Pocket notebook sighting

[Dayton Lummis as Dr. Carl Morris. From The Flight That Disappeared (dir. Reginald Le Borg, 1961). Click for a larger view.]

If you knew what was on that notebook page, you too would tear it out and tear it up — I hope.

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 : If I Had a Million : 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

From 1945 and 1943

From today’s installment of Heather Cox Richardson’s Letters from an American:

Beginning in 1943, the War Department published a series of pamphlets for U.S. Army personnel in the European theater of World War II. Titled Army Talks, the series was designed “to help [the personnel] become better-informed men and women and therefore better soldiers.”

On March 24, 1945, the topic for the week was “FASCISM!”

The fascist playbook, as described in this pamphlet, repeats as the playbook of today’s hard right: cast one’s cause as “super-Americanism,” foment domestic disunity and hatred of minorities, reject the need for international cooperation, and label one’s opponents communists.

You can read the pamphlet at the Internet Archive.

And from 1943, there’s the anti-fascist short film Don’t Be a Sucker.

Where did the hats go?

[The Flight That Disappeared (dir. Reginald Le Borg, 1961). Click for a larger view.]

I’ve sometimes thought it’d be fun to take along a nice straw when flying, but what to do with it? Certainly not keep it on my lap for the length of the flight. No way! Which made me wonder: what did men on planes do back in the day, when everyone wore a hat? This movie let me know.

The above flight is a fiction, but any number of photographs will confirm that hats went above the seats. For instance. Baggage, at least most of it, would have been checked. Women would most likely have kept their hats on.

*

A reader passed on a link to an advertisement for the Mallory “Air Cruiser,” a hat “styled for the skyways,” “for gentlemen who travel.” N.B.: “Exclusive Mallory Cravenette process withstands varied types of weather throughout the world.” I think that means that the hat was meant to serve as a beater.

Thanks, reader.

Twelve movies

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

Big Eyes (dir. Tim Burton, 2014). Amy Adams as the mid-century American artist Margaret Keane, whose husband Walter Keane took credit for her paintings of children with big, sad eyes. The lie, with Margaret complicit, ran for years. Adams gives a great performance as a woman with and without agency, sitting (like Rapunzel) in a locked room, cranking out paintings for which she can take no credit — until she does. As Walter Keane, Christoph Waltz is all charm, deception, desperation, and, finally, rage. ★★★★ (N)

[If you’d like to see the Life magazine article seen in the movie, it’s here.]

*

The Depraved (dir. Paul Dickson, 1957). To say that it’s more than slightly reminiscent of Double Indemnity is no spoiler: you can see where the story is headed from its first minutes. As a U.S. Army captain stationed in England, Robert Arden has the advantage of even looking as bit like Fred MacMurray; as the calm, cool Laura Wilton, Anne Heywood makes a marked contrast to the weird glamour of Barbara Stanwyck’s Phyllis Dietrichson. The most interesting performances are those of Basil Dignam (nasty, domineering Tom Wilton) and Denis Shaw (an implacable inspector). Only seventy-one minutes, so the thought of murder comes up as soon as the principals meet — there’s no time to lose. ★★★ (YT)

*

Hunted (dir. Charles Crichton, 1952). A man, Chris (Dirk Bogarde), and boy, Robbie (Jon Whiteley), no relation, fleeing London and the authorities, civil and parental. Overtones of Huck and Jim; much stronger overtones of Alfred (Hitchcock), with bumbling policemen, rural innkeepers, and danger in every circumstance. As almost-seven Robbie, Jon Whiteley has little to say, but his silent sorrow and his devotion to Chris are the moral center of the movie. We know what’ll happen to Chris, but what will become of this poor boy? ★★★★ (YT)

*

Room 222, first season (created by James L. Brooks, 1969–1970). I think I owe some explanation of how this viewing effort (twenty-six episodes!) came about: program notes for an orchestral work by Coleridge-Taylor Perkinson mentioned that he wrote the Room 222 theme. No, that was Jerry Goldsmith (Perkinson wrote some incidental music for the series), but the mistake was enough to get our household watching. This series was well ahead of its time, depicting life in a multicultural Los Angeles high school and touching on a wide array of topics (though not, at least in this first season, the war in Vietnam): overcrowded classrooms, outdated pedagogy, economic disparity, global warming, the exploitation of college athletes. History teacher Pete Dixon (Lloyd Haynes), guidance counselor Liz McIntyre (Denise Nicholas), principal Seymour Kaufman (Michael Constantine), student teacher Alice Johnson (Karen Valentine), and student regulars (Heshimu as Jason Allen, Howard Rice as Richie Lane, Judy Strangis as Helen Loomis) make up an earnest, endearing, sometimes contentious, mostly groovy bunch. ★★★★ (YT)

