AMT / Round 2 1:25 1953 Studebaker

In 1953, my father purchased this Studebaker. These cars were rather unique for the time. They are relatively small for one thing; a two door coupe. The car is also quite light weight, low to the ground and aerodynamic. It was very different from your typical early '50s American design.

At that time there was a well know modification commonly done to these cars. A more powerful Cadillac engine happened to be a perfectly fitting, drop in replacement. Given the Studebaker's sleek design and light weight, the result was one fast hot rod. Such modified cars been called "Studellacs".

The car my Dad bought was part way through this modification. He completed the job. 

My Dad never sold this car, his dream car, and his first "real" car. This car was part of my life growing up. It sat in the garage under a cover for many years. A couple times, my Dad got the urge to work on it. I badly needed paint and other work. But it never became an ongoing project, not until much later.

Keeping the car was a challenge over the decades, through devoice and moves. I even had it in a garage myself for awhile when I was in college and there was no place for it to go. 

 

 

When I found out this model existed I ordered it immediately.

I won't go into a lot of detail, but here's a few photos.

Here's the final cream colored top. The lower is still primer. 

I ended up cementing the hood down because it wasn't a perfect fit. Take one last look at the engine.

Done!

I was pleased with the red paint job, two-tone no less. That's something I usually do pretty badly.

These were the colors on my Dad's car.

The quality iof this kit is inline with others of this sale. There's enough detail to look good on the shelf. The fit and molding is fine, but just fine.

My only complaint about the model is that the Studebaker V-8 logos detailed on the body are completely wrong. It's an odd error. You'd think the designers would look up what the badges looked like on a vehicle so well known among car buffs.

The hub caps are also wrong. You can't have everything I guess.

The only after market detail I added was vintage Oregon license plates.

See the album for this project here:

https://photos.app.goo.gl/pUh6fL3ftCWttR1z5

Late in life, in the 1980s, my Dad finally restored his dream car. This last photo shows the Studebaker at that time.

After his death the car was sold to a collector. Someplace on YouTube, I've since lost the link, there is a video posted by the car's new owner about this Studellac. It's finally on the road again.

Melancholia

Oh, Melancholia, so dark and deep,

Your themes are heavy, your message steep.

You show us despair, depression's grip,

And the futility of human ship.

But your beauty shines, your shots are grand,

And your actors give us performances unplanned.

So thank you, Lars, for this work of art,

Even though it left our hearts so smart.

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Shaft

In the culinary landscape of cinema, "Shaft" (1979) stands as a delectable treat, a film that satiates the appetite for action and intrigue while simultaneously serving up a smorgasbord of culinary metaphors.

John Shaft, the titular private detective, navigates the gritty streets of New York City with the finesse of a seasoned chef, expertly maneuvering through a world where danger and deception are as commonplace as a greasy spoon diner. Shaft's investigations take him from swanky uptown restaurants to dingy back-alley dives, exposing him to a diverse menu of characters and experiences.

While Shaft's primary focus is on solving crimes, food plays a significant role in his world. He's often seen indulging in hearty meals, whether it's a juicy steak at a high-end establishment or a simple sandwich from a street vendor. These culinary interludes serve as more than just sustenance; they provide moments of respite and reflection, allowing Shaft to gather his thoughts and prepare for the next course of action.

The film's culinary text extends beyond Shaft's personal dining habits. The criminal underworld he navigates is rife with food-related metaphors, from the "big cheese" at the top of the food chain to the "small fry" caught in the crossfire. Shaft's investigations often involve uncovering the "rotten apples" in society, exposing those who have spoiled the metaphorical pot of stew.

In a particularly memorable scene, Shaft confronts a corrupt businessman in a swanky restaurant, using the language of food to expose the man's nefarious dealings. He accuses the businessman of "cooking the books" and "serving up a raw deal," cleverly weaving culinary terms into his accusations.

The film's climax takes place in a bustling marketplace, where Shaft confronts the mastermind behind a drug trafficking ring. Amidst the cacophony of vendors hawking their wares, Shaft delivers a final blow to the criminal enterprise, effectively "shutting down the kitchen" and putting an end to their illicit activities.

