Cather cameo

[From The Tarnished Angels (dir. Douglas Sirk, 1957). LaVerne Shumann (Dorothy Malone), Burke Devlin (Rock Hudson), and My Ántonia (Willa Cather). Click for a larger view.]

Related reading
All OCA Willa Cather posts (Pinboard)

How to improve writing (no. 108)

As I’ve written in a previous post, “Every time I look at Josh Marshall’s Talking Points Memo, I end up rewriting one or more sentences.” From an item posted today:

I understand that people are outraged by the Tucker Carlson/Kevin McCarthy video stunt. It’s natural and understandable to react negatively and angrily to liars and traitors. But this is not at all the best or most effective response. The first response is simply mockery. That’s the most logical response and also the most effective.

“Natural and understandable,“ “negatively and angrily,” “the best or most effective,” “most logical and . . . most effective”: it’s like reading the work of a student writer aiming to hit word count.

Improved:

It’s reasonable to be angry about the dishonest, traitorous Tucker Carlson/Kevin McCarthy video stunt. But anger is not an effective response. A better response: mockery.

From fifty-five words to twenty-six. Is anything missing?

Related reading
All OCA How to improve writing posts (Pinboard)

[This post is no. 108 in a series dedicated to improving stray bits of public prose.]

All Fall Down notebook

Clinton Willart (Brandon De Wilde) has a notebook. He’s writing about Echo O’Brien (Eva Marie Saint), the daughter of a family friend, whose presence in the Willart house turns everything upside down. From All Fall Down (dir. John Frankenheimer, 1962). Click any image for a larger view.

[“You don’t actually see her quiver . . . You just feel it. You know that inside she’s all alive, and quivering. The way Echo O’brien makes me feel is this —”]

[A secret message.]

[Voiceover: “Au revoir, notebook, old pal, old thing. You have had it. This is my last entry.” Notice the little bottles on the desk: chemistry-set stuff.]

More notebook sightings
All the King’s Men : Angels with Dirty Faces : The Bad and the Beautiful : Ball of Fire : The Big Clock : Bombshell : The Brasher Doubloon : The Case of the Howling Dog : Cat People : Caught : City Girl : Crossing Delancey : Les Dames du Bois de Boulogne : Dead End : Deep Valley : The Devil and Miss Jones : Dragnet : Extras : Eyes in the Night : The Face Behind the Mask : The Fearmakers : A Foreign Affair : Foreign Correspondent : Fury : The Girl in Black Stockings : Homicide : The Honeymooners : The House on 92nd Street : I See a Dark Stranger : Journal d’un curé de campagne : Kid Glove Killer : The Last Laugh : Le Million : The Lodger : Lost Horizon : M : Ministry of Fear : Mr. Holmes : Murder at the Vanities : Murder by Contract : Murder, Inc. : The Mystery of the Wax Museum : Naked City : The Naked Edge : Now, Voyager : The Palm Beach Story : Perry Mason : Pickpocket : Pickup on South Street : Pushover : Quai des Orfèvres : The Racket : Railroaded! : Red-Headed Woman : Rififi : La roue : Route 66 : The Scarlet Claw : Sleeping Car to Trieste : The Small Back Room : The Sopranos : Spellbound : Stage Fright : State Fair : A Stranger in Town : Stranger Things : Sweet Smell of Success : Time Table : T-Men : To the Ends of the Earth : 20th Century Women : Union Station : Vice Squad : Walk East on Beacon! : What Happened Was . . . : Where the Sidewalk Ends : The Woman in the Window : You Only Live Once : Young and Innocent

George?

[“Head Cheese & Crackers?” Zippy, March 7, 2023. Click for a larger view.]

That is George Santos in today’s Zippy, isn’t it? Even if he’s missing a sweater.

It’s definitely Santos in today’s Gothamist, talking about evidently non-existent pet fish.

Recently updated

Loring Grill Now with a little more diner history.