*

A Damsel in Distress (dir. George Stevens, 1937). Story by P.G. Wodehouse, music by George and Ira Gershwin, with Fred Astaire as an American entertainer (what else?) in London. There’s a love interest (Joan Fontaine), who has just one, barely one, dance with Fred. The fireworks kick in when Astaire dances with his press agent and his secretary, George Burns and Gracie Allen, first in a manor house (“Put Me to the Test”), then in a fun house (“Stiff Upper Lip”). The grand finale: “Nice Work If You Can Get It,” with Astaire dancing and playing a drum kit (with both hands and feet). ★★★★ (TCM)

*

The Flight That Disappeared (dir.Reginald Le Borg, 1961). “This whole business has a strange, abnormal ring,” says an airline exec. Indeed, it has the feel of a Twlight Zone effort, with a Rod Serling-like nobility of purpose: to warn against the peril of nuclear weapons. The acting is passable; the sets are low-budget; but the story is imaginative, even daring. And now I know that men’s hats went on the shelf above the seats, where the pillows were kept: “May I take your hat?” asks a flight attendant. ★★★ (YT)

*

I’ve Lived Before (dir. Richard Bartlett, 1956). First it’s 1918; then it’s 1931; then it’s modern times: and it’s all about a commercial pilot who’s convinced he’s the reincarnation of a WWI pilot. Jock Mahoney is the pilot; John McIntire is the psychiatrist presiding over his care; their exchanges are soporific. The big flaw: there’s no sense of eerieness here, just too many dull conversations. Ann Harding’s dignified, understated performance as the WWI pilot’s sweetheart walks away with the movie. ★★ (YT)

*

It Happens Every Thursday (dir. Joseph Pevney, 1953). Capraesque comedy: a New York couple, Jane and Bob MacAvoy (Loretta Young and John Forsythe) buy a dinky newspaper in Eden, California, and wouldn’t you know it, lots of things go wrong — one of which is that the press breaks down every Thursday. Jane is plucky and quick-thinking; Bob is hardworking and cheerful. A great number of familiar faces make for an appealing cast: Edgar Buchanan, Jimmy Conlin, Jane Darwell, Gladys George, Frank McHugh, Regis Toomey, Willard Waterman, Eddy Waller (yes, we watch a lot of older movies). I reached a Capracorn breaking point seeing Jane and Bob’s new baby, “Sister,” nestled in an open file cabinet, and I watched in fear that the movie would end with Jane and Bob realizing — gosh! — that they had forgotten to give her a name. ★★★ (YT)

*

Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb (dir. Lizzie Gottlieb, 2022). A writer and editor, talking about and working out their almost-fifty-year collaboration. Wonderful stuff: a search for a pencil, a search in a margin for the best word, arguments about semicolons, a tower of manuscript pages, a brief discourse about the catalogue of ships in the Iliad (which inspired a passage in The Power Broker ), a visit to the daunting archives of the LBJ Presidential Library, a massive multipage outline thumbtacked to a corkboard that fills a wall. The best moment: writer and editor at work, with mics off — because the work is private. A bonus: music by Olivier and Clare Machon (both formerly of Clare and the Reasons). ★★★★ (YT)

*

Modern Romance (dir. Albert Brooks, 1981). Albert Brooks is Robert Cole, a film editor whose major professional accomplishment in the movie’s 133 minutes is dubbing louder footsteps as George Kennedy runs through the corridor of a spaceship. The movie charts the course of Robert’s relationship with Mary Harvard (Kathryn Harrold), a bank executive who seems to be miles ahead of him in maturity. A funny, sad picture of male insecurity and mistrust. As Elaine wondered, is this what men are really like? ★★★★ (CC)

