17 August 2020

Twenty-One "Facts" About Myself, Some of Which Might Seem Far-Fetched But All Are "True"

The alien I met, Leonard.
I played bass in the Bill Evans trio.

I am a board certified cock fighting referee.

I’ve never eaten bread.

I can walk on one hand —my left.

I was the inspiration for the man in the yellow hat in the Curious George books.

I had a close encounter of the third kind with an alien named Leonard.

I attended Cardinal Richelieu Middle School.

I once inadvertently high-fived Osama Bin Laden at a chess tournament.

I’ve been told I bear a striking resemblance to John the Baptist.

As a CIA agent I once followed myself for three hours only to lose me at a county fair.

I once stole Richard Nixon’s favorite tie clip.

My doppelgänger is African American woman named Tessa.

I was the original choice to play Lincoln in the Steven Spielberg biopic of the same name but had to drop out because of a scheduling conflict.

A former imaginary friend of mine named Klaus went on to gain fame as the “proctologist to the stars” in Hollywood.

My first novel has been translated into 27 languages including pig latin, Esperanto and Klingon.

I worked my way through college as a village smithy.

With the aid of a Macarthur genius award, I have developed a strawberry-flavored haggis parfait.

My nickname in college was Beauregard Heidelheim Aristotle Magnus Llanfairpwllgwyngyll.

My cattle rustling career was cut short by a pinky toe injury.

I once heard Donal Trump express concern for the welfare of another human being.

I once went to bed so late that I passed myself getting up the next morning.

15 August 2020

Ten Underrated Films From Ten Great Directors

From The White Sheik
At the risk of being obvious, great directors make great films. Sometimes as many as half a dozen and in a few cases as many as nine or ten. These are the films that come to mind when one hears that director' name. For example, John Ford is automatically associated with such classics as The Searchers (1956), Grapes of Wrath (1940) and Stagecoach (1939). He's only slightly less remembered for How Green Was My Valley (1941), The Man Who Shot Liberty Valance (1962) and My Darling Clementine (1946). But Ford directed over 100 films (cranking out about half of those in an eight-year period during the silent era) so inevitably there are some really good pictures he made that, while certainly not forgotten, are little remembered, particularly in comparison with those of his that are part of the Hollywood canon. So it is with all great directors. Terrific films that either were spurned by the critics, did poorly at the box office, failed to garner any awards or -- as is often the case -- a combination of two or all of these factors. In writing this post I've been subjective. I'm determining that a film was underrated based on whether a) I really like it and b) whether it seems a lesser known work of the director. No one can argue with me as to whether I like a film or not but some may take issue with whether a given film is not well-known.

White Sheik (1952)Fellini . Given the string of classics by Federico Fellini that followed, it's understandable that White Sheik is relatively forgotten. This is no crude early work from a director who had yet to find his voice. While White Sheik portended the beguiling style to come from the great Italian filmmaker, it is a wonderful film in its own right with enchanting visuals, endearing characters and an imaginative story line. The great Italian actor Alberto Sordi was typically wonderful in the title role. A just-married couple has come to Rome for their honeymoon where they will be surrounded by the groom's relatives and afforded a chance to meet the Pope. As the staid groom naps, the innocent bride naively seeks her favorite comic book character. But this is a Fellini film so of course she finds him. The premise doesn't begin to convey the magic that ensues. What follows is a charming, delightful, funny and bittersweet story that, in my mind, is among Fellini's best work.

Shutter Island (2010) Scorsese. I'm truly baffled that Shutter Island was not a bigger hit with critics or audiences. Martin Scorsese is of course better known for his earlier work such as Taxi Driver (1976), Raging Bull (1980) and Goodfellas (1990) and of his films this century, it is The Departed, (2006), The Wolf of Wall Street (2013) and The Irishman (2019) that are most frequently noted. However in the last twenty years my favorite of his films are The Aviator (2004) and Shutter Island. The former got a slew of Oscar nominations (11) with five wins. But Shutter Island was shut out at the Oscars and gained no other significant awards or nominations. Why? Beats the hell out of me. It is as visually stunning a film as Scorsese has ever made. A brilliant cast includes Leonardo DiCaprio, Mark Ruffalo, Michelle Williams, Max von Sydow, Ben Kingsley, Emily Mortimer and Patricia Clarkson. It is a compelling story based on a popular novel of the same name by Dennis Lehane. It works as a psychological thriller, a modern horror story and as a detective yarn. A truly wonderful film.

From Amistad.
Amistad (1997) Spielberg. Amistad is not only an excellent film, it is an important one. The story of the slave revolt aboard the Amistad in July, 1839 and the subsequent trial  over the fate of the Africans, who had landed on US soil after commandeering the slave ship bound for sugar plantations, is one that deserves to be widely told.  Their trials were a cause célèbre that attracted the attention of Americans of all stripes, particularly abolitionists, one of whom -- former president John Quincy Adams -- tried their case before the Supreme Court. Many big budget low-minded films from Steven Spielberg have been given much more attention, particularly at the box office, but Amistad is among his best works. An excellent cast was led by Anthony Hopkins as Adams along with Matthew McConaughey, Stellan Skarsgård, Morgan Freeman, Chiwetel Ejiofor and Djimon Hounsou as Cinque, the African's leader. It's a film that was generally admired by critics but for some reason didn't catch fire, despite being both historically accurate (for a Hollywood film) and inspiring. This former history teacher recommends it for classroom use.

Face to Face (1976) Bergman. Face to Face seems to have gotten lost among all the great films being released in the mid 1970s and is certainly lost among the prodigious output of great films from Ingmar Bergman. That it wouldn't crack my top ten of Bergman's film is hardly a slight considering the competition. Frequent Bergman collaborator Liv Ullman starred as a psychiatrist married to another psychiatrist. The subject matter isn't exactly light fare (par for the course in a Bergman film) as she suffers a mental breakdown. But also like many Bergman films, it is a beautifully told story that challenges and inspires the intellect. The centerpiece is a wonderful performance by Ullman buttressed by an exemplary supporting cast.

The Man Who Wasn’t There (2001) Coens. Joel and Ethan Coen have been cranking out films for over thirty years. Most of them have been excellent, few have flopped and some have been masterpieces (see No Country For Old Men (2007), Inside Llyewn Davis (2013) and The Big Lebowski (1998)). They've also tackled different genres in different times and different places as the three aforementioned films show. With the Man Who Wasn't There they created a modern film noir (fully committing to the atmosphere by shooting in black and white). It stacks up with the best from film noir's post-war heyday. Billy Bob Thornton is excellent as the perpetually stoic and emotionless lead, a barber who gets mixed up in a murder that is ultimately his wife's doing. The fates of characters, like in classic noir, is predestined. The Coens are master storytellers and this is truly one of their best. Far from just an homage to a film style of the past, it is an excellent stand alone movie.

The Long Voyage Home (1940) Ford. You'd be hard-pressed to find a movie with a better opening five minutes. There's not a word of dialogue as the camera pans across a merchant marine ship in dock in the West Indies. It was a brave decision by John Ford to begin the film in such a fashion and he hit a home run. It didn't hurt that he had the great cinema photographer Gregg Toland to work with. Long Voyage Home, based on a series of Eugene O'Neill plays, is set mostly aboard a ship during the beginning of World War II and tells the story of the various crew members as they journey from the Caribbean to Baltimore and then home to England. Thomas Mitchell, Ian Hunter, John Qualen, Barry Fitzgerland and John Wayne (as a Norwegian -- complete with accent!) star. I particularly relate to the film as my father was in the merchant marines during the war (he was at the helm of one ship that was torpedoed and aboard two other ships that were strafed by enemy planes). Long Voyage Home is an engaging film with interesting characters and, as with most Ford films, has striking visuals.

