.  Instincts!  Granted, Hildenberger is a rookie, but he should have known that Marisnick is a center fielder, a great athlete with ample speed.

On a 2-1 pitch Springer bounces a high chopper to Twins third baseman Eduardo Escobar.  Escobar is not the Twins' regular third baseman -- Miguel Sano is -- but Escobar is a veteran who has played many innings at the hot corner.  By the time the ball descends into Esco's glove, Marisnick is a good thirty feet off second base, leaving Esco with a tough decision to make.  Does he fake a throw toward second to entice Marisnick to retreat, or does he make a quick toss to first to throw out the fleet footed (as most leadoff hitters are) Springer?  Escobar opts for Door # 2, not a bad choice since the cardinal baseball rule here is "Get one out for sure."  If Springer was a slower runner, Esco would have had time to look Marisnick back to second before making the throw.  But he doesn't.  Escobar immediately throws to first, lucky to get Springer by a step.

Key Moment # 2: However, Marisnick, who was still only sixty feet from third when Esco started to make the cross-field throw, knows he can get to third before Kennys Vargas, not the Twins' regular first baseman -- Joe Mauer is -- can make an accurate throw back across the diamond in time for Esco to tag out Marisnick.  Instincts!  Marisnick dashes safely to third.

What happens next would have embarrassed even the Bad News Bears.  Key Moment # 3: Vargas, who has no chance whatsoever to get Marisnick out at third, makes the ill-advised throw anyway.  As is typical with those Hail Mary tosses, Vargas' throw is so off target that it eludes not only Escobar, who is standing on third base waiting for the throw, but also shortstop Ehire Adrianza, who is fifteen feet up the left field line, ostensibly to back up the play. Marisnick trots home with the insurance run.  4-2, Houston.

But wait! The fun has just begun!

The third batter of the inning is Astros second sacker, Jose Altuve, currently hitting .345.  He is an All-Star starter whose career batting average of .315 is second among all active MLB players.  (In first place is Miguel "Miggy" Cabrera, the Detroit Tigers' first baseman, with a .319 career average.)  Listed at 5'6" and built like a fire hydrant, Altuve is another Astro who can fly.  Altuve's at-bat closely mirrors Springers', as he hits a chopper which barely stays in fair territory, hopping over the third base bag.  The fair ball is touched by a dim-witted fan, so Altuve is awarded a ground rule double, his twenty-seventh double of the year.  At this point the poor rookie pitcher, Hildenberger, has induced two weakly hit infield grounders, but a run has scored, there is only one out, and the Astros have a runner in scoring position.  Molitor comes out with the hook once again.  In comes yet another reliever, Buddy Boshers, a mediocre pitcher with an opponents' batting average of .264.

Next up for the 'Strohs is their # 3 hitter, veteran right fielder Josh Reddick.  With a .310 batting average, Reddick is dangerous (as are most 3-hole hitters), but he is 0 for 3 in this game.  "He is due," as they say.  Key Moment # 4: Boshers never bothers to check the runner on an 0-1 pitch, so the wily Altuve steals third; this, even though Reddick is a left-handed batter leaving a clear throwing lane for the catcher.  Instincts!  "Altuve is a pest," quips TV analyst Bert Blyleven.

Surprisingly, Boshers gets Reddick to whiff on a 2-2 slider in the dirt for strike three.  But since first base is open (i.e., no runner there) and there are less than two outs, Reddick takes off for first.  Catcher Gimenez briefly glances at Altuve, who looks like he's staying put a few feet off third, then fires a throw to Vargas at first to complete the strikeout of Reddick. Key Moment # 5:  As soon as Gimenez gets off his throw, the heady Altuve correctly senses that the burly 290 pound Vargas will not be able to get a throw back to Gimenez at the plate in time to tag out Altuve.  Instincts!  With blazing speed, Altuve dashes home, sliding around Gimenez' discarded mask, and safely touches home plate.  Another insurance run for Houston; 5-2 Astros.

Nineteen minutes after the disastrous half-inning began, it mercifully ends when cleanup hitter Brian McCann strikes out.  The Twins save a little face by scoring a single run in the top of the ninth, but the damage has been done.  Astros win, 5-3.  Losing the series to the clearly superior team, the Twins once again have taken one step forward but two steps back.