*

Conspirator (dir. Victor Saville, 1949). It’s like a cross between Jane Austen and Alfred Hitchcock: Melinda Greyton (Elizabeth Taylor), a young American abroad, sits at a London gathering, waiting to be asked to dance; a dashing somewhat older man, Michael Curran (Robert Taylor), a major in the British army, steps into the room; and marriage follows. In the Austen world, that would be the end of the story, but here it’s the beginning, with Melinda’s playful spirit coming up against her husband’s odd absences and unpredictable moments of anger. As the movie’s title suggests, this major harbors a dark secret. Strong overtones of Hitchcock’s Shadow of a Doubt, with discovery, danger, and a lie to preserve a status quo. ★★★★ (TCM)

*

Crime Unlimited (dir. Ralph Ince, 1935). A new recruit to Scotland Yard (Esmond Knight) goes undercover to infiltrate the Maddick gang, jewel thieves flourishing in London. Nothing especially original in the story, but there’s atmosphere abounding, with dark rooms, glaring lights, odd camera angles, a glamorous Russian (Lili Palmer) who may or may not be trustworthy, and a criminal mastermind seen only as a hand over a chessboard. When the mastermind reveals himself, it’s like seeing Fritz Lang’s Dr. Mabuse. But it’s the Hitchcock influence that carries the day and makes the movie watching. ★★★ (TCM)

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

Recently updated

Succession and poetry Now with a thought about the John Berryman titles.

Books UnBanned

An initiative from the Brooklyn Public Library: Books UnBanned, “to help teens combat the negative impact of increased censorship and book bans in libraries across the country.” Books UnBanned offers readers between the ages of thirteen and twenty-one, anywhere in the United States, a year’s free access to the BPL’s e-books and audiobooks.

Nick Higgins, Chief Librarian:

Brooklyn Public Library stands firmly against censorship and for the principles of intellectual freedom — the right of every individual to seek and receive information from all points of view without restriction. Limiting access or providing one-sided information is a threat to democracy itself.

Young readers should know about this offer. Please spread the word.

Don’t like a library book?

From Take action for libraries, a handy step-by-step guide: “What do I do if I don't like a book at the library?”

Memorial Day

[“Evacuees of Japanese ancestry attending Memorial Day services at Manzanar, California, a War Relocation authority center — Boy Scouts and American Legion members participating in the services appear in the foreground.” 1942. From the Library of Congress. Click for a larger view.]

It’s an extraordinary image: people participating in the forms of the culture that has consigned them to a concentration camp. It’s the perennial question of what it means to love a country that doesn’t love you back, and that blurs your imprisonment with the delicate word evacuees.

Nine Japanese immigrants went down with the US Maine in 1898. More than 800 Japanese immigrants and nisei served during World War I. An estimated 33,000 Japanese Americans served in World War II; approximately 800 died. More about their service here and here.

A despedida, Marie Elisabeth

[137 Franklin Street, Finn Square, Manhattan, c. 1939–1941. From the NYC Municipal Archives Collections. Click for a much larger view.]

Are Marie Elisabeth sardines the best? They’re still around, but I’ve never seen them, much less tasted them. The Portuguese Canning Industry Digital Museum has fifty-six package designs for the company’s sardines and anchovies, which suggests, if not “best,” then certainly “ubiquitous.”

The single-story building on the corner was torn down sometime before April 2009. A Google Maps photograph shows slight traces of letters still visible. Since 2011, a “boutique building” (six stories, three apartments) has stood on the corner. A 2012 New York Times article has more about the history of Finn Square.

A despedida, Marie Elisabeth.

Thanks, Brian.

Related reading
More photographs from the NYC Municipal Archives (Pinboard)

Succession and poetry

From Andrew Epstein’s blog Locus Solus: Succession, Jeremy Strong, and Frank O’Hara.

Also with John Berryman: did you know that the the final episode of each season of Succession takes its title from Berryman’s “Dream Song 29”?

*

Having watched the show’s final episode, I tend to think that the primary purpose of the Berryman quotations is to add yet another layer of literariness to the proceedings — to deepen the veneer, so to speak. As when Mad Men invoked Frank O’Hara’s poem “Mayakovsky,” I think that the Berryman invocations here amount to much of nothing.

[“Much of nothing”: a favorite fambly phrase from the early years.]