“Ignorance pays off”

Assistant District Attorney Howard Malloy (Franchot Tone) wonders where the payoff is. How can a hate group make money? His future brother-in-law, newspaper reporter Charlie Riggs (Myron McCormick), explains. From Jigsaw (dir. Fletcher Markle, 1949):

“Forming an organization. Membership dues, badges, buttons, magazine subscriptions, donations. Even uniforms. Any effort to exploit the anti-this or ‑that. Any race or religion they can use as a scapegoat. Ignorance pays off, Howard, and the profits can climb into millions.”

As a twice-impeached defeated former president well knows.

Jigsaw cameos

The one unusual thing about Jigsaw (dir. Fletcher Markle, 1949), a story about investigating a hate group, is a parade of cameos by actors with progressive leanings. Click any image for a larger view:

[Burgess Meredith serves a beer to Myron McCormick.]

[John Garfield loitering.]

[Marlene Dietrich leaving a nightspot.]

[Henry Fonda as a surly waiter serving Doe Avedon and Franchot Tone.]

[Marsha Hunt as a secretary.]

[Leonard Lyons as himself, waving to a departing taxi. He wrote the New York Post column “The Lyons Den” from 1934 to 1974.]

[Everett Sloane delivers liquor to Jean Wallace.]

The IMDb lists the director and the actor Brenda Frazier making appearances as unidentified nightclub patrons. If they are in the movie, I’m unable to recognize them. Maybe that’s the director with Dietrich.

Twelve movies

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

Perfect Strangers (dir. Bretaigne Windust, 1950). It’s like Brief Encounter meets jury duty, with two members of a sequestered jury (Dennis Morgan and Ginger Rogers) falling in love, but those lackluster two aren’t a reason to watch the movie. The supporting cast is, especially Harry Bellaver as a genial bailiff, Margalo Gillmore as an old snob, Thelma Ritter as a wisenheimer, and Anthony Ross as a weird lecher. Brief appearances by George Chandler (Uncle Petrie from Lassie) are a bonus. One more reason to watch: a demonstration of the arcane procedure of selecting citizens to call for jury duty, which adds a semi-documentary flavor to the opening. ★★★ (TCM).

*

Jigsaw (dir. Fletcher Markle, 1949). Franchot Tone plays a DA investigating the Crusaders, a murderous hate group recruiting followers in the big city. A glimpse of the uniformed members, a sample of their rhetoric, would have done much to make the threat vivid. Instead we get the DA and others talking about the group and the danger they represent. The one unusual thing about this movie is the parade of cameos by actors with progressive leanings: Marlene Dietrich, Henry Fonda, John Garfield, Marsha Hunt, Burgess Meredith, Everett Sloane. ★★ (YT)

*

The Crooked Way (dir. Robert Florey, 1949). Eddie Rice (John Payne) is just out of the hospital, a veteran with a permanent case of amnesia, but he comes to understand that he used to be Eddie Riccardi, a Los Angeles hoodlum. And a feral criminal enemy, Vince Alexander (Sonny Tufts), wants revenge. The story is sloppy: one must wonder why Vince doesn’t just have his goons make Eddie disappear. John Alton’s cinematography is the reason to watch: to borrow a phrase I invented to describe the work of another cinematographer, it’s a delirium of shadows. ★★★ (YT)

*

All Fall Down (dir. John Frankenheimer, 1962). Willart family values: a alcoholic father (Karl Malden), a mother (Angela Lansbury) whose desire for her older son is more than implied, that son (Warren Beatty), amoral, manipulative, often absent, and a cheerful, naive younger son (Brandon De Wilde) whose misconceived admiration for his big brother is boundless. Into the Willart world steps a friend’s self-described “old maid” daughter, Echo O’Brien (Eva Marie Saint), and everything goes even more haywire. A great performance from Saint, and a good one from De Wilde, but the movie is a painfully contrived mess: you know that the father is forever calling his older son “you old rhinoceros” just so that he can later say the guy’s a real rhinoceros — that is, a killer. The most unbearable thing about the movie: Beatty’s character is named Berry-Berry (like the disease, get it?), and that name is repeated over and over, with never no explanation, Berry-Berry. ★★ (TCM)