I Confess (1953) Hitchcock. Perhaps less ambitious than many of the films Alfred Hitchcock made around this time, it's about as good a film as some such as Rear Window (1954) and Dial M For Murder (1954) and better than other such as Stage Fright (1950) and To Catch a Thief (1955). Montgomery Clift stars (in the only film he made with Hitch) as a priest who hears a murderer's confession and himself becomes a suspect. The priest's conundrum is that he cannot clear his own name without violating the seal of the confessional. It is a taut thriller, well-paced and featuring a strong cast that includes Anne Baxter and Karl Malden (like Clift, these were both Baxter and Malden's only appearances in a Hitchcock film). Upon its release, I Confess received mostly mixed reviews with many downright negative. This I'll never understand. It is among my ten favorite Hitchcock films.

From Love and Death.
Love and Death (1975) Allen. Love and Death was immediately followed by Annie Hall (1977), Interiors (1978) and Manhattan (1979) in other words the time in which Woody Allen became known as more than a director of silly, if hilarious, comedies. When people think of Allen's early comedies, it is usually Take the Money and Run (1969), Bananas (1971) and Sleeper (1973) that come to mind. Love and Death was a transitional movie. While chock full of gags, wit and slapstick, it also foreshadowed the nods to directors like Bergman and Fellini that would come to typify Allen's work along with the first of many references to Fyodor Dostoevsky's Crime and Punishment. It wasn't that Allen was getting more serious with Love and Death but he was clearly adding greater dimension to his comedy. I think for that reason it's an important work in his oeuvre and a very funny movie to boot.

The Fortune Cookie (1967) Wilder. My favorite screen pairing of co-stars Jack Lemmon and Walter Matthau. And undoubtedly the best film ever to feature footage of a Cleveland Browns football game. While it may not be in a league with such Wilder masterpieces as Sunset Blvd. (1950), Some Like it Hot (1959), Double Indemnity (1944) and The Apartment (1960), it's damn entertaining. Lemmon is, as always, superb here as sports photographer, Harry Hinkle, who suffers a minor injury on the sidelines of a Browns game. His brother-in-law (Matthau), a notorious ambulance chaser, tries to persuade him to feign a serious injury and thus win a big lawsuit. Hinkle is reticent until he sees it as a way to win back his estranged wife. It's funny, touching and entertaining and deserves more recognition.

Death in the Garden (1956) Bunuel. Luis Bunuel made twelve excellent films between 1956 and 1977 and this was the first of those and probably the least-remembered. It is about a disparate group of characters who, for various reasons, flee a fictional Central American village that is in the midst of a revolt against the government after the police exercise extra judicial powers. Those on the run are hotly pursued because they include an accused bank robber and rebels. Along for the ride are a priest, a prostitute and the ubiquitous beautiful young woman. It's exciting stuff with little of the surrealism that would highlight Bunuel's later works. In fact it's barely recognizable as a Bunuel film at all. But the story telling is economic while including the stunning visuals that typify the director's work. Also, like most of Bunuel's films, it is unpredictable. It deserves its place among his more renowned works such as Viridiana (1961), The Exterminating Angel (1962) and That Obscure Object of Desire (1977).

13 August 2020

Film Quotes Returns!

Elliot Gould in Robert Altman's MASH.
In this edition of Film Quotes, all quotes rae from American films of the 1970s.

I want to go to work in one hour. We are the Pros from Dover and we figure to crack this kid's chest and get out to golf course before it gets dark. So you go find the gas-passer and you have him pre-medicate this patient. Then bring me the latest pictures on him. The ones we saw must be 48 hours old by now. Then call the kitchen and have them rustle us up some lunch. — Elliot Gould as Trapper John in MASH (1970).

Loneliness has followed me my whole life, everywhere. In bars, in cars, sidewalks, stores, everywhere. There's no escape. I'm God's lonely man. — Robert DeNiro as Travis Bickle in Taxi Driver (1976).

Well, what I really want is to suck his cock. — Julie Christie as Jackie Shawn in Shampoo (1975).

Bluto's right. Psychotic... but absolutely right. We gotta take these bastards. Now we could do it with conventional weapons, but that could take years and cost millions of lives. No, I think we have to go all out. I think that this situation absolutely requires a really futile and stupid gesture be done on somebody's part! — Tim Matheson as Otter in Animal House (1978).

My analyst warned me, but you were so beautiful I got another analyst. — Woody Allen as Isaac Davis in Manhattan (1979).

It made me think of what you once told me: "In five years the Corleone family will be completely legitimate." That was seven years ago. — Diane Keaton as Kay in The Godfather Part II (1974).

You only have to lie on the grass at night and look straight up at some great star. And stare at it with all your might. And by and by, you feel you're falling into the sky, miles and miles from your body, which you don't seem to need at all. — Natasha Kinski as Tess in Tess (1979).

Liza Minelli in Bob Fosse's Cabaret.
Oh God, how depressing! You're meant to think I'm an international woman of mystery. I'm working on it like mad. --  Liza Minelli as Sally Bowles in Cabaret (1972).

It's amazing. It's incredible. But, I feel like a criminal 'cause I don't take money. — Al Pacino as Frank Serpico in Serpico (1973).

I'd wake up and there'd be nothing. I hardly said a word to my wife, until I said "yes" to a divorce. When I was here, I wanted to be there; when I was there, all I could think of was getting back into the jungle. — Martin Sheen as Capt. Willard in Apocalypse Now (1979).

Sir, you've been shot! When did you know it was all over? — Howard Cosell as himself in Bananas (1971).

What you got back home, little sister, to play your fuzzy warbles on? I bet you got little save pitiful, portable picnic players. Come with uncle and hear all proper! Hear angel trumpets and devil trombones. You are invited. — Malcom McDowell as Alex in A Clockwork Orange (1971).

Give yourself over to absolute pleasure. Swim the warm waters of sins of the flesh - erotic nightmares beyond any measure, and sensual daydreams to treasure forever. — Tim Curry as Dr. Frank-N-Furter in The Rocky Horror Picture Show (1975).

I love it. Suicides, assassinations, mad bombers, Mafia hitmen, automobile smash-ups: "The Death Hour." A great Sunday night show for the whole family. It'd wipe that fuckin' Disney right off the air. — William Holden as Max Schumacher in Network (1976).

You make it with some of these chicks, they think you gotta dance with them. — John Travolta as Tony Manero in Saturday Night Fever (1977).

You know, at one time, I used to break into pet shops to liberate the canaries. But I decided that was an idea way before its time. Zoos are full, prisons are overflowing... oh my, how the world still dearly loves a cage. — Ruth Gordon as Maude in Harold and Maude (1971).

Me, I just want a yacht, a big mansion, a peacock or something to guard me, you know, walk around all day with a bowler hat, silk pajamas, play golf, smoke real Havanas. — Ben Gazzara as Jack Flowers in Saint Jack (1979).

To love is to suffer. To avoid suffering one must not love. But then one suffers from not loving. Therefore, to love is to suffer; not to love is to suffer; to suffer is to suffer. To be happy is to love. To be happy, then, is to suffer, but suffering makes one unhappy. Therefore, to be unhappy, one must love or love to suffer or suffer from too much happiness. I hope you're getting this down. — Diane Keaton as Sonja in Love and Death (1975).

11 August 2020

From Cats on Roofs to Chinatown and Hippies With a lot of Sharon Tate, The Nine Most Recent Films I've Watched

Shampoo
Let’s check in on the last nine films I’ve watched. You'll  notice a few themes that run through many of them such as Sharon Tate and the Manson family. Tate's husband Roman Polanski will be referenced a few times as well.