"Shaft" (1979) is a culinary adventure, skillfully weaving food-related themes into its narrative, adding delectable layer to its gritty and action-packed storyline. Through its use of culinary metaphors and Shaft's own dining habits, the film serves up a unique blend of action and intrigue, leaving viewers both entertained and hungry for more.

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The Blues Brothers

Jake and Elwood Blues, on a mission from God,

To reunite their band and make some odd coin.

With sunglasses and black suits so cool,

They're the Blues Brothers, they're the real deal.

From Joliet Prison to Sister Mary Stigmata,

They're dodging the law, but they're having a blast-a!

With Carrie Fisher and Aretha Franklin too,

The Blues Brothers are a musical crew.

With their Bluesmobile, they're driving through the night,

Singing and dancing with all their might.

John Belushi and Dan Aykroyd at their best,

The Blues Brothers are the best dressed.

So if you're feeling down and need a pick-me-up,

Just watch the Blues Brothers and drink from your cup.

They'll make you laugh and get your toes tapping,

The Blues Brothers are simply captivating.

Oh, the Blues Brothers, they're the best,

They're better than all the rest.

So put on the movie and have some fun,

The Blues Brothers are second to none!

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Forbidden Planet

Forbidden Planet is a sci-fi movie about a bunch of space cadets who land on a planet formally inhabited by a super-advanced civilization. The aliens were so advanced, they have robots that can do everything for them, including cooking, cleaning, and giving massages.

But there's a dark secret: a giant monster locked up in the basement. And when the space cadets release the monster, all hell breaks loose.

Roughly... You get the idea.

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Raging Bull

Raging Bull is a film about a boxer who really, really likes steak. I mean, he really likes steak. He loves steak. He dreams about steak. He's obsessed with steak.

In fact, the film opens with a scene of Jake LaMotta (Robert De Niro) eating a steak. He eats it with such gusto, such passion, that you can't help but be drawn into the film.

From there, Raging Bull follows LaMotta's career as a boxer, from his early days as a rising star to his later years as a self-destructive wreck. But through it all, one thing remains constant: his love of steak.

LaMotta eats steak before fights, after fights, and even in the middle of fights. He eats steak when he's happy, when he's sad, and when he's angry. He eats steak for breakfast, lunch, and dinner.

And that's what makes Raging Bull such a great film. It's a film about a man who is so passionate about something, even if that thing is just steak.

Of course, the film is more than just about steak. It's also about fame, self-destruction, and the dark side of human nature. But it's also a film about a man who loves steak more than anything in the world.

So if you're looking for a film that is both entertaining and thought-provoking, I highly recommend Raging Bull. But be warned: it may make you hungry for steak.

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After Hours

After Hours is a film about a man who gets lost in SoHo and finds himself trapped in a nightmarish world of weirdos and lunatics. It's like a fever dream, but instead of waking up, the protagonist just keeps getting deeper and deeper into trouble.

Griffin Dunne is perfect as the hapless Paul Hackett. He's the kind of guy who always seems to be in the wrong place at the wrong time. And in this film, that's really bad news.

The supporting cast is a who's who of 80s character actors, including Rosanna Arquette, Catherine O'Hara, Cheech Marin, and John Heard. They all give memorable performances, and their interactions with Paul are often hilarious.

After Hours is a dark comedy, but it's also suspenseful. Scorsese does a great job of creating a sense of dread and paranoia as Paul's night spirals out of control.

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Mission: Impossible - Ghost Protocol

Mission: Impossible - Ghost Protocol is the fourth film in the franchise, and it's the one where Tom Cruise finally loses his mind.

The film opens with Hunt and his team breaking into the Kremlin to steal a nuclear launch code. Of course, things go wrong, and they're forced to flee to the Burj Khalifa, the world's tallest building.

Hunt then proceeds to scale the outside of the building without any safety gear. It's a truly impressive stunt, but it's also completely ridiculous.

The rest of the film is a blur of action sequences, all of which involve Cruise doing something incredibly dangerous. He jumps out of airplanes, fights off dozens of bad guys, and drives a car through the streets of Moscow at high speed.

Mission: Impossible - Ghost Protocol is a fun movie. The action is exciting, the cast is good, and the film has a nice sense of humor.

