Little boxes from the White House,
Little boxes gone to Florida,
Little boxes from the White House,
Little boxes all the same.
There’s a pink one, and a green one,
And one marked “Love from Kim Jong-un,”
And they’ve all gone down to Florida,
And they all look just the same.
Wednesday, February 9, 2022
With apologies to Malvina Reynolds
SCAT happens
From today’s New Yorker crossword, by Natan Last: 44-A, four letters, “Emulate Jelly Roll Morton, in a way.” The answer: SCAT. No. This, I suspect, is what happens when someone goes to Wikipedia to create a clue.
Yes, the Wikipedia article about scat singing references Morton’s discussion of the origins of scat singing. And Morton gave a demonstration of scat singing in his 1938 Library of Congress sessions. But I think you’d be hard-pressed to find many jazz listeners who would ever think of Morton — pianist, composer, and bandleader — as a scat singer.
And no, Mel Tormé is still not a “cool jazz pioneer.”
I will now cheer myself by listening to the “Avocado Seed Soup Symphony.” Scat surrealism at its finest.
[If Last had done a little more browsing, he might have chosen a better clue, because while Wikipedia’s article about scat singing mentions Morton, Wikipedia’s article about Morton doesn’t mention scat singing.]
Rhythmical snorting
Walter Vambrace is instructing his daughter Pearl (eighteen) in walking:
Tempest-Tost is the first novel of Davies’s Salterton Trilogy.
Related reading
All OCA Robertson Davies posts (Pinboard)
[The wheezing background noise in this video might suggest a phantom roaster.]
Sen-Sen again
From Christmas Eve (dir. Edward L. Marin, 1947). Aunt Matlilda (Ann Harding) gives instructions:
“Remember, Robert, when William brings Mr. Jonathan to the car, you must conduct yourself as though he had never gone away.”Mr. Jonathan, you see, drinks.
“Yes, ma’am. I even have the package of Sen-Sen to give to him before he kisses you.”
No one will ever have this conversation again, for Sen-Sen is no more.
Related posts
Cachou Lajaunie : Dingburg’s Main Street : Violet candy and Mad Men
Tuesday, February 8, 2022
EXchange names on screen
[From Kiss of Death (dir. Henry Hathaway, 1947). ]
Maybe I’m a rank sentimentalist, but I love when a column of exchange names fills the screen.
More EXchange names on screen
Act of Violence : The Amazing Dr. Clitterhouse : Armored Car Robbery : Baby Face : Black Widow : Blast of Silence : The Blue Dahlia : Blue Gardenia : Boardwalk Empire : Born Yesterday : The Brasher Doubloon : The Brothers Rico : The Case Against Brooklyn : Chinatown : Craig’s Wife : Danger Zone : The Dark Corner : Dark Passage : Deception : Deux hommes dans Manhattan : Dick Tracy’s Deception : Down Three Dark Streets : Dream House : East Side, West Side : Escape in the Fog : Fallen Angel : Framed : Hollywood Story: The Little Giant : Loophole : The Man Who Cheated Himself : Modern Marvels : Murder by Contract : Murder, My Sweet : My Week with Marilyn : Naked City (1) : Naked City (2) : Naked City (3) : Naked City (4) : Naked City (5) : Naked City (6) : Naked City (7) : Naked City (8) : Naked City (9) : Nightfall : Nightmare Alley : Nocturne : Old Acquaintance : Out of the Past : Perry Mason : Pitfall : The Public Enemy : Railroaded! : Red Light : Side Street : The Slender Thread : Stage Fright : Sweet Smell of Success (1) : Sweet Smell of Success (2) : Tension : Till the End of Time : This Gun for Hire : The Unfaithful : Vice Squad : Whatever Happened to Baby Jane?
Misreading
Every time I cycle through the cable menu, I misread Henry Danger as Henry Darger. Every time.
Now that Darger’s name is in the news, nothing will change.
Monday, February 7, 2022
Who owns Henry Darger?
In a 2014 post about a battle over the rights to Vivian Maier’s photographs, I wrote that I’d “always been puzzled that the discovery of Henry Darger’s work didn’t prompt similar legal action.” But no, not the discovery — the commercial success.