*

Armageddon Time (dir. James Gray, 2022). Circa 1980: two Queens sixth-graders, Paul (Banks Repeta) and Johnny (Jaylin Webb), the one white, Jewish, and moderately well off, the other Black and poor, strike up a friendship born of alienation and snark. The kids are wise in some ways, heartbreakingly naive in others, and their friendship is threatened by realities outside their control. With rotten teachers, inadequate parents (Anne Hathaway, Jeremy Strong), a wise grandfather (Anthony Hopkins), strange overtones of Huck and Jim, and a surprise appearance by Fred Trump (John Diehl). Low-key and compelling, and the best new movie I’ve seen in a long time. ★★★★ (N)

*

Nora Prentiss (dir. Voncent Sherman, 1947). High melodrama and noir, with Kent Smith as restless, married Richard Talbot, physician, and Ann Sheridan as Nora Prentiss, a nightclub singer. A chance meeting leads to an affair. So far it’s melodrama, but when Dr. Talbot is presented with the opportunity to escape his home life, the noir kicks in. Another great film from a year of wonders. ★★★★ (TCM)

*

Highway 301 (dir. Andrew Stone, 1950). It’s a sad day when a movie opens with three real-life governors warning the viewer not to follow the path of the Tri-State Gang, a murderous outfit that operated in Pennsylvania, Maryland, and Virginia in the early 1930s, robbing banks, mail trucks, and military arsenals, and murdering with impunity. It’s Steve Cochran’s movie: he’s George Legenza, the leader of the gang, a psychopath who kills anyone who might complicate his work. What gives the movie greater interest: it’s a story of criminals and their wives and girlfriends, with the women — notably Virginia Grey — standing by their men, or not. Best scene: Legenza hunts Lee (Gaby Andre). ★★★★ (TCM)

*

From the Criterion Channel: Douglas Sirk Rarities

Thunder on the Hill (1951). The premise is wild: the rains have flooded Norwich and washed out a bridge, so Valerie Cairns (Ann Blyth), a murderer traveling to her execution, becomes a guest in a convent, along with her chaperones and numerous townsfolk. When a kindly, luminous nun, Sister Mary Bonaventure (Claudette Colbert), becomes convinced of Valerie’s innocence, the story begins to move. Supporting characters include the town doctor (Robert Douglas) and an addled handyman (Michael Pate). Great cinematography by William H. Daniels, with a powerful scene that must have influenced Hitchcock’s Vertigo. ★★★★

All I Desire (1953). Barbara Stanwyck plays Naomi Murdoch, a bottom-of-the-card turn-of-the-century vaudevillian who returns to her small-town husband and children after ten years on the road to see her daughter act in the senior play. The family thinks she’s a great success, but as she will tell them, “I’ve got no glory, no glamour, and bruises on my illusions.” It turns out that you can go home again, but not without facing the past you thought you’d left behind. With Richard Carlson, Marcia Henderson, Lori Nelson, and a sinister Lyle Bettger. ★★★★

The Tarnished Angels (1957). From the William Faulkner novel Pylon. It’s the Depression (though it looks like the 1950s), with air ace turned stunt pilot Robert Shumann (Robert Stack), his ill-treated parachutist wife LaVerne (Dorothy Malone), his maybe-son Jack (Christopher Olsen) his mechanic Jiggs (Jack Carson), and an alcoholic newspaperman, Burke Devlin (Rock Hudson), who’s come in search of human interest and to find out what became of Shumann. Some scenes of dangerous aviation, but the movie is a character study, with a strong contrast between Shumann’s coarse amorality (he married LaVerne on a roll of the dice) and Devlin’s gentleness. The first things Devlin does: he stops some young bullies and buys bullied Jack an ice cream cone. ★★★★

