Twelve movies

[One to four stars. Four sentences each. No spoilers. Sources: Criterion Channel, HBO Max, Hulu, TCM, YouTube.]

Nocturne (dir. Edward L. Marin, 1946). George Raft plays Joe Warne, a LAPD detective doggedly investigating the death of a songwriter: was it really suicide? The movie flies off in many directions: it starts with Laura-like sophistication, moves to the details of police work, visits a nightclub with a pianist on wheels, adds some silly comedy with Joe’s mother and another oldster, throws in some romance and a fistfight, and briefly turns meta when Joe stumbles through a dance lesson (Raft had worked as a professional dancer). Look for Janet Shaw (Louise Finch in Shadow of Doubt) as the dance teacher. And enjoy the glimpses of Los Angeles: a Brown Derby, the Pantages. ★★★ (YT)

*

Promising Young Woman (dir. Emerald Fennell, 2020). Carey Mulligan plays Cassie Thomas, a woman of a thousand faces: a med-school dropout, working in a coffeeshop, living with trauma and rage, seeking revenge. I thought about the Iliad while watching this film: here, as there, exacting revenge takes a very high toll when a loss is unredeemable. It gives little away to say that the shadow of Brett Kavanaugh seems to hang over the movie. Bo Burnham is the standout among the supporting players. ★★★★ (HBO Max)

*

Two by Alfred Hitchcock

Young and Innocent (1937). Delightful early Hitchcock. Derrick De Marney is an accused murderer on the run; Nova Pilbeam (young Betty in The Man Who Knew Too Much) is the police constable’s daughter who runs with him. Echoes of The 39 Steps, and anticipations of Saboteur and North by Northwest. Wonderfully episodic, with the children’s birthday party and the hotel dance as standout moments of strangeness. ★★★★ (CC)

The Paradine Case (1947). London: Gregory Peck is a barrister, Anthony Keane, married to a beautiful woman, Gay (Ann Todd), defending another beautiful woman, Maddalena Anna Paradine (Alida Valli), who is charged with murdering her much older husband. The contrast between Gay and Maddalena anticipates the contrast between Midge (Barbara Bel Geddes) and Madeleine (Kim Novak) in Vertigo — and you can already guess that Keane, like Scottie Ferguson, will be going over to the dark side (here represented by a brunette, not a blonde). Can Keane return to the daylight world? Capable acting by all, but the movie feels long and talky, talky and long. ★★★ (YT)

*

Step Down to Terror (dir. Harry Keller, 1958). A low-budget, surprisingly good remake of Hitchcock’s Shadow of a Doubt (1943). The family dynamics are simpler and only slightly less creepy. Johnny Walters (Charles Drake), serial killer on the run, visits the folks, but there’s no niece in the family: here the relative who suspects something is the killer’s brother’s widow, Helen Walters (Colleen Miller), whom Johnny — eww — finds appealing. There’s nothing here to approach the strength of Thornton Wilder’s screenplay, nothing to intensify the incongruity of a psychokiller in Our Town. But it’s fascinating to see a director take up Gordon McDonnell’s short story “Uncle Charlie” and avoid mere repetition of what Hitchcock made. ★★★ (YT)

*

Too Late for Tears (dir. Byron Haskin, 1949). A story of contingency. After Alan and Jane Palmer (Arthur Kennedy and Lizabeth Scott) make a U-turn to skip out on a party, a fellow motorist throws a bag into their convertible, and Jane insists on keeping what’s in it: $60,000. When the money’s claimant, brutal Danny Fuller (Dan Duryea), comes calling at the Palmer household, Jane’s character comes into clear focus, and a battle of criminal wits begins. With Don DeFore (Mr. B. from Hazel) being enigmatic, and Dead End Kid Billy Halop renting boats. ★★★★ (TCM)

*

Strange Victory (dir. Leo Hurwitz, 1948). A post-war semi-documentary that’s disturbingly apt for our time. In the words of one of its narrators: “We live like a man holding his breath against what may happen tomorrow.” Hurwitz cuts from image to image, juxtaposing horrifying war footage with scenes from American life. At home: anti-Semitism, racism, xenophobia, war talk. Thank you, Criterion Channel, for bringing this neglected filmmaker into view. ★★★★ (CC)

*

Remember the Night (dir. Mitchell Leisen, 1940). My idea of a Christmas film, with sharp wit and much tenderness via a Preston Sturges screenplay. You can’t go home again, at least not happily, as career shoplifter Barbara Stanwyck learns, but you can spend Christmas with your handsome, single prosecutor (Fred MacMurray) and his family. It’s always instructive to see MacMurray as a real actor and not as the pipe-smoking, sweatered zombie of My Three Sons. And Barbara Stanwyck — well, she’s Barbara Stanwyck. ★★★★ (TCM)

