Showing posts with label Movies. Show all posts
Showing posts with label Movies. Show all posts

Monday, August 25, 2025

Moonlight Graham

Archibald Wright Graham died on this date, sixty years ago in Chisholm, Minnesota.  Graham, better known to most as Moonlight and in Chisholm as Doc, came to wide attention as a character in WP Kinsella's novel Shoeless Joe, and the 1989 film based on his book, Field of Dreams.

Moonlight Graham.jpg(Archibald "Moonlight" Graham, from wikipedia)

I recently caught Field of Dreams on TV.  It remains highly rewatchable.  If you haven't seen it, I won't describe the plot because it makes the movie sound ridiculous, while it is really wonderful (and ridiculous at times).  The last scene always moves me. And it is about much more than baseball.
 

I already knew that the real Archie Graham played in the outfield for two innings in a June 1905 game after being called up from the minors to join John McGraw's New York Giants.  It was his only major league appearance and he never got a chance to bat.  Graham (Burt Lancaster) tells the story in Field of Dreams.  In the 1970s, author WP Kinsella ran across a mention of Graham while perusing the Baseball Encyclopedia, was captured by his brief career and nickname, and included him as a character in Shoeless Joe.  Graham reportedly garnered the nickname Moonlight because he was "fast as a flash".

What I had not realized was how closely the fictionalized version of Moonlight Graham in the book and movie was to the real Archibald Graham.

In the movie, Graham's one appearance with the Giants takes place in 1922.  He later retires from baseball and moves to Chisholm, Minnesota, becoming a doctor and dying in 1972.  Doc Graham, as he is known, is a beloved figure in that small town, with a sterling reputation, and devoted to his wife Alicia, who always wears blue.  Doc always walks with an umbrella.  In one scene, Terrence Mann (James Earl Jones) interviews older townsfolk about Doc Graham and they tell endearing stories of him.  Terrence and Ray Kinsella (Kevin Costner) also go to the local newspaper where a reporter reads to them from Doc Graham's obituary.

It turns out the real Archibald Graham was a college graduate, unusual in baseball in those days, and received his medical degree from the University of Maryland in 1905, the same year he played for the Giants.  After a couple of more years in the minor leagues he moved to Chisholm in 1909, because he was suffering from a respiratory condition and heard the climate in the Iron Range mining town could help him.  The town immediately to the south of Chisholm is Hibbing, where Robert Zimmerman (Bob Dylan) grew up.  Graham opened a medical practice, a few years later becoming the school system doctor, a role he remained in until 1960, along with being the team doctor for all of the school sports teams. He married Alicia Madden, who always wore blue, and he always carried an umbrella.  Doc Graham died in 1965 and Alicia in 1981. The anecdotes used in the movie are from the life of the real Graham, and the reporter in the film is reading from his actual obituary.

From the Chisholm Free Press & Tribune (1965)

"And there were times when children could not afford eyeglasses or milk or
clothing. Yet no child was ever denied these essentials because in the
background there was always Dr. Graham. Without any fanfare or publicity,
the glasses or the milk or the ticket to the ballgame found their way into
the child's pocket." [This was the portion read in Field of Dreams]

From a 2005 article in the Minneapolis Star-Tribune:

While still new in Chisholm, he grew sweet on Alicia Madden, a
schoolteacher. She was a farmer's daughter from Rochester, and they married
in 1915.

They never had children. Instead, they showered their affection on every
child in town -- he as the full-time doctor for the public schools for more
than 40 years, she as the director of countless community plays.

They built a house that still stands in southeast Chisholm, on the fringe of
a neighborhood known as Pig Town, for the livestock kept by the hardscrabble
immigrant miners' families.

"That was Doc," said Bob McDonald, who grew up in Chisholm and has coached
high school basketball there for 44 years. "He and Alicia could have lived
up with the high and mighty on Windy Hill, but they chose to be among the
common people."

McDonald remembers a wiry, athletic man, dapper in an ever-present black hat
and black trench coat, walking everywhere and always swinging an umbrella.
Yes, he said, Alicia did always wear blue.

On the opening night of all of her plays, Graham would sit in the same seat
in the back of the high school auditorium, a dozen roses in his lap,
Ponikvar said.

People were poor, but schools used mining company taxes to meet needs. Under
Doc's care, kids got free eyeglasses, toothbrushes and medical care. He
lectured them on nutrition, inoculated them, rode their team buses, made
20-year charts of their blood pressure, swabbed their sore throats, made
house calls if they stayed home sick.

He bought apartment houses but charged rock-bottom rents, and no rent to a
single mother and her eight children, Ponikvar remembers.
"Doc became a legend," she wrote when he died. "He was the champion of the
oppressed. Never did he ask for money or fees."

Below is a preview (narrated by Vin Scully!) of a Mayo Clinic film about Doc Graham's collaboration with the clinic on a groundbreaking study of blood pressure in children.


Tuesday, July 15, 2025

Gee Baby, Ain't I Good To You

A lot of us are most familiar with this song from The Mask (1994), where it's "sung" by Tina (Cameron Diaz in her movie debut) at the Coco Bongo Room.  Diaz is lip synching, it's Susan Boyd doing the singing.

Gee Baby, Ain't I Good To You was composed in 1929 by Andy Razaf and Don Redman but didn't become a hit until recorded by the Nat King Cole Trio in 1943.  Redman was a well-known arranger who contributed to the development of swing music.