The New York Times today reports on a legal battle between Henry Darger’s landlords and some distant Darger relatives, who never knew him and now claim the rights to his work. Given the commercial value of that work, the relatives’ claim that “For us, it’s always been about family” may prompt skepticism.
In 2002 I wrote something about John Ashbery and Henry Darger. I’m still happy with it.
*
February 23: From the Chicago Sun-Times:
Circuit Judge Kent Delgado told lawyers representing a Clarendon Hills woman claiming to be a distant relative of the reclusive artist — and who wants a portion of his assets — that her legal filing is full of “holes.”Related posts
Delgado gave Christen Sadowski’s attorneys until late May to refile their paperwork. Among his concerns, Delgado said, is that Sadowski has no “personal knowledge” that she is a Darger relative and is relying on the research of an “heir finder” service.
A Darger exhibit and an Ashbery story : Darger and Maier
Twelve movies
[One to four stars. Four sentences each. No spoilers. Sources: Criterion Channel, DVDs, Hulu, TCM, YouTube.]
The Breaking Point (dir. Michael Curtiz, 1950). Another reimagining of Ernest Hemingway’s To Have and Have Not, truer to the novel than the Bogart–Bacall picture. A fishing-boat captain goes in with criminals hoping to get money for his family: it’s a grim story, with brilliant acting. John Garfield and Phyllis Thaxter are the captain and his wife; Juano Hernandez is the captain’s partner; Patricia Neal is a promiscuous married woman who pursues the captain; Wallace Ford is a crooked lawyer who weaves in and out of events. I think Key Largo must have had something, or almost everything, to do with the ending. ★★★★ (YT)
*
Christmas Eve (dir. Edward L. Marin, 1947). Weird and strangely enjoyable: wealthy old Aunt Matilda (Ann Harding), determined to resist her no-good nephew’s effort to take control of her estate, issues a public call for her long-lost three wards to come to her aid. And they do: a debt-shedding playboy (George Brent), a broken-down rodeo rider (Randolph Scott!), and a criminal who’s fled to South America (George Raft). Many obstacles, and several good deeds along the way. I think that Aunt Matilda, paying city kids for dead rats and running model trains (holding cream and sugar) around her dining-room table, must have had something to do with the creation of the eccentric oldster played by Donald O’Connor in an episode of Frasier . ★★★ (CC)
*
Pain and Glory (dir. Pedro Almodóvar, 2019). A second viewing of a film I first watched in early 2020 — which now seems a lifetime ago. It remains one of best films I’ve seen. It’s undoubtedly the most Proustian. Here is a master filmmaker showing what it might be like to make sense of one’s life in time and figure out how to go on. ★★★★ (DVD)
*
Smilla’s Sense of Snow (dir. Bille August, 1997). Smilla (Julia Ormond) is a Greenlander in Copenhagen, a solitary, beautiful student of ice and snow who grows increasingly curious about the death of a six-year-old neighbor. But she cannot get good answers to her questions. Her curiosity leads to an ever-stranger mystery and ever-greater danger. When the boat sails (literally), the movie jumps a shark (figuratively), loses its dark, menacing atmosphere, and turns into a semi-ridiculous thriller. ★★★ (DVD)
*
Kiss of Death (dir. Henry Hathaway, 1947). Our household’s favorite year comes through once again. Victor Mature plays a Nick Bianco, a convict who becomes an informant, wins parole, makes a new life with his daughters and second wife Nettie (Coleen Gray), but is required to continue informing. And — uh-oh — he has to get the goods on gangster, giggler, and psychokiller Tommy Udo (Richard Widmark, in his first film). Great NYC location shots, and unnerving scenes in a house, an apartment, a restaurant, and on a staircase. ★★★★ (YT)
*