Cat on a Hot Tin Roof (1958) Brooks. Watching this movie is an extremely frustrating experience. The strictures of censorship turned what could have been a great movie into a passable one. Based on the Tennessee Williams play of the same name it features a great cast in top form: Paul Newman, Elizabeth Taylor (as gorgeous a pair of co-stars as you’ll ever see) Burl Ives, Judith Anderson and Jack Carson. As compelling as the film is, the story was eviscerated by cutting all the play’s homosexual themes, a fact that — unsurprisingly — angered Williams. His artistic vision was ruined and what should have been a strong statement on homophobia and sexism was instead merely a vehicle for great acting. As if that weren't bad enough, studio execs altered the ending of the film to make it more palatable for audiences, something Hollywood bigwigs are want to do. Cat was a critical and commercial success and is certainly still well worth a look, but oh, what might have been.

Shampoo (1975) Ashby. With this my latest viewing of Shampoo it occurred to me that the film is  about the death of hope. The sadness of the film is masked to a great degree by watching star Warren Beatty bed-hopping with various women, namely Lee Grant, Goldie Hawn, Julie Christie and Carrie Fisher — all in a 24-hour period, mind you. Beatty co-wrote the script with Robert Towne (more on him later) about a wildly popular and lascivious hairstylist (Beatty) who wants to own his own shop. The main character is based on two real people, one of whom was Jay Sebring who was killed alongside Sharon Tate by members of the Manson Family. He seeks start-up capital from the husband (Jack Warden) of one of his lovers (Grant). Meanwhile the potential investor is himself having an affair with an ex of Beatty’s (Christie). Shampoo begins on election eve 1968 and the election and its results (a Nixon victory) are no mere window dressing. Shampoo is about the death of the Sixties and  the decadence of America’s noveau riche who partied on while the high hopes of the Sixties died. Shampoo, is a terrific multi-layered film that is not only very much of the time it was set but of the time it was made with a strong Seventies cinema sensibility. Shampoo has less of a Hal Ashby stamp to it then some of the other excellent films he made in the seventies, probably because Beatty essentially co-directed. It's also been said that the script, which had been in development for about five years, was ultimately influenced by the murderous rampage by the Manson Family, the most famous victim being Sharon Tate.

Sharon Tate
The Wrecking Crew (1968) Karlson. Watching a really bad film is only tolerably if a) you know it’s going to be bad and b) there’s a reason beyond enjoying a cinematic experience for you to watch it. I correctly anticipated the Wrecking Crew would be a stinker, although I didn’t know the stench would be quite so bad. There’s no better example than when the film’s star (Dean Martin as Matt Helm) leaps over a hedge, lands on a lawn and the ground ripples. Or when Helm and his leading lady are landing a helicopter and it is evident that the vehicle is being operated by a stunt double who bears only a vague resemblance to Helm. Wrecking Crew’s credibility is not helped by the many scenes in the hills of Denmark (Denmark has no hills) that strongly resemble the hills of Southern California. The fight scenes are boring, the dialogue seems written by a 12-year-old and the plot is beyond absurd. But I was compelled to watch the movie because of Martin’s co-star, Sharon Tate. Wrecking Crew features in Quentin Tarantino’s brilliant film, Once Upon a Time in Hollywood where we see Tate (as played by Margot Robbie) enter a movie theater and gleefully watch herself in the film. I’d also been thinking a lot about Tate because of the podcast You Must Remember This which had a series on Charlie Manson’s Hollywood which naturally centered around the murder of Sharon Tate and others by members of the Manson Family. I’ve been “having to watch” Wrecking Crew ever since Once Upon a Time… came out and the podcast was the tipping point. I’m glad I’ll never have to watch it again, though I have to say that for all the film’s faults, Tate was a delight to watch.

Portrait of a Lady on Fire (2019) Sciamma. This one of the rare cases of a film I admire but don’t like. I think its a terrific movie and and understand and appreciate that it's loved by many, particularly feminists and the LGBTQ community. But it didn’t work for me. I couldn't warm up to either main character. I was not at all bothered by the subject matter and indeed thought it was a good story. Portrait was beautifully shot — well, hell, there’s nothing wrong with it, I just didn’t like it. Happens.

Daily Miller
Daisy Miller (1974) Bogdanovich. As mentioned previously on this blog I've recently listened to TCM’s The Plot Thickens podcasts in which Ben Mankiewicz interviewed Peter Bogdanovich. I have subsequently watched all of Bogdanovich’s films (almost all, I passed on a few that were very poorly received). The last of these was Daisy Miller starring Bogdanovich’s then girlfriend, Cybill Shepard in the title role. I’d never seen Daisy Miller before and was suitably impressed. For all its merits Daisy tanked at the box office. As Bogdanovich himself has said it came out at a time when the movie-going public was not interested in period pieces. Twenty years later, he has speculated, it might have been a hit. Based on an 1878 novella by Henry James, Miller is about a young, beautiful, wealthy and obnoxious American woman traveling in Europe and being pursued by various suitors, one of whom is a fellow American who has our sympathies. He is played by Barry Brown and yes, I said “who?” when I saw his name too. Brown was a strange cat who Bogdanovich said liked to read the obituaries in the morning paper. He took his own life five years after Miller, at the age of 27. More’s the pity because based on Miller he was a fine actor, this was his biggest role.

Chinatown (1974) Polanski. There’s so much going on with this film that it deserves a book and indeed there is a new one out and following my latest viewing of Chinatown I ran out (actually my wife drove me to the bookstore) and bought it. The book is called The Big Goodbye: Chinatown and the Last Years of Hollywood and it's by Sam Wasson. After two days I’m halfway through the book and loving it. I’m not the only person who regards Chinatown as one of America’s greatest films and likewise its screenplay, by Robert Towne as virtually unparalleled in cinema history. I also think it is the quintessential 1970s American film (high praise indeed) despite the fact that there are three others I hold in slightly higher regard (Manhattan (1979), The Godfather (1972) and Taxi Driver (1975)). Previously I mentioned Shampoo is a sad film about the death of hope. Compared to Chinatown, Shampoo is Chitty Chitty Bang Bang. There is utter despair in the ending. The rich and powerful are victorious and get away -- literally -- with murder. The woman in the picture, Evelyn Mulwray (Faye Dunaway) who at first seems something of a femme fatale, tries mightily to protect her daughter (her sister) from a rapacious evil that is capitalism personified in the person of Noah Cross (John Huston) the man who once owned -- literally -- water and now profits of it and directs its path like a god. The private detective J.J. Gittes (Jack Nicholson) is a cynic who revels in dirty jokes and happily takes divorce cases but comes to love Mulwray and tries to save her and her daughter (sister). Screenwriter Robert Towne had a happier ending in mind but director Roman Polanski had other better ideas. Still reeling from the murder of his wife Sharon Tate at the hands of Mason Family members, he wasn’t about to put a smiley face at the end of a story about greed, corruption and incest. But Chinatown is not the slightest bit depressing. It’s too damn good for that. It is something of a message film as it is something of a seventies noir and something or a murder mystery. It defies easy classification. What it surely is is brilliant collaboration of writer, director, producer, cast and crew to create a uniquely American expose of America itself and its worst manifestations under capitalism. Can’t wait to finish the book and to watch the film again.