Check out Mission: Impossible - Ghost Protocol. Just don't expect it to make any sense.

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Cop Land

Cop Land is a crime thriller film directed by James Mangold and written by Mangold and Michael Mann. It stars Sylvester Stallone as Freddy Heflin, the sheriff of a small New Jersey town that is home to many corrupt New York City police officers. When Freddy investigates the death of a fellow officer, he uncovers a web of corruption and must decide whether to stay silent or stand up for what is right.

The film is notable for its strong performances, particularly from Stallone, Robert De Niro, and Harvey Keitel. Stallone gives a career-best performance as Freddy Heflin, a complex and flawed character who is ultimately forced to make a difficult choice. De Niro is also excellent as Moe Tilden, an Internal Affairs officer who is determined to expose the corruption in Cop Land. Keitel is also strong as Ray Donlan, a corrupt police officer who is Freddy's childhood friend.

Cop Land is a well-made and suspenseful film that explores themes of corruption, loyalty, and the cost of standing up for what is right.

While the film was not a box office success, it has since been recognized as a cult classic and is praised for its strong performances, complex characters, and gritty realism.

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Spirits of the Air • Gremlins of the Clouds

Spirits of the Air, Gremlins of the Clouds (1989) is a low-budget Australian post-apocalyptic sci-fi adventure film directed by Alex Proyas in his feature debut. The film follows a brother and sister living in a desolate desert landscape who are visited by a mysterious stranger who helps them build a crude plane to escape.

The film is visually stunning, with Proyas creating a unique and atmospheric world using limited resources. The production design and special effects are particularly impressive, given the film's budget. The performances are also solid, with Michael Lake, Rhys Davis, and Norman Boyd delivering memorable turns.

Overall, Spirits of the Air, Gremlins of the Clouds is a flawed but interesting film that is worth watching for its unique visuals and atmosphere. It is a clear precursor to Proyas' later and more successful films, such as The Crow and Dark City.

If you are a fan of low-budget sci-fi films with unique visuals and atmosphere, then you may enjoy Spirits of the Air, Gremlins of the Clouds. However, if you are looking for a fast-paced or tightly plotted film, then you may be disappointed.

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After Life

Hirokazu Kore-eda's 1999 film After Life is a sensitive and moving exploration of death, memory, and the human condition. The film follows a group of recently deceased people who arrive at a mysterious waystation where they are given the opportunity to choose one memory from their lives to take with them into the afterlife.

Kore-eda's direction is understated and elegant, and his performances are uniformly excellent. The film is also beautifully shot, with a dreamlike quality that perfectly captures the liminal state between life and death.

After Life is a film that will stay with you long after you have seen it.

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The Navigator: A Medieval Odyssey

The Navigator: A Medieval Odyssey (1988) is a unique and unforgettable film that blends elements of fantasy, science fiction, and historical drama. Directed by Vincent Ward, the film tells the story of a group of medieval peasants who travel through a time portal to the 20th century.

The film opens in England in the year 1348, as the Black Plague ravages the countryside. A young boy named Griffin (Hamish McFarlane) has a vision of a strange new world, and he convinces his brother Connor (Bruce Lyons) and four other companions to join him on a quest to find it. They travel through a time portal and emerge in New Zealand in 1988.

The peasants are initially amazed and terrified by the modern world. They encounter strange machines, unfamiliar customs, and even a talking dog. But they soon realize that they must learn to adapt to their new surroundings if they want to survive.

The Navigator: A Medieval Odyssey is a visually stunning film, with lush cinematography and surreal imagery. The film also features a strong cast, including McFarlane, Lyons, and Kerry Fox as a young woman who helps the peasants adjust to life in the 20th century.

The film is more than just a time travel adventure. It is also a meditation on faith, hope, and the human spirit. The peasants' journey is a symbolic one, as they travel from the darkness of the Middle Ages to the light of the modern world.

The Navigator: A Medieval Odyssey is a must-see for fans of fantasy, science fiction, and independent cinema. It is a unique and unforgettable film that will stay with you long after you watch it.