The Sleeping City (dir. George Sherman, 1950). An improbable premise: when a Bellevue intern is murdered, a detective with some medical experience (Richard Conte) goes undercover as an intern to investigate. Coleen Gray is here as a nurse and love interest, and Richard Taber is a decrepit elevator operator who takes bets on the side. Filmed on location, with considerable inspiration from The Naked City. A prologue spoken by Conte makes clear that nothing like what happens here ever happened at Bellevue or any other New York City hospital — that’s reassuring. ★★★★ (YT)
*
The Story of Three Loves (dir. Vincente Minnelli and Gottfried Reinhardt, 1953). Three stories, told in flashbacks as a ship’s passengers reminisce. “The Jealous Lover” is a predictable story of a ballerina and impresario (Moira Shearer and James Mason). “Mademoiselle” moves to fantasy, with a boy (Ricky Nelson) turning into a man (Farley Granger) and seeing his tutor (Leslie Caron) in a new light. Best of all is “Equilibrium” with Kirk Douglas and Pier Angeli as haunted trapeze artists. ★★★★ (TCM)
*
Suspense (dir. Frank Tuttle, 1946). Believe it: a film noir with ice skating. An itinerant ne’er-do-well (Barry Sullivan) joins an ice show as a peanut vendor, becomes the boss’s (Albert Dekker) right-hand man, and makes a play for the boss’s wife, skating star Roberta (Belita). The over-the-top ice sequences put Sonja Henje to shame, and Karl Struss’s cinematography in the delirious final forty-five minutes gives any film noir a run for its shadows. Eugene Pallette’s last film. ★★★★ (YT)
*
Shadow of a Doubt (dir. Alfred Hitchcock, 1943). Watching for the umpteenth time, I listened for what might be Our Town touches in Thornton Wilder’s screenplay. The brief conversation about coffee — Uncle Charlie (Joseph Cotten) can’t face the morning without it — made me think of Our Town. The corny, gentle humor about Joe (Henry Travers) and Herb (Hume Cronyn) — “They’re literary critics” — made me think of Our Town. Uncle Charlie’s venom — “You’re just an ordinary little girl living in an ordinary little town” — made me think of some dark spirit coming to visit Grover’s Corners. ★★★★ (CC)
*
Finger Man (dir. Harold D. Schuster, 1955). As in Kiss of Death, a criminal, Casey Martin (the everymannish Frank Lovejoy), is given the chance to go undercover. Casey is to inform on the doings of narcotics and prostitution boss Dutch Becker (Forrest Tucker!), who turned Casey’s sister into an addict. Swank surroundings and the sinister Timothy Carey add value. The voiceover narration by the protagonist makes this movie feel more like a radio drama than a semi-documentary — and gives it away that Casey lived to tell the tale. ★★★ (YT)
*
Nightmare Alley (dir. Guillermo del Toro, 2021).
Not nearly as good as the 1947 movie (dir. Edmund Goulding), whose fleet pace suited the cautionary tale of Stanton Carlisle (Tyrone Power), a grinning conman who doesn’t know when he’s being had. This adaptation meanders (two and a half hours), with an invented backstory not in William Lindsay Greshman’s novel (and perhaps inspired by Double Indemnity). This Stan (Bradley Cooper) is merely mean, without that 1947 Dunning-Kruger confidence; his relationship with Molly (Rooney Mara) is nearly non-existent; and Cate Blanchett’s Lilith Ritter is almost a parody of a noir spiderwoman (such cringe-making dialogue). And there’s an awful lot of computer-generated reality here: just stick around for the credits. ★★★ (H)
*
Lili (dir. Charles Walters, 1953). Consider it a chaser for Nightmare Alley — one circus following another. Or consider it just plain weird: Lili (Leslie Caron), a sixteen-year-old orphan, talks to puppets; Paul (Mel Ferrer), a former dancer, now puppeteer (he has a war injury), talks to Lili through puppets. And there’s a magician (Jean-Pierre Aumont) on the make. Best scene: the dance on the road. ★★★ (TCM)
Related reading
All OCA movie posts (Pinboard)
Hi and Lois watch
As another comic strip would say, Good grief!
Lois, here’s a recipe for Coppola/“Godfather” sauce. Even Chip will enjoy it. You’re welcome.
Related reading
All OCA Hi and Lois posts (Pinboard)
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