Love and Mercy (2014) Pohlad. This is an excellent film  that deserved more recognition. When I initially saw it five years ago it inspired me to re-visit The Beach Boys music and gain a greater appreciation for the group's leader, Brian Wilson.The film is a showcase for actors Paul Dano and John Cusack who play Wilson at different ages. They were both excellent. (Paul Giamatti gives a masterful performance as the the psychotherapist Dr. Eugene Landy who for years cruelly controlled and manipulated Wilson). Love and Mercy is a celebration of genius which is unquestionably what Wilson is. It is also a look at mental illness which Wilson unquestionably has. (Not the first time those two have gone together.) It is also a story of how the love of another person — Wilson’s second wife Melinda (Elizabeth Banks) -- can have a curative and redeeming effect on a person. It’s a fine movie. (Side note: Beach Boy Dennis Wilson -- Brian's brother -- for a short time hosted Manson Family members in his home.)

Tess
Tess (1979) Polanski. Truly one of the most beautiful films ever made. It is an epic tragedy based on the Thomas Hardy novel of the same name. Tess is a victim. She is a victim of rape. A victim of the horribly sexist mores of Victorian society. A victim of her earnestness and of a young man’s capriciousness. Like many tragedies it is full of if-onlys. If this hadn’t happened, if she hadn’t said this or he hadn’t done that. Natasha Kinski then 17, gave a perfect performance as Tess despite not even being British. She is as stunning a screen presence as one will ever see. Tess faces everyone and everything matter of factly and accepts her fates stoically. Clearly there is bafflement at times, shock and disappointment at others but she does not break down. Indeed she keeps going, forever walking through the British countryside (though Tess was filmed in France). Misfortune and the vagaries of relationships including heartbreak do not stop her. Tess is a woman on a mission, though to or for what is not clear. There are scenes of great beauty in Tess: Tess’ suitor Angel carrying her and three companions across a flooded road; Tess’ rapist/benefactor trying to talk reason to Tess at a threshing machine; A group of girls in long pretty white dresses dancing in a field at twilight; Stonehenge at daybreak; A deer approaching a sleeping Tess in the forest; And all those country roads. Tess, of course, suffers a sad fate, one that could easily have been so different. But that’s life, isn’t it. We are at the mercy of chance and at our own decisions, ones often made in haste and in youth. Polanski dedicated the film to his late wife, Sharon Tate who first suggested he make a cinematic version of Tess.

Revolution (1968) O'Connell. For me the most amazing aspect of this film is that I’d never seen it before. Revolution is a documentary (available on YouTube) about the hippie scene in San Francisco in 1967 which was then at its apex. Revolution focuses primarily on hippies in and around Golden Gate Park and the Haight Ashbury district — the epicenter of the hippies. We meet several young hippies, as they talk about love, sex, drugs and defying societal norms. We see hippies tripping on acid (a must for all self-respecting counter culturists of the time) grooving at concerts, frolicking in the nude, engaging in rap sessions, spare-changing and romping around in the park. A few “straights” are interviewed as well to give their perspective on the burgeoning hippie revolution. It is a fascinating time capsule and for me a bit of stroll down memory lane. I was a young teen across the bay in Berkeley which at the time  — particularly around Telegraph Avenue — was also a hotbed of hippie activity. I was a bit of one myself, although at the same time I was a jock. (I was a strange kid.) There is everything hopeful about the people and scenes in Revolution. We are witnessing a clarion call for peace, love, understanding and a rejection of capitalist greed and conformity. Revolution depicts the short-lived golden age of the hippies. Soon the movement would be ruined by profiteers, criminals, drug abuse, the Manson family murders, Altamont and the assassinations of Dr. Martin Luther King Jr. and Robert Kennedy. Still the hippie movement has had a lasting and positive impact on our culture and the documentary goes a long to show what the Hippie spirit was all about.

Peace.

08 August 2020

Harry and His Four Friends

 


“Harry, time to come in, dinner is ready.”

“Wait a minute, mommy, I’m still playing.”

“You can finish playing after you eat, besides it’s getting dark.”

Reluctantly, Harry, who was sitting on the lawn in the Magnuson’s yard with his back to the house, stood. Still facing the back fence he gave instructions to his four imaginary friends — Ray Ray, Z-Bone, Mackey and Lloyd, to meet him in his room to continue their activities after he finished his supper

Harry’s mother, Charlene could hear Harry promise to bring his friends food. Feeling a cold wind starting up, Charlene said, “Hurry now, Harry, it’s getting cold and you don’t have your sweatshirt.”

Charlene was easily frustrated by her precocious six-year-old son who, she often stated, “marched to the beat of his own drummer.” In response, her husband, Arthur, would add, “One with a crazy beat.” Every boy has an imaginary friend, Arthur would note, but our kid has four.

Harry finalized his instructions to the four then whirled around and ran into the house, his arms chugging up and down like the sprinters he’d seen on TV. He sped past his mother and skidded to a halt at the kitchen table where the Magnuson’s maid, Bertha, was putting a casserole on the table. Harry immediately saw that it was topped with broccoli and cheese and wondered how he’d manage to eat any of it. But then Bertha placed a large plate of chicken breasts next to the casserole and a bowl of mixed salad next to that. Harry’s mood brightened.

“Smells good, very good,” Arthur pronounced as he entered the kitchen. Arthur ruffled Harry’s hair before sitting down.

“How you doin’ son? No big greeting for your dear ole dad?”

“I’m fine, daddy. Did you make us a lot of money today?”

Arthur, who was an investment banker in New York, laughed and said, “well, sonny boy, I made money for some other people, I hope so anyway, and that’ll make money for me.”

“You mean us!”

“

"Of course I do,” Arthur responded with great cheer.

Charlene entered the kitchen having popped into the dining room to mix herself another cocktail. It was 6:15 and this was her fourth drink of the day. Noting the drink, Arthur frowned but said nothing knowing that doing so would likely lead to another argument. Charlene had taken to drinking regularly since a recent miscarriage.

“What were you up to today, Harry?” Arthur asked his son.

“Ray Ray, Z-Bone, Mackey, Lloyd and I were pretty busy. There were a bunch of mean pirates in the area stealing stuff and we had to fight them. It was kinna tough because Lloyd has a cold and Z-Bone misses his sister Lulu Belle who moved to Neverland with Peter Pan. Plus Ray-Ray hurt his hand yesterday when we were fighting the men in black hats.”

“So that’s three of your buddies, who’s the other one?” Arthur asked showing a genuine interest.

“Mackey!” Harry exclaimed as if it should be obvious. “Mackey’s fine. But ya know he’s a negro and is worried about the sickle rights.”

Charlene corrected her son, “civil rights, Harry, not sickle.”

Harry nodded to indicate he understood while chewing his chicken methodically. 

Recently Harry had provided his parents with detailed descriptions of his four friends. Ray-Ray was short, dark-haired and mischievous. Z-Bone was quiet but the best fighter. Mackey was older than the rest, muscular and a negro. Lloyd was the brains of the group, bespectacled, slender and blonde. Harry claimed to like all four of them equally and said that they were all fiercely loyal to him. Harry and his four friends would hold long conversations in his bedroom or would play various games in the Magnuson’s backyard. They often pretended to be pirates or Vikings or “good cowboys in the old western times.”

Charlene told Harry to “eat some of the casserole Bertha made and salad too, they’re delicious.”

“How do you know, mommy, you haven’t eaten anything yet.”

Harry was blunt and honest which could variously be endearing and infuriating as when he told Bertha, who’d been their maid since Charlene was pregnant with Harry, that she was “fat.” Charlene and Arthur had been aghast and had admonished Harry and apologized to Bertha who, nonplussed, waved off their concerns. “He’s got truth as a defense,” she said.

It was quite true that Charlene hadn’t touched her food focused instead on her cocktail.

Arthur was both glad and mortified at his son’s observation. He hated having “scenes” with Charlene but hoped Harry’s comment would cause his wife to think about her drinking.

After a long desperate silence Charlene told her son, “I’m going to start eating just as soon as I finish this drink.”