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The Trouble with Harry

The Trouble with Harry (1955) is a charming and quirky comedy directed by Alfred Hitchcock, known for his masterful suspense films. In this unconventional tale, Hitchcock deviates from his signature style, embracing a lighthearted and humorous approach to a murder mystery. The film revolves around the peculiar predicament of Harry, a man whose lifeless body repeatedly resurfaces in the peaceful countryside of Vermont, leaving the townsfolk perplexed and slightly apprehensive.

Amidst the idyllic autumn backdrop, a cast of eccentric characters grapples with the recurring appearance of Harry's corpse. Each has their own reasons to feel a sense of responsibility for Harry's death, adding layers of intrigue and comedic tension to the narrative. Edmund Gwenn shines as Captain Albert Wiles, a retired seaman with a penchant for practical solutions, while Shirley MacLaine, in her film debut, brings a captivating charm to the role of Jennifer Rogers, a vivacious young widow.

The film's humor stems from the absurdity of the situation and the characters' reactions to it. Hitchcock masterfully employs his signature directorial techniques, including suspenseful music, clever camera angles, and subtle foreshadowing, to create a unique blend of comedy and mystery. The Trouble with Harry is a delightful cinematic gem that showcases Hitchcock's versatility as a filmmaker and his ability to captivate audiences with a blend of humor, suspense, and quirky characters.

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Emily the Criminal

Emily the Criminal (2022) is a taut and suspenseful crime thriller starring Aubrey Plaza as a young woman who is drawn into the world of credit card fraud. Emily is saddled with student debt and unable to find a job due to a minor criminal record. Desperate for income, she takes a shady gig as a "dummy shopper," buying goods with stolen credit cards.

Emily soon finds herself seduced by the quick cash and illicit thrills of black-market capitalism. She becomes increasingly involved in the scam, and begins to push the boundaries of what she is willing to do. As she gets deeper and deeper into the criminal underworld, Emily must decide how far she is willing to go to achieve her goals.

Plaza gives a breakout performance as Emily. She brings a unique blend of vulnerability and determination to the role, making Emily a complex and compelling character. The supporting cast is also excellent, with Theo Rossi as Emily's charismatic mentor and Gina Gershon as a ruthless crime boss.

Writer-director John Patton Ford does a great job of creating a tense and suspenseful atmosphere. The film is well-paced and tightly edited, with a number of edge-of-your-seat moments. Ford also does a good job of exploring the moral complexities of Emily's situation. He shows how someone who is essentially a good person can be drawn into a life of crime out of desperation.

Overall, Emily the Criminal is a well-made and suspenseful thriller with a strong performance from Aubrey Plaza. The film is solid, but not a standout. It checks the boxes, and gets the job done.

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Three Days of The Condor

In the wake of the Watergate scandal, the 1970s saw a surge of political thrillers that tapped into the public's growing distrust of government institutions. One of the most notable examples of this trend is Sydney Pollack's 1975 film Three Days of the Condor.

The film stars Robert Redford as Joseph Turner, a low-level CIA researcher who returns to work one day to find all of his colleagues murdered. Horrified and confused, Turner goes on the run, trying to uncover the truth behind the massacre and stay one step ahead of the assassins who are after him.

Pollack masterfully creates a sense of paranoia and suspense throughout the film, as Turner finds himself caught in a web of deceit and unable to trust anyone. Redford delivers a compelling performance as the ordinary man thrust into extraordinary circumstances, and Faye Dunaway is equally good as Kathy, a woman who helps Turner despite her own fears and insecurities.

Three Days of the Condor is a well-made thriller that remains relevant today.

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Reservoir Dogs

Reservoir Dogs is a film of great violence and wit. It is a tale of knaves and rogues, of double-crossings and betrayals. But it is also a tale of friendship and loyalty, of the human condition in all its glory and gore.

Mr. Tarantino, the film's director, is a master of his craft. He weaves a tale that is both suspenseful and surprising, and his dialogue is sharp as a whip. The performances are all excellent, with Mr. Madsen, Mr. Roth, and Mr. Keitel standing out in particular.

But beware, dear reader, Reservoir Dogs is not for the faint of heart. It is a violent film, with some scenes that are quite graphic. But if you can stomach the violence, you will be rewarded with a film that is both entertaining and thought-provoking.