*

The Illusionist (dir. Neil Burger, 2006). It’s from Steven Millhauser’s story “Eisenheim the Illusionist,” so I wanted to love this movie without reservation. But it turns Millhauser’s story of an ascetic uber-magician into a story of imperial intrigue (Rufus Sewell as Crown Prince Leopold), cat-and-mouse with the law (Paul Giamatti as Inspector Uhl), and love (Jessica Biel as Sophie). And all the effects that are better left on the page, for a reader’s imagination to make real, are here the work of CGI. I’m adding a star for the wildly inventive ending. ★★★★ (YT)

*

Wittgenstein (dir. Derek Jarman, 1993). I realized as I watched that I had tried once before — years ago — and had given up. Karl Johnson bears an eerie resemblance to Ludwig Wittgenstein, but that’s about all I found to like about this movie, which to my mind presents a Wittgenstein without interiority, without thinking, a farcical figure making pronouncements and being met with bewilderment or sudden enlightenment (students) or amused condescension (Michael Gough as Bertrand Russell). Factoids from Norman Malcolm’s memoir — e.g., Wittgenstein the Betty Hutton and Carmen Miranda fan — are here in abundance, in one blackout scene after another. There is also a green Martian. ★ (CC)

Related reading
All OCA “twelve movies” posts (Pinboard)

In search of lost Beau Hunks

I’ve been searching for one of my Beau Hunks CDs, The Beau Hunks Play the Original “Little Rascals” Music. My other two Beau Hunks CDs — Celebration On The Planet Mars: A Tribute to Raymond Scott and On to the Show! — are exactly where they should be. So where was the CD that I wanted?

Was it among the stacks of CDs atop the turntable? No.

Was it among the stacks of CDs atop the CD player? No.

Was it among the random CDs occupying part of a bookcase shelf? No.

Was it among the random CDs occupying part of a shelf in a different bookcase? Again, no.

But I found it in the CD shelves, out of place, to the right, not left, of Beethoven.

My discovery confirms the wisdom of Professor Solomon’s claim in How to Find Lost Objects: objects “tend to travel no more than eighteen inches from their original location.”

[If you’ve never heard the Beau Hunks play LeRoy Shield’s Little Rascals music, here’s a sample. That’s a music of my childhood, on WPIX-TV, early in the morning before going to school.]

Loring Grill

[156 West Fordham Road, The Bronx, c. 1939–1941. From the NYC Municipal Archives Collections. Click for a much larger view.]

Recall Brooklyn’s Unique Diner: in The Bronx, as in Brooklyn, urban planning apparently required that a dining car to be dropped into the empty slot.

The archives give no street address for the Loring Grill (a short walk from Loring Place), but searching for block=3225 AND lot=169 BX reveals the address. In recent years, no. 156 has been building-less. I suspect it has been building-less since the dining car disappeared. Google Maps shows the location from 2007 to 2022 as a vacant lot, a holding area for an auto-repair shop, a holding area with a storefront security door, and a vacant lot with a storefont security door. The brick building that housed the Gulf station and later auto-repair shop still stands, now boarded off from the sidewalk.

Telephone number for the Loring Grill in 1940: FOrdham 4-8824.

*

An assiduous diner-friendly reader found on two relevant pages. Here’s a view of the diner and environs from the east. And here’s a 1947 yearbook advertisement for Charles Tschudin’s Tolentine Diner — same address, different phone number. The yearbook is from St. Nicholas of Tolentine High School. St. Nicholas of Tolentine Church is a block away, at the corner of West Fordham Road and University Avenue.

Also: “A young woman and three men who stole a taxicab yesterday morning and then held up a lunch wagon at 156 West Fordham Road, the Bronx, were captured after they had led two policemen a wild chase for miles through the northern part of the Bronx and Harlem”: The New York Times, January 27, 1931. The owner was a Fred Zucht. The lunch wagon was held up at 1:00 a.m.

Related reading
More photographs from the NYC Municipal Archives

[Why do I insist on capitalizing the t? Because it’s The Bronx.]