Razaf is a fascinating character.  His birth name was Andriamanantena Paul Razafinkarefo. Andy was was the son of Henri Razafinkarefo, nephew of Queen Ranavalona III of Madagascar, and Jennie Razafinkarefo (née Waller), daughter of John L Waller, the first African American consul to Madagascar.  When Henri was killed in the French invasion of the kingdom, the pregnant Jennie fled to the U.S. where Andy was born in Washington DC in 1895 and raised in Harlem.  Razaf collaborated extensively with Fats Waller and wrote the lyrics for many songs, including Ain't Misbehavin', Honeysuckle Rose, and (What Did I Do To Be So) Black and Blue (all of which have been featured on THC). 

Thursday, July 10, 2025

Scopes At 100

On this date a century ago, the trial of John Scopes began in Clarksville, Tennessee.  The Scopes Monkey Trial, as it became known, was a national sensation at the time, given fodder for many books, and was the source material for the play, and later film, Inherit The Wind.  How the case is now remembered in many ways erases the nuances and complexity of the issues and people involved.

I first wrote about the case in 2015, with an update in 2022.  At the time of the 2015 post there were still some efforts to insert creationism into public school curriculum.  Those efforts seems to have ceased, but evolutionary biology now appears under assault from different quarters, it seems an appropriate date on which to post again.

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Rather than the often repeated adage that the victors write the history of an event, the story of anything is actually determined by the unswerving adoption of one version of it, and the telling of that version by a determined cadre of writers. In time, the version with the most persistent adherents becomes the “truth.” – David & Jeanne Heidler in Henry Clay: The Essential American (2010)
I still recall the family getting in the car for the drive to Hartford, Connecticut. It was the late 1950s, and my father was taking us to pick up a monkey. He had a small role as an Italian organ-grinder in a play put on by a local community theater group. The director wanted to use a prop monkey, but dad insisted on the real thing. We housed that monkey for the next week; I remember it as nasty and mean-tempered, but the audience loved it, as well as dad in his bit part (he always had a knack for showmanship). The play was Inherit The Wind, based on a 1925 event in Tennessee that became popularly known as the Scopes Monkey Trial.

Seeing the play and, later, the movie, I accepted its narrative of the forces of enlightenment, reason, heroism, and tolerance (represented by Spencer Tracey in the movie, playing a character based on Clarence Darrow) against the forces of narrow-mindedness, mean-spiritedness, repression, and unthinking old-fashioned religion (represented by Frederic March playing a character based on William Jennings Bryan); a morality play of liberal versus conservative written during the McCarthy years. The play is still staged frequently by regional theaters (here’s a recent Wisconsin production), has gone through several Broadway revivals, most recently in 2007, with Christopher Plummer and Brian Dennehy. There was even a London production, in 2009, with Kevin Spacey. In most cases, it is widely accepted by audiences as historically accurate.

It was only years later, prompted by reading Edward Larson’s Summer For The Gods and doing related research that I appreciated how much more complex and interesting the real story was. American history is much more fascinating and instructive when you don’t try to neatly shoehorn it into boxes labeled “liberal,” “conservative,” “progressive,” and “reactionary” as Inherit The Wind did, aided by influential mid-20th century historians and literary critics such as Richard Hofstadter. Throughout our history, you’ll see prominent people with constellations of political views that are unrecognizable in today’s categories (see Sam Houston as an example).  I support the teaching of evolutionary theory but the full story behind the Scopes Trial is more interesting than the caricature of Inherit The Wind and, as I learned, the main character in this drama, William Jennings Bryan, would not neatly fit into any political classification in modern-day America.

The Background

Dayton in 1925

The early 20th century saw an explosion in the growth of public high schools. In 1890, there were fewer than 200,000 public high-school students nationwide; by 1920, more than two million. In Tennessee, fewer than 10,000 in 1910, but more than 50,000 by 1920. What were they to be taught?

At the same time, battles were heating up between Darwinists and some religious denominations over the teaching of evolution. State legislative fights over its inclusion in educational curriculum became common.

Legislative efforts barring the teaching of evolutionary theory were successful in a small number of states, including Tennessee, which passed its law in early 1925. It was part of a larger package of laws in a massive education reform bill that laid the foundation for state-supported public schools. It was signed into law by progressive Governor Peay. Violation of the ban on teaching evolution carried a $100 fine, but no jail. Bryan supported the bill, but unsuccessfully lobbied against having any fine attached to violating the evolution provision, though no one at the time expected any prosecutions under the statute.

John Scopes

Looking for a test case, the American Civil Liberties Union placed advertisements in Tennessee papers offering to defend anyone prosecuted under the Act. Leading citizens of the town of Dayton decided to take them up on it. While some were interested in challenging the law, many others just saw it as a good opportunity to create publicity and generate business for the town. Rather than showcasing a contentious, divided populace, as portrayed in the play, the actual trial took place in a festive atmosphere, according to reporters like H.L. Mencken. The key players in Dayton recruited John Scopes, a young, part-time schoolteacher, to be the defendant and agreed to pay any penalty imposed on him.

Dayton was a small town in East Tennessee, and part of the only Republican enclave in the state. Bryan won every southern state in each of his three presidential runs, but never carried Rhea County where Dayton was located. The town was also heavily Methodist in a state dominated by Baptists (the Baptist Convention, meeting in Memphis just before the trial, refused to add an anti-evolution plank to the denomination’s statement of faith).

Once the ACLU came into the case, Bryan — the country’s leading opponent of the teaching of evolution — agreed to become part of the prosecution’s team. And through some very complicated machinations, Clarence Darrow, the most famous criminal defense lawyer in America, joined the defense team. When this happened, the trial became the biggest story in the country, and was also followed heavily in Europe. A deluge of reporters descended on Dayton.