To summarize the bottom of the seventh, the Astros sent only five men to the plate, and two of them struck out.  Only two batters put the ball in play, and those were weakly hit infield choppers.  Given those facts, how did they manage to score the two runs that, for all intents and purposes, put the game away?  Speed, the Fifth Tool, accompanied by instincts and awareness.  There's that word again: Instincts!  It is no surprise the Astros, with a current record thirty-two games above .500, are the best team in the American League.  They are a very fun group to watch, and will be a tough out in the playoffs.

Friday, July 14, 2017

Quarterly Cinema Scan - Volume XXVIII

I was born too late to join in the early hoopla surrounding Elvis Presley.  "The King" first charted on Billboard in March 1956 with Heartbreak Hotel, which soared to # 1 and stayed there for seven weeks.  I was a wee lad of eight years.  For the next two years Elvis reached the Billboard Top 40 an astonishing twenty-one more times, including nine records which peaked at # 1.  Not only was the Tupelo native a music sensation, but also a cinema star, making four hit movies during that two year period.  One of those four films was 1957's Jailhouse Rock, described below.

Then Uncle Sam came calling.  From March 1958 to March 1960 Elvis served as a (more or less) regular Army grunt, turning down chances to put in his time as a Special Services musician.  The media, and some of his fans, wondered whether this two year stint doing his patriotic duty would spell the end of his music and film careers.  Not to worry.  Even though he was stationed in Germany during most of his time in the Army, he used furloughs to record ten chart-busting songs, two of which hit # 1, while in uniform.  His acting career did take a two year hiatus, however.

Following his honorable discharge, Elvis went on to record seventy-two -- that's not a typo, it's 72 -- more Top 40 singles, six of which topped the charts at # 1. He also added to his post-military film catalogue with twenty-seven more starring roles, plus two feature length documentaries.  Numerous appearances on television, particularly the Ed Sullivan Show, played a major part in his meteoric rise.  The FCC's requirement that Sullivan's camera crew only televise Elvis above his swaying hips is legendary.

Just as the peace time Army obligation turned out to be a mere speed bump to his celebrity status, so did the British Invasion.  Not even the Beatles, the Stones or any of their fellow countrymen could derail Presley's path to stardom.  In fact, during 1964 and 1965, the peak years of the British Invasion, Elvis still managed to chart on the Top 40 thirteen times.  One more amazing fact about Elvis the singer:  With only one exception (1973), from 1956 until the year of his death, 1977, at least two Presley singles achieved the Billboard Top 40 singles list each year.

Back to the movie topic.  In truth, most of the Presley films were what Hollywood writer/director Frank Darabont calls "frothy confections."  They were formulaic, with only enough of a plot to kill time in between Elvis songs.  Back then, I wouldn't have known.  The Legion Of Decency, a Catholic Church morality watchdog, published its ratings of movies every week in the archdiocesan paper to which my parents subscribed.  Virtually all of the Presley movies were rated "B," meaning that Catholics should not view them.  No official reason was given, but it's safe to say that by today's standards, the Elvis movies were all very tame.  At least the Legion didn't blacklist them with a "C," for "condemned"!  In any event, I did not see more than a couple of Elvis flicks until many years after they were first released.  According to most of the critics, I wasn't missing much.

However, there was one early Presley movie which went beyond just a bare bones plot.  That movie was Jailhouse Rock, thought by many to be Elvis' best film.  The difference was the extra layer or two of depth to the plot.  Elvis plays a young prisoner, Vince Everett, whose cellmate, Hunk Houghton (Mickey Shaughnessy), is a lifelong jailbird about fifteen years Vince's senior.  When Vince performs as a singer-guitarist on a show televised from prison, hundreds of fan letters pour in.  But because Hunk runs the prison mail room, Vince never sees the letters.  Hunk, realizing Vince will probably become a rich star when he's released, dupes Vince into signing a contract which, among other things, stipulates that Vince will share 50% of his singing revenue with Hunk in return for vague managerial services to be provided by Hunk.

Naturally, Vince does become a star, although it is a slippery slope complete with many setbacks.  A beautiful music promoter, Peggy Van Alden (Judy Tyler), is indispensable getting Vince started and focused.  There is chemistry between the two and a love connection develops, but will business interfere?  Throughout the story we also wonder, what will happen with that contract Vince signed when Hunk gets out of prison?