Harry listened idly as his parents engaged in one of their typical dinner-time conversations. Not a word of it interested him in the least and much made no sense to him. He detected a bit of strain in his mother’s voice as if it required a huge effort to talk to her husband. The young boy also noted the hopefulness in his father’s voice. His dad sounded like was trying to convince his wife — but mostly himself — that everything was not merely okay, but grand.

Meanwhile Bertha emptied the dishwasher to make room for the dinner dishes, then cleaned the stove top. It was Friday night so Bertha would be staying well past her usual departure time of 6:30 as she didn’t come in on weekends. Bertha put in five-day weeks from 10:30 to 6:30, except Fridays which were her noon to 8:00 days.

Bertha was avuncular and warm, affectionate with Harry and much more like a member of the family than a servant. She worried about Charlene’s drinking and often discussed it with her husband Ralph, a maintenance man for the local school district. Ralph always told her to stay out of it.

The Magnuson’s lived in Darien, Connecticut, an hour’s commute from Arthur’s office in New York City. For two years after college Charlene Magnuson (nee Baker) worked as a graphic designer for an advertising firm. But she quit after getting married. Besides a well-paying job, Arthur brought to the marriage a large chunk of the vast Magnuson fortune, made in the diary industry but seeded decades before by Bert Magnuson’s success as a bootlegger during prohibition. 

After making token efforts at eating the casserole and salad, Harry asked if he could be excused. He wanted to play with his friends until it was time to watch 77 Sunset Strip. After that was over, his parents, unless, it was night that they were going out or having friends over, would watch Burke’s Law. Harry always pleaded with his parents to let him watch it too, but they insisted he be in bed by 8:30.

Arthur gave his son permission to leave the table. On his way out he politely thanked Bertha “for another wonderful dinner” and gave her a hug. Even though it was a nightly ritual insisted upon by his parents, Bertha found it charming and kissed Harry on the top of his head.

On his way out of the kitchen Harry observed that his mother had finally managed to eat a few bites. What he didn’t know was that she would soon be making herself another cocktail and would eat no more that day. She would be plastered by 9:00 leaving Arthur depressed and angry. Until, that is, she stripped to her panties and bra and seduced him. Drunk or not Arthur found it impossible to resist his beautiful wife’s sexual advances. It made Arthur sad that when sober Charlene showed little interest in sex, only going through the motions.

So as he sat next to his sotted wife on the living room sofa staring blankly at the TV, consoling himself in the knowledge that he was virtually guaranteed a good screw that night.

After watching 77 Sunset Strip with his parents, Harry was led to bed by his dad who supervised his son putting on his pajamas and brushing his teeth. Harry positively reveled in brushing his teeth, though not for any reason he could possibly articulate.

Once tucked in and left alone in his bedroom, Harry chatted amiably with his four friends who he envisioned being in sleeping bags. After wishing each a good night the young boy stared out his window and gazed at the bright moon which was illuminating the many large clouds that were moving about. Harry tried to picture witches flying in front of the moon on broomsticks. Halloween was in two weeks and he was looking forward to donning the pirate costume his mother had already purchased for him.

His thoughts then wandered to President Kennedy, a man both his parents were enamored of. Harry reasoned that the president must be the smartest man in the world, or at least the country. Harry figured that there had to be smart people in most every country in the world but wondered if the very smartest were in the United States. He’d seen pictures of and heard his parents talk about the previous president, who Harry thought was named Eyes-in-hour. Neither he nor the man Nixon who’d been his vice president and ran against Kennedy in the presidential election, seemed to be terribly bright. Harry could tell by looking at them. Plus they were from the Republic Can party which Harry thought was a silly name.

Eventually Harry’s eyes grew heavy and his mind started to see pictures. He realized that sleep was going to overcome him. He wanted to hold it off for a bit so he could keep on thinking about stuff, but it was impossible.

Harry slept deeply that night and didn’t hear his parents argue. He didn’t hear his mother slap his father when he said he was fed up with her drinking and how disgustingly drunk she got. He didn’t hear her tearful apology nor did he hear her — by way of apology — pull off her clothes. And he didn’t hear them making love or their loud orgasms or the repeat performance thirty minutes later.

Harry did not hear his mom emerge from the bedroom a little past midnight, walk downstairs to the living room and sob uncontrollably for ten minutes.

The next day was Saturday and Harry veritably flew out of bed happily greeting his four friends — all already awake — rushed into the bathroom to pee then made a bee line to the kitchen for a bowl of corn flakes after which he hopped on the sofa to watch cartoons.

Harry had been watching cartoons for over an hour when his father entered the living room still in his pajamas. 

“Whatchya watching, sonny boy?”

“Bugs Bunny, he’s my favorite.” Harry thought it a silly question since all his dad had to do was look at the TV screen to know what he was watching.

“Looks like ole Elmer Fudd is still trying to catch Bugs,” Arthur said seriously.

“And he’s never gonna. Bugs is too smart, right dad?”

“That’s right, son,” Arthur assured his son, then tousled the young boy’s hair.

It was another ninety minutes before Charlene emerged from the bedroom. Arthur had already showered, shaved, fried eggs and bacon and read much of the morning paper before she came into the kitchen and poured herself a cup of coffee.

Harry had finally grown weary of watching cartoons and was in the backyard instructing his four friends as they prepared for the men in black hats to attack their fortress. Indeed he was having a particularly fun morning letting his imagination run wild, inventing new scenarios for him and his imaginary friends. These included the bad men recruiting dinosaurs and assorted monsters and ghosts to — unsuccessfully, of course — attack their fortress. By the time he was called in for lunch, the attackers had been vanquished though at the cost of a broken arm for Ray-Ray and a black eye to Lloyd.

Harry joined his parents at the kitchen table for tuna sandwiches and a macaroni salad. He had two tall glasses of milk with his meal. 

After lunch Harry and his parents got into their station wagon and drove to the hospital to visit Harry’s Great Aunt Heloise who’d had an operation the day before. Harry loved his great aunt who always had candy for him, but it was no fun visiting her in the hospital where she was laying in a bed and didn't have any candy to give him. 

From the hospital they went to the grocery market. It was a successful trip for Harry who was able to persuade his parents to buy Neapolitan ice cream, his favorite.

When they got home Arthur watched the Wide World of Sports and Charlene mixed her first drink of the day. Arthur went in his room and talked to his four imaginary friends while drawing in his coloring book.

One month later President Kennedy was assassinated. Two months later Harry got a puppy for Christmas. Six months later Charlene quit drinking and started attending AA meetings. Nine months later Harry’s baby sister Jenna was born. Twelve years later Harry was a freshman at Harvard.

Twenty years later Harry’s first novel, The Golden Promise, was published. It’s four main characters were named Ray Ray, Z-Bone, Mackey and Lloyd. It went on to be a best seller and was subsequently made into a movie.

05 August 2020

What the Hell Makes Me Such a Know-it-all on Films? I Try to Explain -or- A Cinephile Explains Himself

Images from Bergman films
In an email last week a friend asked me if I’d seen a recently released film as he was curious what I thought of it. I watched the movie the next day and emailed back detailing all the problems I had with it. Afterwards I wondered why I hadn’t just said, “didn’t care for it” and left it at that. Who the hell am I to go on so about a film?

Over the past twenty years, friends, relatives and co-workers have solicited my opinion on movies and asked for recommendations and suggestions. I’ve gladly obliged, happy to share my knowledge and opinions. But what makes me such a know-it-all? I’m not a professional film critic. I’ve never worked in films. I wasn’t a film studies major in college. Yet I often pass myself off as something of an authority.

The fact is that I do have a certain expertise and am far more film literate than most people. How did I come by this?