Why Evolution? Why Bryan?
 
In 1925, 65-year-old William Jennings Bryan was well known to every American, having run unsuccessfully three times as the Democratic Party’s presidential candidate (1896, 1900, and 1908). A remarkable orator — his “Cross of Gold” speech at the 1896 convention secured him the nomination — he is considered to be the first populist to run for President. In 1913, Woodrow Wilson appointed him Secretary of State, a post he resigned in 1915 when the pacifist Bryan became convinced Wilson was maneuvering the country into entering the First World War.

Bryan campaigned successfully in support of four constitutional amendments: direct election of senators, the Federal income tax, women’s suffrage, and Prohibition.  So why, in the 1920s, did he undertake leadership of the crusade against the teaching of Darwinism, and why did he think it was consistent with his other views?  From today's perspective, it doesn't seem to make sense.

Bryan believed in “popular sovereignty", always campaigning against big business and the banks and on behalf of the common people. When the Supreme Court overturned some of the early progressive labor laws, Bryan supported (unsuccessful) legislation to limit judicial review, and backed the Progressive use of popular referendums. He believed the people were entitled to what they wanted, and saw the evolution issue in the same way. According to Bryan:
It is no infringement on their freedom of conscience or freedom of speech to say that, while as individuals they are at liberty to think as they please and say what they like, they have no right to demand pay for teaching that which parents and the taxpayer do not want taught.
The deeper reason was Bryan’s concerns about the implications of Darwinism. Bryan was a committed Christian and pacifist. He rejected evolutionary theory as a matter of religious faith, but also believed Darwinism and its doctrine of “survival of the fittest” threatened the dignity and perhaps even the very existence of the weakest of the human flock. Bryan saw a direct connection between the excesses of capitalism and militarism — which he had denounced throughout his career — and Darwinism, which, as early as 1904, he had called “the merciless law by which the strong crowd out and kill off the weak.”

The concerns Bryan raised in 1904 were reinforced by recent events. The slaughter of WWI appalled Bryan. He saw German militarism as Darwinian selection in action; this was a common view at the time, as reflected in the words of Vernon Kellogg in his book Headquarters Nights: “Natural selection based on violent and fatal competitive struggle is the gospel of the German intellectuals.”

Bryan saw the modernist wing of the Progressives, led by Woodrow Wilson, willing to go down the same road. It is striking to see how much Darwinism was in the air of politics at the time. Wilson’s key 1912 campaign speech, “What is Progress?” espoused a Darwinian approach to American government:
Now, it came to me, as this interesting man talked, that the Constitution of the United States had been made under the dominion of the Newtonian Theory. You have only to read the papers of the The Federalist to see that fact written on every page. They speak of the “checks and balances” of the Constitution, and use to express their idea the simile of the organization of the universe, and particularly of the solar system — how by the attraction of gravitation the various parts are held in their orbits; and then they proceed to represent Congress, the Judiciary, and the President as a sort of imitation of the solar system. …
Living political constitutions must be Darwinian in structure and in practice. Society is a living organism and must obey the laws of life, not of mechanics; it must develop. All that progressives ask or desire is permission — in an era when “development” “evolution,” is the scientific word — to interpret the Constitution according to the Darwinian principle; all they ask is recognition of the fact that a nation is a living thing and not a machine. [emphasis added]
The new science of eugenics greatly troubled Bryan. The high school textbook used by John Scopes was A Civic Biology by George William Hunter, which defined eugenics as “the science of improving the human race by better heredity.” Hunter wrote,
If such people were lower animals, we would probably kill them off to prevent them from spreading … Humanity will not allow this, but we do have the remedy of separating the sexes in asylums or other places and in various ways preventing intermarriage and the possibility of perpetuating such a low and degenerate race.
The prior edition of Hunter’s textbook had contained language specifically citing biological deficiencies of African races.

Eugenics had many scientist adherents in the United States and England who believed that the human race could be made better via selective breeding to create a better and more progressive world. One of those scientists, A.E. Wiggam, expressed the connection between the teaching of evolution and eugenics:
“until we can convince the common man of the fact of evolution … I fear we cannot convince him of the profound ethical and religious significance of the thing we call eugenics.”

Holmes

During the 1920s and 30s, the eugenics movement gained momentum. By 1935, more than 30 states had laws mandating sexual segregation and sterilization of persons regarded as eugenically unfit. The most notorious expression of support for eugenics came in 1927 from the leading Social Darwinist on the Supreme Court, Oliver Wendell Holmes, Jr., who, in his opinion for the Court upholding Oklahoma’s sterilization law, exclaimed “three generations of imbeciles is enough.” The only dissenting vote was cast by Pierce Butler, the lone Catholic on the Court.