Listening to Kenny G (dir. Penny Lane, 2021). Kenny G(orelick) is to music what Thomas Kinkade is to painting: a brand with mass appeal and little substance. The saxophonist presents as both preposterously egomaniacal and charmingly self-effacing: see for instance his idle pronouncement that he might get into writing classical music, so that people will wonder if a piece is by Bach, Beethoven, or G. This well-made documentary is filled with clips from G’s career (gee, he can do circular breathing), lengthy monologues for the camera, and commentary from music critics who explain why G is so awful — and yet, like spoons in Uri Geller’s hands, the critics begin to bend, which I guess is the magic of Kenny G. Now it’s time for HBO to offer documentaries about, oh, say, Albert Ayler, Sidney Bechet, Benny Carter, Ornette Coleman, John Coltrane, Stan Getz, Coleman Hawkins, Johnny Hodges, Steve Lacy, Charlie Parker, Sonny Rollins, Zoot Sims, Lester Young, Ben Webster — but I’m not holding my breath. ★★★★ (HBO Max)

*

Saturday Night Fever (dir. John Badham, 1977). I never once thought about watching, but after learning that one scene takes place a block from my child home, I had to. I loved the Brooklyn-ness of it, especially the coffeeshop conversation between dance partners Tony (John Travolta) and Stephanie (Karen Lynn Gorney), a little like a latter-day Marlon Brando and Eva Marie Saint. Tony’s confidence and cluelessness, the meager rewards of his work (a four-dollar raise), the boiling-over hostilities of his family life, Stephanie’s aspirations (two courses at the New School next semester): it all makes for a poignant story of limited means and long odds. Oh, and there’s also dancing. ★★★★ (H)

*

Park Row (dir. Samuel Fuller, 1952). Newspaper wars in 1880s New York, with the principled editor of an upstart paper (Gene Evans) at war with the unprincipled (yet still attractive to him) owner of an established paper (Mary Welch). The circulation war and the love-hate story are secondary here. This movie’s real appeal is in its depiction of the workings of print — paper, ink, type, and jargon (“printer’s devil,” “hellbox,” “30”). It must be the only movie in history in which Ottmar Mergenthaler’s invention of the Linotype machine is fictionalized into a plot point. ★★★★ (TMC)

*

Original Cast Album: “Company” (dir. D.A. Pennebaker, 1970). It was supposed to be the first of a series of documentaries about the making of albums, but it turned out to be the first and last. The recording session (nearly nineteen hours, according to Criterion) runs into the early morning, and what we see is a model of intense effort and generosity among singers, musicians, the recording engineers, and the composer (Stephen Sondheim, of course). I’m not especially attuned to musical theater, so I found it instructive to see Barbara Barrie, Beth Howland, Dean Jones, and Charles Kimbrough, all of whom I know from movies and television, in the Sondheim world. The highlight is Elaine Stritch’s attempt (at least eight takes) to get “The Ladies Who Lunch” right: weariness, frustration, and then, at a later session, she nails it, and for all time. ★★★★ (CC)

Related reading
All OCA movie posts (Pinboard)

Nancy and orbisculate

[Nancy, March 17, 1949. Click for a larger view.]

Figure 1: Aunt Fritzi is asking a question.

Figure 2: Nancy is pretending that she’s eating grapefruit. She’s also pretending to orbisculate.

I know that a website and petition do not get a word into the dictionary. But I’m at least willing to use the word. I think the word’s advocates need to clarify one point: is it a person that orbisculates, or a fruit or vegetable? Look at this page and you’ll see why I’m confused. The definition suggests that the verb applies to people, but the examples suggest fruits and vegetables.

Thanks to Kevin at harvest.ink for referencing the word in relation to Nancy’s grapefruit.

[Nancy is eating prunes.]

Domestic comedy

“Our knowledge of Los Angeles is vast and shallow!”

Related reading
All OCA domestic comedy posts (Pinboard)

[In the latest episode of Curb Your Enthusiasm, “Igor, Gregor, & Timor,” we were pleased to notice and understand a passing reference to the Park La Brea Apartments.]

RTF$

“Tucked into the second page of the syllabus was information about a locker number and its combination. Inside was a $50 bill, which went unclaimed.” It’s a story of life in college: “Professor Put Clues to a Cash Prize in His Syllabus. No One Noticed” (The New York Times).

And the syllabus was only three pages long.

A funny, sad story, but I have to question the word clues in the headline. Merriam-Webster:

something that guides through an intricate procedure or maze of difficulties

specifically : a piece of evidence that leads one toward the solution of a problem

If you tell someone looking for 123 Main Street to seek the source of acorns, you’ve given a clue. But if you tell that person to turn right on Oak, left on Main, and go two blocks, you’ve given directions, not a clue. The syllabus gave students all that was needed to get the money: a locker number and a combination. Directions, information, not a clue.

Thanks, Elaine.

[Anyone in academic life should recognize RTFS.]