First of all I watch a helluva lot of movies and have done for decades. During the pandemic I average about nine to eleven movies a week. In semi-retirement it was five to eight films and while working full time three to six. The more exposure you have to a certain area the more you’re going to know about it.

But I don’t just watch movies, I contemplate them and read about them. Once I finish a film — assuming I liked it, and even sometimes when I didn’t — I read about it. I check what IMDb and Wikipedia have to say and I read reviews via Rotten Tomatoes. If there are essays available I’ll read those too. The Criterion editions of films I own all have accompanying essays. If the movie is on DVD and there are special features I watch those.

I also read about films in general or about particular directors or genres, or eras, or actors or studios. I’ve read a lot of books on films and watched a lot of video essays. I thus know a tremendous amount of trivia about films, directors, actors et al and more importantly understand a lot about how films are made and what makes a great film and what to look for to appreciate films. I’ve learned to appreciate how a film is made, the use of lighting, camera angles and positions, the framing of shots, colors, set designs, musical scores and more. Certain familiar films I'll watch without paying much attention to the dialogue focusing instead on the way it was shot (John Ford films are particularly good for this). I've also benefitted from conversations with Italian director Germano Maccioni who is partners with my oldest niece. He knows and understands films a couple of hundred times better than I do.

From The Stalker by Tarkovsky
I’ve also developed my expertise by writing about films. This very blog you’re reading used to focus almost solely on films. When you write about something you’re obliged to think about and you develop critical thinking skills. I still often watch movies as if I’m going to write about it afterwards, which causes me to look at the film critically, searching for themes to explore.

So is my opinion about a movie more valid than anyone else’s? Of course not. You either like something or you don’t. It is not empirically verifiable that a film is good or bad. You cannot tell someone a movie they love stinks anymore than you can tell someone that the strawberry they are enjoying tastes bad. There are general consensuses about a lot of movies but that should never influence a person to like something they don’t. (It may influence you to try a movie that you hadn’t planned to watch and indeed that is the benefit of a critical consensus.)

Since I’ve gone this far I might as well discuss the types of films I like and the kind I don’t like.

This may come off as me being silly but….I like good movies. Some I like are westerns, some are film noir, others are Swedish or Italian or French or Russian or screwball comedies, or from the Seventies or from the Thirties or are recent or are silent or are in black white or are in Technicolor, some are indy films, some are big budget studio films, some are war pictures others are gangster films or message films or slapstick or obscure or laden with awards or defy easy classification. Just so long as they’re good.

I’m much more interested in who the director is rather than who the leads are as I am great believer that auteur directors tend to make the best films. I think the star or stars of the film are no more important than who the cinema photographer is. A great actor giving a brilliant performance cannot save a poorly directed film or one with a mediocre screenplay.

A disproportionate number of the films I love were made in the 1970s. Why were the ‘70s so good? In brief: 1) the old censorship strictures were gone. 2) The studios were giving directors more freedom. 3) The desire for blockbusters as driven by marketing and corporate heads hadn’t taken hold. 4) There was a strong influence from the cultural changes brought on during the Sixties. 5) In America alone there were a lot of excellent directors working, many doing their best swork (Hal Ashby, Robert Altman, Roman Polanski, Martin Scorsese, Steven Spielberg, Francis Ford Coppola, Stanley Kubrick, Sidney Lumet, Woody Allen and Sam Peckinpah).

Cary Grant and Katharine Hepburn in Bringing Up Baby
Also many of my favorites are foreign language films. Ingmar Bergman is my favorite all-time director and I also admire Federico Fellini, Roberto Rossellini, Michelangelo Antonioni from Italy, Finland’s Aki Kaurismaki, French directors like Francois Truffaut, Louis Malle and Jean-Pierre Melville, the two best Japanese directors Akira Kurosawa and Kenji Mizoguchi many Russian filmmakers especially the great Andrei Tarkovsky etc. etc.

Mostly I like films that are not formulaic. This is a problem with many films dating back to the start of cinema that seems particularly pronounced today. Action films and romantic comedies are particularly prone to having a paint by the numbers quality.

I’m also not always invested in plot lines. I love pictures such as Barry Lyndon (1975), Elevator to the Gallows (1958), Once Upon a Time in Hollywood (2019) and Stalker (1979) in which what is going on is subordinate to how it is being told. With some films, being concerned about a plot is like needing to understand all the lyrics before you can dance to a song or wanting a linear story line in poems. I love movies that create a mood, a feeling. As Bergman once said: “Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.” Tarkovsky's Stalker is my second favorite film of all time and there's a lot about it I can't make heads nor tails of.

I don’t watch Marx Brothers films to be told a story, I watch them to laugh. When I watch an Alfred Hitchcock film I don’t worry about what he called the Macguffin (an object or device in a movie or a book that serves merely as a trigger for the plot) I watch the way he weaves the story.

I also prefer character-driven stories with good dialogue which is why Woody Allen is my second favorite director. But at the same time I can be happy with a film like 2001: A Space Odyssey (1968) in which the characters are uninteresting (save the computer, Hal) but the story and the way it is shot is compelling. Two films like 2001 and Annie Hall (1977) represent completely different styles but they are both original and, in their own ways, great fun to watch.

I like movies that make me think and I like movies that I don’t have to think about but reach me viscerally.

From Wes Anderson's Moonrise Kingdom
I love the distinctive look of Wes Anderson’s movies and the bravura story-telling talents of the Coen brothers and the originality of Jim Jarmusch’s movies. I like the humor and pathos of Charlie Chaplin and combined wit and silliness of Preston Sturges films and Cary Grant in screwball comedies.

I love both On the Waterfront (1954) and Animal House (1978). I love both Here Comes Mr. Jordan (1941) and Goodfellas (1990). I love both La passion de Jeanne d'Arc (1928) and Mean Girls (2004). I love all those films because they were thoughtfully made and true to their intended purposes. I like honesty in art (which cinema is) and telling a story in way that is interesting and not compromised and not modified to please audiences. Filmmakers should have a vision and follow it.

I'm developing a greater appreciation for female directors such as Lynne Ramsay, Kelly Reichardt, Sofia Coppola and Joanna Hogg.

As to what I don’t like….I join Martin Scorsese in reviling what is called the Marvel Universe and all the comic book movies that are being mass produced to line the pockets of corporate bosses and sell-outs like Robert Downey Jr. Great art is created by people with a vision, a message and a desire to tell a story or create a mood. So many movies today are created solely to make lots and lots of money. That's not art, it's capitalism.

I don’t tend to like horror movies (with notable exceptions such as The Exorcist (1973), The Shining (1980), The Bride of Frankenstein (1935), The Thing From Another World (1951)). Most of them simply aren’t scary and if they are that’s all they’ve got going for them. I don’t like the overwhelming majority of romantic comedies because they are entirely too predictable. I’m not a fan of musicals. I’d rather watch the 1948 version of Oliver Twist than the 1968 musical version. I don’t like a story suddenly being interrupted by a big song and dance production. I don’t like the Gene Kelly musicals in large part because Kelly’s personality rubs me the wrong way. I’m not a fan of Singing in the Rain (1952). I do like the Astaire and Rogers musicals, silly and vapid though they may be, because Fred Astaire is so charming and the dance numbers are magnificent.

But I don’t like to dwell on movies that I don’t like. The last thing I ever want to do is hear someone tell me a movie I admire sucks or to read a negative review of a movie I like. I don’t want to dwell on what’s wrong with certain movies or problems with the film industry (legion though they may be). I’d rather focus on the films I love and discovering new ones to admire.