Within a few years, WWII and the revulsion against Nazi law and experimentation would put an end to the eugenics movement (though a revival of eugenics under another name seems to be arising based upon  modern advances in biology and genetics). The heyday of the eugenics movement and the rise of anti-evolutionary forces led to the Dayton trial in 1925. Bryan expressed his pithy view of the whole matter when commenting on the latest discovery of purported early human remains: “Men who would not cross the street to save a soul have traveled across the world in search of skeletons.”  In his closing argument at trial, Bryan explained that evolutionary theory:
". . . if taken seriously and made the basis of a philosophy of life, it would eliminate love and carry man back to a struggle of tooth and claw."
The Trial and its Aftermath
The ACLU and Darrow differed on trial strategy. The ACLU considered it a free speech case, but that was not Darrow’s interest.  As a militant atheist who did not believe in free will, he wanted to use the trial as an opportunity to directly assault Christianity and its beliefs about the creation of the universe and the human race. This discomfited many ACLU supporters, but — through a complicated series of maneuvers — Darrow seized control of the defense strategy and was cleverly able to lure Bryan to the stand, where he cross-examined him viciously on Biblical inconsistencies. (Darrow might have been a terrible person, but you’d want him defending you if you were on trial). This prompted a Congregational Church official who supported the legal challenge to send a note to the ACLU: 
“May I express the earnest opinion that not five percent of the ministers in this liberal denomination have any sympathy with Mr Darrow’s conduct of the case.”
Edwin Mims of Vanderbilt University, another supporter of the ACLU, wrote:
 “When Clarence Darrow is put forth as the champion of the forces of enlightenment to fight the battle for scientific knowledge, one feels almost persuaded to become a Fundamentalist.”
The jury quickly returned a verdict finding Scopes guilty. Bryan offered to pay the $100 fine, and the local school board offered to renew his contract for another year, but Scopes decided to go to graduate school, attending the University of Chicago and becoming a petroleum engineer.  The fine was ultimately rescinded and the Butler Act was repealed in 1967.

Five days after the end of the trial, William Jennings Bryan passed away while taking his afternoon nap.
 
In today's Wall St Journal, playwright David Mamet has a piece with observations on Inherit The Wind, noting that: 
The play and film were intended as ripostes to the House Un-American Activities Committee’s persecution of those accused of communist sympathies.
As such, the play had to tailor the story from 1925 into a narrative usable for a 1950s audience. It also reflects intellectual currents of the mid-century: 
"Inherit the Wind” paints the contest between reason and religion as zero-sum. Religion is a metaphysical concept. It can’t be observed as part of the physical world. But a little reflection must suggest that reason is equally metaphysical. Where does it exist save for in the human mind, which can be inaccurate, uninformed, depraved or plain wrong, and in which “the reasonable” changes through maturity and over time. 
The truth is both are necessary.  
The factors potentially mitigating the horrors wrought by our corruptible human feelings, and our equally defective reason are two. One is religion, which is to say our avowal of our imperfection. The other is the law, the attempt to codify religious intuition mechanically. There will always be an unresolved remainder in an arbitration between justice and fairness, reason and folly. This dissatisfaction is the human condition, the subject of the actual drama, and that which differentiates it from pageant, propaganda or mere entertainment. The hero of “Inherit the Wind” is Darrow but at the play’s end, he has learned nothing. And, so, neither have we.  
As Mamet points out, reason and faith operate in different ways.  I've read articles in which it is said that Saint Aquinas should be read to understand how faith and reason can be reconciled.  I don't think they need to be as each stand on their own.  They may overlap at times but they also exist parallel to each other.  One can understand a reasoned analysis and nonetheless have faith in a certain outcome.  I don't feel any need to reconcile those aspects.  They just exist. 

Wednesday, July 9, 2025

Vanity

What you got ain't nothing new. This country's hard on people. Can't stop what's coming. Ain't all waiting on you. That's vanity. 

- Cousin Ellis to Sheriff Ed Tom Bell, No Country For Old Men 

When I saw No Country For Old Men during its 2006 theatrical run, I came away believing it was a great film but one I never wanted to see again.  Over the years I've come to change my mind and even read the Cormac McCarthy novel on which it is based.  Maybe it's because I'm now an old man.

I've written about the novel and Sheriff Ed Tom Bell's musing on the times in "What Is To Come" and "Carryin' Fire",  the terrifying and tense coin flip scene, "Friendo", and Anton Chigurh's probing inquiry about the use of following rules in Au Contraire.  In the scene below, Sheriff Bell (Tommy Lee Jones) goes to see his Cousin Ellis (Barry Corbin), also a lawman and one crippled by a criminal, at his isolated mobile home in West Texas.

Sheriff Bell is struggling with the evil he sees growing around him, feeling unable to contain it, and has decided to retire.  He's come to his cousin seeking answers though he is not sure what the questions are. The sheriff feels overwhelmed and overmatched by what he is witnessing in the world.  Bell expresses his disappointment with God while acknowledging God's disappointment with him, causing Ellis to wave his hand dismissively, saying "you don't know what he thinks".

Everything about this scene is superb and reinforces the nature of the conversation.  The casting and cinematography are outstanding and Jones and Corbin convey so much with their faces, looks, and pauses.  They start with casual banter and only slowly get down to the matter at hand.  Watch Jones' eyes at 1:00 and at 3:00.  

There is no music in this movie.  Other than the actor's voices the only thing you hear are the ambient sounds of West Texas.  

Sunday, June 29, 2025

Stagecoach

John Ford's 1939 film, Stagecoach, made John Wayne a star and got Ford an Academy Award nomination for Best Director.  It's also the first of Ford's many films set in Monument Valley on the Navajo Reservation along the Arizona-Utah border.  This shot from the movie captures the spectacular setting, which I have visited twice and plan on returning to again.

 

(2019)


Saturday, June 28, 2025

Mark It 8, Dude

Image 

I missed it when Smokey turned 80 on May 6 (hat tip to Traces of Texas).  Smokey is Jimmie Dale Gilmore, a singer-songwriter from Texas who has been performing with the Flatlanders since 1972 and been nominated for three Grammys.

For most of us, however, Jimmie is best known as Smokey in The Big Lebowski, his only acting role (other than playing himself in a couple of films).  Playing an aging, pacifist bowler he is drawn into a dispute with Walter Sobchak about whether his foot slipped over the line.  Smokey's request that the Dude mark his score as 8 triggers a response from Walter, in which the latter prevails and the Dude marks it zero.  It is Jimmie's only scene in the movie and it is quite memorable. 