I did not evaluate Jailhouse Rock as highly as most critics.  In what I believe to be an attempt by director Richard Thorpe to present Presley as a serious actor, Elvis' character has a surliness and rudeness which come off as fake.  Perhaps Thorpe decided such negative attributes were more in keeping with a "prison movie," except this is not really a "prison movie"; it is a musical.   Elvis' best moments on screen are when Vince is being civil, not bratty, to Peggy.    As you will see below, I gave this film a C+.   Of the handful of Elvis films I've seen, I would rank at least two higher: Follow That Dream (1962) and Kissin' Cousins (1964).

There are two very noteworthy items surrounding Jailhouse Rock.  On screen, the three man band backing Elvis are his real-life band, not some session musicians or actors going through the motions.  The trio consists of Scotty Moore (later dubbed by some as the "Father Of The Rock Guitar Solo") on lead guitar, Bill Black on standup bass, and D.J. Fontana on drums.  For many years that group together with Elvis called themselves the Blue Moon Boys.  They are all, individually, inductees of the Rock & Roll Hall Of Fame.

The second item is almost too sad to print.  Leading lady Judy Tyler was a twenty-four year old actress.  Prior to being cast for Jailhouse Rock, only her second film, she was nationally known as Princess Summerfall Winterspring on the Howdy Doody Show, a kids' television show I watched religiously.  The final shot in Jailhouse Rock is a close-up of Elvis and Tyler standing close to each other as he sings her a love song.  Less than a week after the movie finished production, Tyler was killed in a terrible automobile accident in southeastern Wyoming.  She and her husband of three months were on their way to a family function in New York.  Elvis was so shaken by the news that he chose not to attend the film's premier, and according to some sources, refused to watch the film at all throughout his life.

***

Here are the movies I watched at the Quentin Estates during the second quarter of 2017.      

1. Above And Beyond (1952 war biopic; Robert Taylor is Army Air Corps Colonel Paul Tibbits, chosen to pilot the plane which will drop the atomic bomb on Hiroshima, but for security reasons unable to tell his exasperated wife, Eleanor Parker, anything about his assignment.)  B+

2. Baby The Rain Must Fall (1965 drama; Lee Remick travels with her young daughter to an East Texas town with dreams of reuniting with her troubled ex-con husband, Steve McQueen.) B+

3. Blood Simple (1984 crime noir; Saloon keeper Dan Hedaya correctly suspects his wife, Frances McDormand, and his employee, John Getz, are having an affair, so he hires private dick M. Emmet Walsh to surveil them.)  B

4. Chisum (1970 western; New Mexico cattle baron John Wayne gets help from notorious gunman Geoffrey Deuel in an attempt to thwart the cunning and evil Forrest Tucker, who owns most of the town and hopes to control the region's livestock industry.)  B

5. The Founder (2016 biopic; Michael Keaton, as Ray Kroc, doesn't let ethics or honesty stand in the way of building the fast food burger empire, McDonalds.)  B

6. Gone With The Wind (1939 drama; Vivian Leigh is a southern belle, willing to go to any length to preserve her Georgia plantation, Tara, while debonaire millionaire businessman Clark Gable's feelings for her go hot and cold.)  A-

7. The Hunchback Of Notre Dame (1939 drama; Charles Laughton is the hunchback bell ringer who falls in love with gypsy dancer Maureen O'Hara in squalid 1490's Paris.)  A-

8. Jail House Rock  (1957 musical; Elvis Presley is an ex-con who, with the help of agent-manager Judy Tyler, becomes a pop music star.)  C+

9. Light In The Piazza (1962 romance; American tourist Olivia De Havilland has misgivings about her slightly mentally impaired daughter, Yvette Mimieux, falling in love with local Florentine George Hamilton.)  D

10. Love Is A Many-Splendored Thing  (1955 romance; In Hong Kong during the Chinese Civil War, William Holden, a married but separated American foreign correspondent, pursues Eurasian physician Jennifer Jones, a woman who finds herself in the middle of a culture clash.)  B-

11.  The Sugarland Express  (1974 drama; Goldie Hawn and William Atherton, a young married couple each with criminal records, take Texas Highway Patrolman Michael Sacks hostage in his squad car, and force him to accompany them to Sugarland where their son is being put up for adoption by child welfare officials.) B