So if you are looking for a film that will challenge your mind and make your blood run cold, I highly recommend Reservoir Dogs. Just be sure to have a bucket of popcorn handy, because you're going to need it.

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Ghostbusters

Ghostbusters, a film of surpassing ridiculousness, yet also of great amusement. It doth tell the tale of three men who, having been fired from their jobs at a university for their outlandish theories of the paranormal, do decide to start their own business ghostbusting.

These three men, Dr. Peter Venkman, Dr. Egon Spengler, and Dr. Raymond Stantz, are a curious bunch. Dr. Venkman is a charming rogue, Dr. Spengler is a brilliant but eccentric scientist, and Dr. Stantz is a lovable nerd.

One day, the Ghostbusters are called to investigate a haunted hotel. They soon discover that the hotel is infested with ghosts of all shapes and sizes, from a giant Stay Puft Marshmallow Man to a slithering slime monster.

The Ghostbusters must use their proton packs and other ghostbusting equipment to capture the ghosts and save the day. Along the way, they get into all sorts of hilarious mishaps.

Ghostbusters is a film that is both silly and clever. It is full of quotable lines and memorable scenes. It is also a film with a lot of heart. The Ghostbusters are ultimately heroes who care about helping others.

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The Limey

Steven Soderbergh's 1999 film The Limey is a stylish and atmospheric revenge thriller starring Terence Stamp as Wilson, a British ex-con who travels to Los Angeles to avenge the death of his daughter. Wilson is a tough and resourceful man, but he's also out of his element in the sunny and glamorous world of L.A., and he soon finds himself caught up in a web of deceit and violence.

Soderbergh's direction is masterful, and he creates a sense of suspense and dread that lingers throughout the film. He also makes excellent use of flashbacks to show Wilson's relationship with his daughter and the events that led to her death.

Stamp is superb in the lead role, and he gives a raw and emotional performance as a man who is driven by revenge. He's ably supported by a strong cast that includes Peter Fonda, Lesley Anne Warren, Luis Guzmán, and Nicky Katt.

The Limey is a dark and gritty film, but it's also a compelling and well-made thriller. It's a must-see for fans of the genre, and it's also a great showcase for Soderbergh's talent as a director.

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Smile

Smile (1975) is a satirical film directed by Michael Ritchie and starring Bruce Dern, Barbara Feldon, and Joan Prather. It follows a group of teenage girls competing in the Young American Miss Pageant in Southern California.

Ritchie's film is a sharp and biting critique of the beauty pageant industry, its superficial values, and its exploitation of young women. The film's humor is often dark and uncomfortable, but it is also insightful and thought-provoking.

The film's cast is excellent, with Dern giving a particularly memorable performance as Big Bob Freelander, the pageant's ruthless and ambitious executive producer. Feldon is also very good as Brenda, Bob's long-suffering wife.

Smile is a well-made and thought-provoking film that remains relevant today. It is a must-see for anyone interested in satire, social commentary, or the inner workings of the beauty pageant industry.

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Valom Fokker D.VIi vs Spad XIII, 1:144 Scale

Here's something different...

I bought this awhile ago on Amazon because it was on sale at a steep discount. It was really cheap. I think this company is Polish? Not sure... And I had no idea what to expect.

The kit includes parts and decals for two of each aircraft, so it it possible to build 4 altogether. There's just a few parts and a small photoetch for each one.

Assembly was not easy. The fit isn't great and some parts were little more than a tiny blob. The photoetch in particular doesn't quite line up with where it is supposed to go. It's all a matter of using magnification and vanishingly small dots of CA glue. The result is particularly fragile because the glue I had strangely does not fully adhere to whatever type of plastic this is. 

Normal glue like Tamiya extra thin worked, with such small parts great care is required not to melt the whole thing.

I just brush painted the whole thing and added some very minor weathering. The colors are not at all right. I just used what I had on hand. This isn't exactly Wingnut Wings anyway.

The decals were not great, but were much better than I expected after my assembly experience. They went on OK with very few problems.

It's a small scale so it doesn't take much shelf space (if you don't lose it). And at a glance at least, it's really not bad. I just built the one. I'll get around to the Fokker another time.

See the album for this project here:

https://photos.app.goo.gl/XGAbca7woZdzUp1o7