Saturday, March 15, 2025

Funny Stories

 Kevin Pollak tells great stories about Don Rickles and Walter Matthau.

Saturday, March 8, 2025

The Workingman's Eddie Coyle

The Friends of Eddie Coyle (1973)

(Robert Mitchum as Eddie Coyle)

Back in 2014, I wrote Eddie Coyle's Friend, about a novelist I greatly admire, George V Higgins.  I probably worked harder on that post than on anything else I've written, figuring Higgins deserved it.

I just came across an appreciation of the novel and movie, The Friends of Eddie Coyle by Daniel Moran, writing on Substack and found it quite perceptive and worth a read. Here are some excerpts:

This kind of dialogue may seem easy to write, but anyone who has ever tried knows it’s almost impossible. Here, we get everything we need to know about these two guys and the rules of their worlds in a handful of near-grunts.

I was an English major—sure, things like Eddie Coyle were fun to read, but shouldn’t I be reading more Keats, James, and Shakespeare? I didn’t know that the music found in the works of these writers could also be heard (if faintly) in a book like this one. I’ve since read it several times and I’m always amazed by how the book carries its reader along in a series of conversations that move so quickly yet reward close-reading. The book reads itself to you like a criminal nanny.

Everyone loved the realism, but a more accurate word is “realism.”(1) I have no idea if actual gunrunners are as interesting as the people in these pages or if their dialogue is worth overhearing. I’d bet that it’s not. What’s absolutely realistic, however, about Eddie Coyle is how everybody in it—just like the reader—is constantly negotiating to just get to the next step of what he needs by the end of the day. . . His story—the real realism—is about going to work and being someone in middle management who has to answer to all kinds of people and wants to just get his part of the process complete so he can move on to the next thing. It’s about the guy in Purchasing who won’t sign the form you need so that you can tell the client that yes, everything is in motion, because that guy in Purchasing thinks that you’ve cozied up to the Senior Vice President of Acquisitions for a job that he’s had his eye on for months. It’s about having to speak in a conciliatory tone when trying to wrangle a favor from the guy in the next cubicle.

Peter Yates’s 1973 film is an object lesson in how to faithfully adapt a novel to the screen. It stands with John Huston’s The Maltese Falcon and the Coens’ True Grit as an example of a screenwriter (in this case, Paul Monash) sitting with the novel propped open on his desk so he can type the dialogue word-for-word in screenplay format. Huston’s version of Falcon was the third attempt to adapt it for the screen and the Coens’ True Grit was the second; both of their versions are superior to their predecessors because they knew what was great about the novels and transferred that greatness to the screen.     

I have not seen the earlier versions of the Maltese Falcon, but as much as I enjoyed John Wayne in True Grit, the Coen's True Grit is superior.

Coming across this post led me to read more of Moran's work and it is quite good.  He's got that thing.

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(1)  In my Higgins post I wrote:

The dialogue Higgins wrote was realistic but it wasn't real.  Very few people actually talk like that, or at least they don't talk like that for so long and, at times, he could venture dangerously near Damon Runyon territory.  But mostly, Higgins had a knack for cadence, ambiance and simplicity that rang true even if it wasn't actually true. 

Saturday, March 1, 2025

The Drive In

 

The town I grew up in had a drive in.  Saw several movies there with my parents.  The first one that comes to mind was The Outsider starring Tony Curtis, a biopic about Ira Hayes, the Pima Indian who was one of the flag raisers on Iwo Jima that I recently wrote about.  The film was released in December 1961 saw I probably saw it in the spring of '62 when I was eleven.

Wednesday, January 1, 2025

A Complete Unknown

Exhilarating was THC's reaction.  THC hadn't planned to see A Complete Unknown when he first heard about it but was persuaded to take a chance after reading some reviews by people he respected.  Glad he did so and is certain to see it again at some point.

Never saw Timothee Chalamet before.  The kid is spot-on playing Dylan in all his mumbling, passive-aggressive glory and is very good performing the music.  In fact, the staging of all the music scenes is done very well, including those of Joan Baez, played by the talented and charismatic Monica Barbaro, another actor new to THC.(1)   Elle Fanning as Sylvie Russo, a version of Dylan's early 60s girlfriend Suze Rutolo, is also outstanding.

All of the casting hits the mark.  Edward Norton is a pitch-perfect Mr Rogers as folk singer Pete Seeger(2), Boyd Holbrook is hilarious as Johnny Cash, while Dan Fogler's Albert Grossman, and Scoot McNairy as the dying Woody Guthrie are also well done.

The movie recounts the beginning of Dylan's career, covering the period from 1961, when he arrives in New York City, becomes the star of the folk music revival period, and then goes electric in 1965, climaxing with his appearance at the Newport Folk Festival that year.  THC recently wrote about the significance of the turn in Dylan's music in Dylan 15.  

The film captures the marvel of Dylan's musical creative process (though the essence remains unknown) and stage presence, both acoustic and electric.  The quality and quantity of his output is staggering.  Dylan 15 focused on three albums from 1965 and 1966, but A Complete Unknown reminds one the avalanche of memorable original compositions on his three albums from 1963 and 1964.  Here's a partial list (songs heard, at least in part, in A Complete Unknown, indicated with asterisk):

Blowin' In The Wind*
Girl From The North Country*
Masters of War*
A Hard Rain's a-Gonna Fall*
Don't Think Twice It's All Right*
The Times They Are A-Changin'*
One Too Many Mornings
Boots of Spanish Leather
Restless Farewell
All I Really Want To Do*
Chimes of Freedom
My Back Pages
It Ain't Me Babe *

From his two 1965 albums we also hear Like A Rolling Stone, Maggie's Farm, Subterranean Homesick Blues, It's All Over Now Baby Blue, It's Alright Ma (I'm Only Bleeding), It Takes A Lot To Laugh It Takes a Train To Cry, Highway 61 Revisited.
 