From John Ford's The Searchers
I try — perhaps not successfully — to not come off as a film snob but I do like people to know that unlike 99.9% of subjects you can name, when it comes to films I know a lot. Mostly I know what I like and what I don’t like. But more importantly I know why and can articulate my feelings. I’m always delighted when I person sees a film I recommended and likes it and am always happy to offer suggestions.

Sorry if, as in the email to my friend as I was long-winded. When it comes to movies I have a lot to say.

(Here's are my favorite films of all time.)

Appendix: I had a very good friend — now departed from this world — who it was terribly frustrating to discuss movies with. This was an intelligent man, a success in his field, well-versed in topics of the day and an authority on baseball. But he would judge a movie before seeing it based on the title or who was in it. He derisively dismissed the Coens’ wonderful debut film, Blood Simple (1984), reasoning that based on its title it must be another slasher film. He noted one film that co-starred two actors who’d previously been in a movie together and complained, “didn’t they already make this movie?” Unable, perhaps, to believe that two actors could be in two films that were unalike. Similarly when Saving Private Ryan (1998) and The Thin Red Line (1998) came out around the same time — both World War II movies — he complained, “aren’t they same movie?” No more than Casablanca (1942) and Bridge on the River Kwai (1957) were. He took everything in films literally, objecting to Pulp Fiction (1994) because of the accidental death of one character. He often saw violence in films as a celebration of murder rather than part of a story. He seemed to like only films that had what he thought of as positive social messages and had no appreciation for film styles. He thought the Academy Awards were sacrosanct and took their judgment of films as if they were the Oracle of Delphi. Often the first question he’d ask me about a film was, “is it Oscar-worthy?” I finally started answering: who cares?

Listening to his comments on movies was like talking about soccer with someone who don’t regularly follow and doesn’t fully understand sports. It’s frustrating and you can feel condescending when you have to set them straight about basic facts.

But I had to endure my friend’s ignorant and ill-founded opinions and complaints because we spent a lot of time together and most of the rest of our conversations ranged from interesting to scintillating. Today I’m often reminded of some of his tone deaf comments on films. In a way they endear me to him as they were just one part of a large and engaging personality. But they also remind me of how much I know and understand about movies and how it is a gift to be appreciated and cultivated.

03 August 2020

The Death of Michael Corleone -- My Weekend With The Godfather Films

“Hey, whaddya gonna do, nice college boy, eh? Didn't want to get mixed up in the Family business, huh? Now you wanna gun down a police captain. Why? Because he slapped ya in the face a little bit? Hah? What do you think this is the Army, where you shoot 'em a mile away? You've gotta get up close like this and - bada-BING! - you blow their brains all over your nice Ivy League suit.” — Sonny Coreleone to his baby brother Michael, who goes ahead and shoots the captain and a mob moss.

I watched Francis Ford Coppola's The Godfather (1972) and the Godfather Part II (1974) over the weekend and what impressed with these latest viewings is that Michael Corleone dies in the first film.  Michael is the college boy, war hero who was not meant to be in the family business — organized crime — but gets sucked in after an unsuccessful attempt on his father’s life and then takes over after the death of Sonny.

No, Michael does not physically die in either movie and in facts lives until the very end of the ill-fated third installment of the Godfather series, the Godfather Part III (1999). (If you've never seen Godfather 111, don't bother.) But he is completely bereft of life by the end of the first film. He is cold, calculating and lacking all emotion save a red hot temper which occasionally flares but that he ultimately controls. That temper may seem a sign of life, but  it is more a special effect meant to frighten a rival, a subordinate or a spouse.

When we first meet Michael he is a young man just out of the army. With his girlfriend, Kay, in tow, he is at his sister’s wedding. He tells Kay about his father helping a singer get out of a contract with a bandleader by saying that either the bandleader's signature or his brains are about to be on the contract. Michael assures Kay, “that's my family Kay, that's not me.” Michael is in earnest, he’s chosen a different path in life, content to let his older brothers, Sonny and Fredo follow Pop into the family business. Michale appears to be a charming, affable sort.

Later we see a smiling Michael and Kay Christmas shopping and then coming out of a movie theater. It’s the last time we’ll see Michael smile. Because after that last smile  Michael sees a newspaper account of the shooting of his father (remarkably in the movie’s timeline it happened only an hour or so ago; one supposes a great film is entitled to one mistake — never mind how glaring).

The most viewed and commented of all my blog posts was one in which I posed the question: when does Michael Corleone change from being Joe College to being Joe Mafia? In it I suggested six possible moments The first was a visit to the hospital where his father’s bodyguards have been sent away and he has to take immediate command of his father's security. Other options were when he is punched by the police captain; when he offers to commit the above-mentioned assassinations; when he does said deed; when he learns of Sonny’s murder and when he sees his Sicilian wife killed. I now add a second question: when does Michael die inside? It could well be that it was at the same instant when he embraced the life of a mobster, certainly by the time he became Don.

There is no more laughter nor signs of joy from Michael. There are perfunctory displays of affection with Kay and their children but there is no warmth. On a few occasions his temper explodes but he quickly has it under control. There is no physicality to Michael, no spontaneity, seemingly no pumping heart.

There are two remarkable scenes in which an inner turmoil is betrayed by his eyes thus perhaps suggesting some signs of life. The first is in the seconds leading up to his shooting the captain and mob rival, Sollozzo. A subway train is rattling loudly overhead as Sollozzo is talking to him. But Michael is looking down, his eyes moving up and down as he prepares to shoot two men in cold blood. There is a lot going on in his face, but ultimately Michael cooly dispatches his victims. The second is late in Part II when Kay is telling him she did not have a miscarriage but an abortion. Again his eyes reflect the inner turmoil, the disbelief and rage. A burst of anger follows during which he slaps Kay. But that's it.

Mostly what we get from Michael is nothing. Every word he utters, every movement he makes is as if rehearsed.

One of the most striking scenes to me is after he gets out of Cuba following the revolution. Michael is taken to a hotel room in Nevada where he asks for a wet towel and glass of water. Taking off his jacket he leaves his vest and tie on. With the towel he lightly and precisely dabs around his eyes and carefully sips the water while asking questions as he is updated on recent activities. Michael is -- as always -- unruffled, neatly dressed, no hair out of place, no whiskers on his face. Apparently he couldn’t sneeze or cough, or hiccup or burp if he wanted to. He is the same testifying before a senate sub-committee as he is talking to his young son or participating in a baptism or doling out orders or facing down a corrupt politician or admiring a cake. Even in courting his first wife, a beautiful Sicilian villager, he is measured, calm and does nothing to betray the passion that one associates with being in love.

Living beings aren’t like that. Michael is dead inside and one of the saddest — albeit most dangerous — characters in filmdom. It is a staggering performance by Pacino, some of the greatest acting in movie history.

He embodied an especially pernicious evil that wears a suit, says the right things and calls itself a businessman. The story of Michael Corleone is a classic tragedy. How and why did he die inside? Was it the only way he could carry the often nasty family business? Did he kill something inside himself when he shot two men to death? Did he die inside when he saw his wife die?

OTHER THOUGHTS ON THE GODFATHER

The scenes in early 20th century New York featuring Robert DeNiro as the young Vito are some of the best in cinema history. Having visited Ellis Island recently and read its history, I’m amazed at how accurately they depict not only the place but the time. The street scenes seem like they must be colorized re-mastered contemporary footage. The clothes, the signage, the buildings, the carts, everything looks precisely as it would in New York circa 1915....