Mary Miller in The New Yorker

There she is, Mrs. America, in Amy Davidson Sorkin’s commentary on the Republican response to the work of the United States House Select Committee on the January 6 Attack:

When the committee’s recommendation that [Mark] Meadows be referred for charges reached the House floor, though, the Republican members who rose to debate it barely bothered to engage with the legalities. Several used their time to urge the passage of the Finish the Wall Act. “You know who doesn’t show up for court orders?” Representative August Pfluger, of Texas, asked. “Ninety-nine point nine per cent of the illegal immigrants who are served those papers.” Members spoke about fentanyl, Hunter Biden, mask mandates, “empty shelves at Christmas,” and the unjust treatment of parents who object to “some crazy curriculum,” as if the response to any criticism of Trump is to hopscotch from one of the former President’s obsessions to another.

When the Republican members did address the matter at hand, it was in startlingly vitriolic terms. Representative Mary Miller, of Illinois, said that the committee’s work is “evil and un-American.” Yvette Herrell, of New Mexico, said that it is setting the country “on its way to tyranny.” Jordan called the committee an expression of the Democrats’ “lust for power.” And, inevitably, Marjorie Taylor Greene, of Georgia, said that its proceedings prove that “communists” are in charge of the House.

You know what’s really “evil and un-American”? Attempting to overturn an election.

This is Miller’s second appearance in The New Yorker this year. Here’s the first.

Related reading
All OCA Mary Miller posts

What’s a candy store?

I discovered this morning, only partly to my surprise, that neither Merriam-Webster nor the Oxford English Dictionary has an entry for candy store. I think there should be one, because candy store does not always denote a store that sells only candy. It’s not an obvious compound. My try at a definition, subject to adjustment:

can·dy store \ ˈkan-dē-ˈstȯr \ n : an urban retail establishment usu. selling candy, chewing gum, lottery tickets, magazines, newspapers, novelties, tobacco products, and stationery, often with a soda fountain attached

Am I missing anything?

All the candy stores
4417 New Utrecht Avenue : 4417 New Utrecht Avenue, again : 4302 12th Avenue : 4319 13th Avenue : 4213 or 4215 Fort Hamilton Parkway : 4223 Fort Hamilton Parkway : 94 Nassau Street

More candy store

[Click either image for a larger view. But it’s better to click on the links below for the full-size photographs.]

From the New-York Historical Society, two more views of a candy store at 4417 New Utrecht Avenue, Brooklyn. In keeping with the N‑YHS terms of use, I’ve posted low-resolution images. It’s worth clicking through to see the astonishingly zoomable originals: 1919, 1922. Look for the Parcheesi boards in the store window.

This address still housed a candy store many years later. In my 1960s Brooklyn childhood the store was known as Picholz’s. More on the location’s history in this post.

Thanks, Brian.

Four more Brooklyn candy stores
4302 12th Avenue : 4319 13th Avenue : 4213 or 4215 Fort Hamilton Parkway : 4223 Fort Hamilton Parkway

And one in Manhattan
94 Nassau Street

Today’s Saturday Stumper

Someone at Crossword Fiend mentioned that the Newsday crossword is now in ten-year-old reruns for the holiday season. I hadn’t even heard of the Saturday Stumper ten years ago, so today’s puzzle is, as they say of TV reruns, new to me. It’s by the puzzle’s editor, Stan Newman, no pseudonym, and it’s a good one — which means that it took me about twenty minutes to solve.

Some clue-and-answer pairs I especially liked:

1-A, seven letters, “See 23 Down.” Okay, what kind of puzzle begins with a clue like that? This one. 23-D, six letters: “With 1 Across, Baldwin’s mom on 30 Rock.” I think a better (non-giveaway) clue is in order, but I’m happy to see 23-D 1-A in the puzzle.

8-A, seven letters, “Now and then.” Clever. And have you heard John Lennon’s “Now and Then”?

11-D, five letters, “Net 26 Down.” And 26-D, six letters, “Scratch.” I am unreasonably proud to have gotten 26-D straight off, which somehow let me catch the trick in 11-D.

19-A, six letters, “It’s usually felt on the head.” A wonderful clue.

37-D, seven letters, “Put up or shut up!” The answer puts me back in my schooldays, early ones.

38-D, seven letters, “Loosen up, perhaps.” Terrific, and if you’re starting with the first two letters in place, you may be headed in a wrong direction.

43-A, eleven letters, “Food processors.” Okay. But the answer feels dated to me, maybe from a thirty-year-old puzzle.

46-A, five letters, “Host mail.” Technology makes this clue fun.

No spoilers; the answers are in the comments.

Breakfast with Nancy

[Nancy, March 17, 1949. Click for a larger view.]

Yesterday’s Nancy is today’s Nancy. But styles in children’s breakfasts have changed.

Related reading
All OCA Nancy posts (Pinboard)

Drinking and defending

From Assignment Paris (dir. Robert Parrish, 1952). Sandy Tate (Audrey Totter) is an Eve Arden type, cracking wise and going it alone:

“I may not believe in what you say, but I’ll drink myself to death defending your right to say it.”

The statement spoofed here is usually attributed to Voltaire. Quote Investigator suggests that it is “probably” Evelyn Beatrice Hall’s characterization of Voltaire’s attitude toward another writer. Sandy Tate wouldn’t care one way or the other.