While conveying Dylan's musical genius the film is not a hagiography.  At various times, Dylan is portrayed as snide, remote, elusive, egocentric, infuriating, and a fabulist.  During the course of the movie, Baez calls Dylan an asshole and a jerk, both of which are accurate descriptions (though who knew that singing Blowin' In the Wind and Masters of War would serve as a chick magnet, at least where Baez was concerned!).  He's also very funny. At the personal level all you see is Dylan's surface; what's inside remains enigmatic, as he has deliberately done throughout his life.  Dylan's autobiography, Chronicles: Volume One, is the finest of any musician from the 60s and 70s, but a reader is often left wondering how much is invented by Dylan.  He's been a careful curator of his myth for decades, while rejecting any attempt by others to define or control him, a characteristic accurately portrayed in the movie.  This is not a traditional biopic where the main character's personality transforms over the course of the movie and he triumphs over all obstacles. Dylan's music changes, but his personality does not in A Complete Unknown.

The heart of the film is around what was seen by the leaders of the new folk revival of the late 50s and early 60s as Dylan's betrayal.  He was seen as the figure who could transcend the mere folkie label and his move to electric was bitterly resented by some and indeed turned out to be a death blow to the folk revival.  That theme puts a different spin on some of his folkie songs just before his transition to electric.  In the context of the movie, these lyrics from The Times They Are A Changin' struck THC as a warning to those folkies who were resisting the oncoming wave of rock, though his audience heard them much differently at the time:
Come mothers and fathersThroughout the landAnd don't criticizeWhat you can't understandYour sons and your daughtersAre beyond your commandYour old road is rapidly agin'Please get out of the new oneIf you can't lend your handFor the times they are a-changin'
As did this lyric from It's All Over Now, Baby Blue, which Dylan plays to close his '65 Newport Folk Festival set:
Well, strike another matchYeah, go start new, go start new'Cause it's all over now, baby blue
Like all movies, A Complete Unknown plays around with facts and chronology.  The sequence of the composition of Dylan's acoustic songs is rearranged, his relationship with Sylvie was over by the time of the '65 Newport Folk Festival, some other events portrayed didn't happen or, at least, didn't happen that way, and the fierceness of the resistance to Dylan's Newport performance is over-dramatized.  The relationships with Baez and Sylvie play a significant part, but by early 1965 Dylan was involved with Sara Lownds who he was to marry that November.  I assume Lownds is not in the movie because since their divorce in 1978, Lownds, with whom Dylan had four children, has remained silent on their marriage and Dylan, who commented on and approved the script, probably wanted to keep her out it.

Go see the film; like Dylan's autobiography it is a well-done and enjoyable mix of fact and myth.

Another towering figure, Bill James, gives some insight into Dylan here.
 
Dylan also wrote THC's favorite book of 2023, The Philosophy of Modern Song.

 

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(1) Baez had a beautiful voice but I never cared for her singing because its lack of dynamics and declarative stridency made it sound like she was delivering a lecture.

(2) Imagine Mr Rogers, and, indeed, Seeger had a very sunny personality, as also being a Stalinist (as Seeger also was in real life).

Monday, December 30, 2024

Hacksaw Ridge

 The story of Desmond Doss during WW2 is something I'd been unaware of until a few years ago, did not see Hacksaw Ridge when it was released in 2016, but the THC Son suggested we watch it when he was visiting last week.  It is a very powerful movie.  Like any film portraying real events there is a good deal of fictionalizing, but the core of the tale is faithful to the essence of Desmond Doss.  And faith is the core of the story, as Doss was the first conscientious objector in our nation's history to receive the Congressional Medal of Honor.  If anything, the movie understates his exploits and heroism.

The power of Desmond's religious conviction is conveyed honestly and I think director Mel Gibson's ability to convey intense faith, as demonstrated in his previous directorial efforts, is a perfect match for the subject matter.  The movie was filmed in Australia with mostly Aussie actors except for Doss (Andrew Garfield) and his sergeant (Vince Vaughn).

The power of the movie is enhanced at the end by brief excerpts of late in life interviews with Doss, and his company commander, who initially tried to get Doss removed from his command.  Doss passed in 2006 at the age of 87. 

The events portrayed at Hacksaw Ridge on Okinawa in late April and May of 1945 actually took place over a three week period.  Omitted from the movie is Desmond's service as a combat medic in the 1944 assaults on Guam and Leyte, for which he received two Bronze Stars for his bravery.

After the war, Doss spent 5 1/2 years being treated for tuberculosis, contracted on Leyte, during which he had a lung and five ribs removed before being discharged in 1951 on a 90% disability.

Below is the full text of his Medal of Honor citation.

He was a company aidman when the 1st Battalion assaulted a jagged escarpment 400 feet high. As our troops gained the summit, a heavy concentration of artillery, mortar, and machine-gun fire crashed into them, inflicting approximately 75 casualties and driving the others back. Pfc. Doss refused to seek cover and remained in the fire-swept area with the many stricken, carrying them one by one to the edge of the escarpment and there lowering them on a rope-supported litter down the face of a cliff to friendly hands. 