I love this bit of dialogue between Michael and Kay: Michael: "My father is no different than any powerful man, any man with power, like a president or senator." Kay: "Do you know how naive you sound, Michael? Presidents and senators don't have men killed." Michael: "Oh. Who's being naive, Kay?" Clearly Kay is being naive. One of the major themes of the Godfather and something found after a lot of recent research into organized crime, is the extent to which the mob, “legitimate businesses” and the government have joined forces over the years. Gus Russo’s book The Outfit details the manner in which criminal organization and major corporations are barely distinguishable any more. When you note the manner in which both evade paying taxes, it is evident that they are ever expanding monsters consuming all the riches and resources in their path with no intent to re-invest or contribute it. The mob and big business don't so much have a symbiotic relationship as they are now one and the same....

Much is made about how the Godfather is about family and certainly the films shine a light on family dynamics, particularly father-son relationships which are so often fraught with contradictory notions of rebellion and conformity. Trying to please dad while trying to assert you are your own person is a difficult balancing act many sons face. Sons are also desperate to win their father’s approval and it feel like a validation of a life well-lived to have a father's love and respect. Here Michael is a total success. Initially going his own way and ultimately winning the complete trust of his father to take over the family business. Fredo is a sad figure, he's older than Michael yet passed over and given menial jobs. And under pressure he folds. When his father is shot,  Fredo fumbles with his gun and the breaks down and cries.....

But family is sacrosanct and outsiders beware. Senator Pat Geary: "I despise your masquerade, the dishonest way you pose yourself. You and your whole fucking family." Michael Corleone: "We're both part of the same hypocrisy, senator, but never think it applies to my family." Michael might end up killing his brother, but no one outside the clan dare speak ill of anyone within it.  As Sonny says in a flashback scene: "Your country ain't your blood. Remember that." Family first....

We get insight into Fredo when Michael comes to visit Las Vegas -- where Fredo is already ensconced -- to talk business with Moe Greene. Fredo has arranged to have a band and group of girls in Michael's room when he arrives (girls who are undoubtedly there to do the biding of the male guests). When Michael enters the room Fredo starts the festivities expecting a grateful Michael to participate in the revelry. But the new Don is having none of it, he’s there on a short business trip with no time for fun let alone bacchanalia. (“I'm here on business I leave tomorrow now get rid of them. Come on, I'm tired. Get rid of the band, too.”) Fredo quickly assumes a serious tones and rushes the band and the girls out of the room as if it’s their fault. Clearly his ego has taken another beating. Nothing he ever does is right or good enough....

Fredo's story is a sad and ends with Michael assigning him a cruel and unnecessary fate. Michael’s act of fratricide serves no purpose other than to sate his insatiable desire for revenge. Also horribly cruel is what he says to Fredo earlier in the film: "Fredo, you're nothing to me now. You're not a brother, you're not a friend. I don't want to know you or what you do. I don't want to see you at the hotels, I don't want you near my house. When you see our mother, I want to know a day in advance, so I won't be there. You understand?" Talking like that to a sibling requires a special level of coldness....

Underling Pauli is shot in the head in “leave the gun, take the cannoli” scene, while later brother-in-law, Carlo is garroted. Both in a car. Why? Who decides which way a disloyal family member is going to be killed? Garroting seems a lot of work. Carlo kicks out a car window while in his death throes. Of course shooting him means blood all over the place. We don’t know how Tessio is murdered, all we see him driven off with a carful of men. Evidently the large crew is along to facilitate the accompanying burial....

The Godfather films demonstrate one important way in which the Mafia was able to maintain power, especially within smaller communities. You need justice done? Vengeance? Why waste time with “the authorities” who might not come through for you anyway? If you’re in tight with the local mob boss (and you better be) he’ll take care of it for you. The mob takes care of its people. You might owe them a favor but it would be a small price to pay for the safety they provide. And it to be connected, to be part, to be able to participate in -- perhaps by doing a favor -- this powerful organization brings a security and sense of belonging that not everyone enjoys....

The first two Godfather films represent the best of American cinema. A perfect marriage of  screenplay, direction, acting, editing, set design and soundtrack. It is rich with themes and ideas and colorful characters and compelling story lines and is well worth revisiting many, many times.


01 August 2020

I Comment on Today's Headlines, Second in a Possible Series

John Lewis, the anti-Trump
Last month I came up with the brilliant idea of posting some of the day's headlines from various news sources followed by comments that were either pithy, snarky, wise or brilliantly on point (or a combination thereof). The response was so overwhelming (thank you Claudius Maximums Bernstein of Terre Haute, Indiana) that I've decided to favor you with a second edition. This may turn out to be a regular feature of the blog (huzzah! huzzah!).

From CNN:

A Tenant Decapitated his Landlord with a Sword over a Rent Dispute, Hartford Police say

I'm just going to come right out and say that I think the renter's reaction was a tad extreme. Indeed, I'm opposed to all decapitations. Next time try a strongly worded email or a stern remark.

'Nobody likes me,' Trump Complains, as even his Allies Fade

Ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha.

Snakes Alive! Florida Removes (gulp) 5,000 Pythons from the Everglades

Let me just say that I totally agree with the insertion of the "gulp" in this headline. My understanding is that pythons pose a threat to pets and humans and they DON'T FUCKING BELONG IN FLORIDA. Then again given what people in Florida typically do, they kind of fit right in.

Democrats are Stronger Favorites in Tight Race for Senate Control

Please let this be true. Please let this happen. As much as we cannot afford another four years of Trump (or another four minutes, for that matter) the nation can hardly survive another two years or more of a Moscow Mitch led do-absolutely-nothing-but-obstruct-good-legislation senate.

From BBC:

Dangerous Heat Wave Forecast for Southwestern Areas of US

A few hot takes (no pun intended) here. One is that this makes me so very glad I live in the San Francisco Bay Area, particularly Berkeley which is close to the ocean and not susceptible to killer heat weaves. Indeed, as I write this it is foggy and cool here. Also, global warming. We've been having a lot of heat waves the past few years and many record highs. It's too depressing to contemplate but too important not to take action on.

TikTok: Trump says he will Ban Chinese Video App in the US

No he won't

Coronavirus: Thousands Protest in Germany Against Restrictions

So the U.S. doesn't have a monopoly on idiots who refuse to do what's best for them and their community. Disappointing, you expect more from Europeans.

From the New York Times:

Mail Delays Fuel Concern Trump Is Undercutting Postal System Ahead of Voting

Of course he's trying to. Trump in particular and Republicans in general know that the only way they can win elections is by cheating and suppressing the vote. They have no scruples.

A School Reopens, and the Coronavirus Creeps In

Besides anyone with a brain, who saw this coming?

In India, a Gay Prince’s Coming Out Earns Accolades, and Enemies

Good that he's earned accolades, terrible that he's earned enemies. Worldwide we've made significant gains in LGBTQ rights but there's a very long way to go.

John Lewis Was the Anti-Trump

John Lewis embodied everything that Trump lacks. Courage, compassion, wisdom and selflessness. Lewis an American hero, Trump the ultimate American villain.

From The Washington Post:

July Marked the Worst Month on Record for New Infections in U.S.

Sigh. Of course the situation should be getting better, not worse but...Trump and the Republicans. Infuriating.

Democrats Demand Answers From U.S. Ambassador after Reports he asked Brazil for Favor to Help Trump in 2020

With the Trump administration we're seeing unprecedented levels of corruption. Oh the books that will be written.

The Lincoln Project’s Plan for Preserving the Union: Drive Trump out of Office by Driving him Nuts

That should be "nuttier."

From MSNBC:

Gov. DeSantis Urges Floridians to take Hurricane Isaias 'Seriously'

As "seriously"as he took the coronavirus, or actually seriously?

MLB Season may be Canceled after Multiple Outbreaks of COVID-19

They managed to finish the soccer season in England while Americans are having trouble even getting baseball started. Speaks volumes.

Trump Offers no Plan as Coronavirus Aid Expires for Millions

To the surprise of no one.