On 2 May, he exposed himself to heavy rifle and mortar fire in rescuing a wounded man 200 yards forward of the lines on the same escarpment; and two days later he treated four men who had been cut down while assaulting a strongly defended cave, advancing through a shower of grenades to within eight yards of enemy forces in a cave's mouth, where he dressed his comrades' wounds before making four separate trips under fire to evacuate them to safety. 

On 5 May, he unhesitatingly braved enemy shelling and small-arms fire to assist an artillery officer. He applied bandages, moved his patient to a spot that offered protection from small-arms fire, and, while artillery and mortar shells fell close by, painstakingly administered plasma. Later that day, when an American was severely wounded by fire from a cave, Pfc. Doss crawled to him where he had fallen 25 feet from the enemy position, rendered aid, and carried him 100 yards to safety while continually exposed to enemy fire.

On 21 May, in a night attack on high ground near Shuri, he remained in exposed territory while the rest of his company took cover, fearlessly risking the chance that he would be mistaken for an infiltrating Japanese and giving aid to the injured until he was himself seriously wounded in the legs by the explosion of a grenade. Rather than call another aidman from cover, he cared for his own injuries and waited five hours before litter bearers reached him and started carrying him to cover. The trio was caught in an enemy tank attack and Pfc. Doss, seeing a more critically wounded man nearby, crawled off the litter and directed the bearers to give their first attention to the other man. Awaiting the litter bearers' return, he was again struck, this time suffering a compound fracture of one arm. With magnificent fortitude he bound a rifle stock to his shattered arm as a splint and then crawled 300 yards over rough terrain to the aid station. 

Through his outstanding bravery and unflinching determination in the face of desperately dangerous conditions Pfc. Doss saved the lives of many soldiers. His name became a symbol throughout the 77th Infantry Division for outstanding gallantry far above and beyond the call of duty.

Tuesday, November 19, 2024

Ruggles Of Red Gap

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On the 162nd anniversary of Lincoln's speech at the dedication of the National Cemetery at Gettysburg, Pennsylvania, here's Charles Laughton's recitation of the Address from the 1935 film, Ruggles of Red Gap, a clip I've posted before.  Laughton plays an English butler, Marmaduke Ruggles, won by an American in a poker game, who comes to the States and discovers a new way of life, ultimately deciding to make his way on his own.

Tuesday, November 5, 2024

Let's Face The Music And Dance

Yes, we must, unfortunately.

But what better way to do it than with Irving Berlin, Fred Astaire, and Ginger Rogers?

Monday, September 30, 2024

Goodbye Marvin Dorfler

John Ashton, best known for his appearance as Taggert, the Beverly Hills cop in the movies of the same name, passed yesterday.  He was great in those films but my favorite Ashton role is as dim-witted bounty hunter Marvin Dorfler in Midnight Run.  Terrific and funny movie with many memorable lines, with an incredible cast, Robert DeNiro and Charles Grodin as the imperfectly perfectly matched pair, Yaphet Kotto, Dennis Farina, and Joe Pantoliano.  Doing a press tour for the recently released Beverly Hills Cop, Ashton tells as funny story of how he got the role in Midnight Run (starting around 1:45).  And here is a prior THC post on the film.

Monday, August 19, 2024

In Like Flynn

Reading Quentin Tarantino's book, Cinema Speculation, made me want to watch two 70s flicks, The Outfit and Rolling Thunder, finally getting around to viewing both over the past week.  Both are lower-budget films with high-powered casts and are quite good, quite gritty, and quite violent, with a distinctively 70s look.  Both directed by John Flynn.

The Outfit (1973) is one of eight films based on the Parker character, a hard-boiled criminal, in a series of novels written under by Donald Westlake under a pseudonym.  Others include Point Blank with Lee Marvin as the Parker character (1967), The Split with Jim Brown (1968), Slayground with Peter Coyote (1983), Payback with Mel Gibson (1999), and Parker with Jason Statham (2013).

Flynn's version stars Robert Duvall as Earl Macklin (Parker) and Joe Don Baker as Earl's partner Cody.  Both are terrific.  Karen Black plays The Girl (there's always The Girl in a Parker film).  Macklin, recently released from prison seeks revenge against his brother's killers.  The problem is the killers were sent by The Outfit, the powerful Mob organization.  The great Robert Ryan, in one of his last roles, players Mailer, head of The Outfit.

The Outfit is better than the two other Parker movies I've seen, Point Blank and Payback and is far superior as a genre film to the much more praised Michael Mann film Thief (1981)(1), which I viewed last year.

Flynn's next film was Rolling Thunder (1977), one of the early returning Vietnam vet films, which became a trend later in the 70s.  The title is taken from the code name for the American bombing campaign in North Vietnam.  Major Charles Rane has just returned to Texas from seven years as a POW in a North Vietnamese prison where he was tortured.  Accompanying him is Rane's companion from that prison, Master Sergeant Johnny Vohden.  Both are psychologically damaged from their experience, both have difficulty adjusting to civilian life, and both seem placid on the outside.  After a calm beginning, this becomes a revenge film as Rane tracks down the murderers of his wife and son.

As Rane, William Devane, in his first lead role, plays the troubled character to perfection.  In one of his first roles, Tommy Lee Jones as Vohden is good in his more limited screen time, and has the best line in the film.  Linda Haynes plays The Girl and she is very good, better than Black in The Outfit.  

I doubt whether, if these movies were remade today, they would have the same endings.

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(1) Mann's highly overrated 1995 film, Heat, with Pacino and De Niro, also has elements of the Parker character and stylized storyline.

Thursday, August 8, 2024

The Year Of Living Dangerously

If you'd forgotten how young Mel Gibson and Sigourney Weaver once looked, The Year of Living Dangerously is the movie for you.  It also happens to be a fine movie.  Saw it when it was first released in 1982 but not since.  This reminds me to watch it again.

Director Peter Weir was on a role at the time.  His prior film was Gallipoli and next up was Witness with Harrison Ford.  Weir's best films have a distinct haunting and tense atmosphere about them.

The movie is set during the lead up to, and during, the Indonesian military coup in 1965 that removed President Sukarno.  Gibson plays a newly arrived and naive reporter for an Australian TV network while Weaver portrays an employee at the British embassy.  In an Academy Award winning performance Linda Hunt is Billy Kwan, a Chinese-Australian man.

The film was banned in Indonesia until 2000.

This video of L'Enfant by Vangelis from the film, triggered memories prompting this post.

Sunday, July 21, 2024

The Way Things Work, Or Don't

Burn After Reading, the very funny Coen Brothers movie, provides a users guide to how things really work in a bureaucracy.  Two scenes, featuring the great JK Simmons as a CIA executive, and David Rasche (1), as his beleaguered deputy who just wants to make it through the day, as they sort through a baffling mess which they don't understand and just want to make go away.

Or, as cultural observer Joseph Fidler Walsh tells us in words featured on THC's masthead columns; 

You know, there's a philosopher who says, "As you live your life, it appears to be anarchy and chaos, and random events, smashing into each other and causing this situation or that situation, and then, this happens, and it's overwhelming, and it just looks like what in the world is going on. And later, when you look back at it, it looks like a finely crafted novel. But at the time, it don't".

At the other end of the spectrum from the random events theory are reductionist theories which increasingly dominate the political arena; one idea which explains everything.  On the left it is critical race theory and its spawn, DEI, which are simply sociology for stupid people.  On the right we now often see it claimed the reason for any mishap, miscalculation, or fiasco in the public or private sector is DEI and dismissing any other potential factor(s). 

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(1) Rasche is one of those guys who you realize has been in a lot of stuff you've seen, but you can't place him.  According to his wikipedia page, since the late 70s he's been in 49 movies, 313 TV episodes and a dozen TV movies, along with 22 on and off-Broadway plays.

Saturday, July 6, 2024

How Green Was My Valley

John Ford wanted to make the film in Wales, where the story is set in a small mining town at the end of the 19th century, and in Technicolor, but a world war intervened along with a shortage of color film, so 20th Century Fox built an 80 acre replica of a Welsh village in the Santa Monica mountains and the movie was black & white.

The movie won the Academy Award for Best Film of 1941, beating out Citizen Kane and The Maltese Falcon.

For anyone who has viewed How Green Was My Valley, the striking images are unforgettable.

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HOW GREEN WAS MY VALLEY, 1941 Roddy McDowall, John Ford, Maureen O'Hara

The most indelible image occurs near the end.  You can watch it in the video below, starting around 1:30.  After a disaster in the mine, see the lift emerge with the body of family patriarch Gwilym Morgan (Donald Crisp), cradled by his young son Huw (Roddy McDowell), both under the gaze of pastor Merddyn Gruffydd (Walter Pidgeon).  Staged with Christian symbolism and the adult Huw's narration, "Men like my father cannot die, they are with me still", it never fails to move me.



Friday, June 28, 2024

The Life And Death Of Colonel Blimp

Released in 1943, THC finally got around to viewing Colonel Blimp this week.  A splendid film!

It's also deceptive as the first, fast-paced, scene leaves one a bit befuddled about what the film is about.  And then it looks like it's going to be a satire about the British military and the last days of imperialism.  But it ends up as something more deep and profound.  It does satirize the military, but also conveys the sense of duty and responsibility of soldiers.  It is about friendship, love, and patriotism and how people respond when under strain.  

The movie was filmed in Britain in 1942 and early 1943, in the midst of the world war.  For various reasons the British military and Winston Churchill preferred it not be made but the filmmakers, director Michael Powell and screenplay writer Emeric Pressburger (who also made The Red Shoes, A Matter of Life and Death, Black Narcissus) forged ahead.  

The movie stars Roger Livesey (as the British soldier Clive Wynn-Candy who eventually rises to Major General), Anton Walbrook as German officer Theo Kretschmar-Schuldorff, and Deborah Kerr in one of her first lead roles playing three different characters.  All are indeed splendid.

The story begins in 1902 when then Lt. Livesey fights a duel in Berlin with Kretschmar-Schuldorff, leaving them both wounded and hospitalized and where they meet Kerr's first character.  We then see both soldiers during World War One and its immediate aftermath.  Finally, they are reunited in wartime England after Theo has fled Germany.

Two scenes from near the end:

Theo, a refuge in England in 1939, is being questioned by British security which needs to decide his status.  This is the latter part of a nine-minute scene.  Walbrook is so good, doing so little, but conveying so much.  You've never heard anyone say "Heil Hitler" like he does.

In this scene, General Candy was to have delivered a talk on the BBC in the aftermath of Dunkirk, but it is cancelled at the last minute.  He arrives home to find he has also been discharged from the military.  Kerr is now playing Candy's driver.  Theo speaks to him of the changed world and the need to fight differently.  Theo's message was one of the aspects of the film that gave the British military and Churchill pause.  It is also a message that resonates today - the eternal question.

The restored version of Colonel Blimp you can know see was made under the direction of Martin Scorsese, a huge fan of the film since he was a teenager.

Tuesday, May 14, 2024

The Third Man

 Great movie.