Eleven movies, one series

[One to four stars. Four sentences each. No spoilers. Sources: Criterion Channel, Disney, Max, Netflix, a movie theater, YouTube.]

Live Fast, Die Young (dir. Paul Henreid, 1958). No one dies, and the movie is far better than the lurid title suggests. Kim (Mary Murphy) and Jill Winters (Norma Eberhardt), a hashslinger and a high-school senior, are sisters living with their unemployed drunk of a father (Gordon Jones, Mike the cop of the Abbott and Costello world). When Kim leaves home for a career of petty and more serious crime (lived to a jazz and rock ‘n’ roll score and featuring Mike Connors), Mary follows to search for her sister and bring her back. Eberhardt, who affects a breathy Marilyn Monroe voice, has the best line: “Nothing’s against anything until you’re caught!” ★★★★ (YT)

*

So Young, So Bad (dir. Bernard Vorhaus, 1950). Life at a “corrective school” for girls, with a know-nothing administrator, a sadistic matron, and Dr. John Jason (Paul Henreid), a newly hired psychiatrist intent on making a better life for the school’s inmates, who spend their days doing laundry and tending potato fields. A second administrator (Catherine McLeod) doubts he can make any changes. Sparks fly. Three actors make their first major appearance in movies here: Anne Francis as an unmarried mother, Anne Jackson as a butch gal, and Rosita (Rita) Moreno as a social isolate who finds refuge in dreams of escape. ★★★ (YT)

*

Lonelyhearts (dir. Vincent J. Donehue, 1958). A loose adaptation of Nathanael West’s novella Miss Lonelyhearts. Montgomery Clift is Adam White, Miss Lonelyhearts, writing an advice column for a big-city newspaper; Robert Ryan is Shrike, the paper’s editor-in-chief, a man given to tormenting and tempting Adam; Myrna Loy is Mrs. Shrike, an alienated wife who likes the company of younger men (including Adam). Maureen Stapleton seems terribly miscast as a newspaper reader intent on seducing Adam. Adam’s backstory and the movie’s happy ending would have been enough to make West say “Look what they’ve done to my novella, ma.” ★★★ (YT)

*

Gun Crazy (dir. Joseph H. Lewis, 1950). I’ll watch this movie whenever it shows up. A delirious crime spree, with Bart Tare (John Dall), an army vet fascinated by guns but horrified by killing, and Annie Laurie Starr (Peggy Cummins) a sideshow sharpshooter who’s even crazier than Bart. Dominance, submission, and weirdness abounding. Look at Bart and Laurie lying next to each other after making an escape: they’re panting like partners who have just made love. ★★★★ (YT)

*

The Beach Boys (dir. Frank Marshall and Thom Zimny, 2024). This documentary is most valuable as a visual history, with photographs, news footage, and what look like home movies. It’s telling that the first member of the group seen and heard in a non-archival interview is Mike Love, who’s given considerable screen time to talk (about how he was not given enough credit and how Murry Wilson sold the rights to his songs) and to choke up about what he would like to say to Brian Wilson (“I’ll see you in court”?). The documentary omits the deaths of Dennis Wilson and Carl Wilson, Brian’s late-career renaissance, the completed SMiLE, and much more, and things end on a strange note: an intertitle reports Pet Sounds going gold and platinum in 2000 as “Kokomo” (gah!) begins to play over the credits. Endless Harmony (dir. Alan Boyd, 1998) is a much better introduction to the group’s history. ★★ (D)

*

Touch (dir. Paul Schrader, 1997). An American story of commerce and religion, from a novel by Elmore Leonard. Juvenal (Skeet Ulrich) is an ex-monk and stigmatic whose touch heals people. Bill Hill (Christopher Walken) is an ex-evangelist who sees Juvenal as a potential star and gets Lynn Faulkner (Bridget Fonda) to push him in that direction, even as a religious fanatic (Tom Arnold) is enraged by Juvenal and Lynn’s relationship. “Juvenal”: yes, it’s satire, but it’s meandering and sleepy. ★★ (CC)

*

The FBI Story (dir. Mervyn LeRoy, 1959). It starts out well, as a police procedural, with file cabinets, magnifying glasses, and switchboards, but it slowly goes downhill. James Stewart is FBI agent Chip Hardesty, whose peripatetic career finds him investigating Klan violence, murders of Native Americans, famous gangsters, a mass murder, Nazi conspirators, and Communist agents. It’s all set against a Capraesque story of marriage and family, with Stewart and Vera Miles as George and Mary Bailey 2.0, trading lines of creaky, corny dialogue. Best segment: the story of the hollow coin. ★★ (TCM)

*

Hilda Crane (dir. Philip Dunne, 1956). “In case you didn’t know, courtesan is a fancy word for tramp !”: so says Hilda Crane (Jean Simmons), back home with her mother (Judith Evelyn, Miss Lonelyhearts in Rear Window) after being let go from a job in New York. Hilda, whose years away include a spell of cohabitation and two divorces, finds herself pursued by two men: the louche professor (Jean-Pierre Aumont) who has pronounced her a courtesan, and a noble architect (Guy Madison) whose mother (Evelyn Varden, Icey Spoon in The Night of the Hunter) has definite ideas about her son’s future. But what does Hilda want as her future? Stagey in the extreme (from a play by Samuel Raphaelson), loopy in its lurch to a conclusion, and highly revealing of at least some people’s ideas about gender and sexuality at mid-century. ★★★ (YT)

*

The Human Comedy (dir. Clarence Brown, 1943). It began as a screenplay by William Saroyan that proved far too long for a movie. Life in wartime in the fictional Ithaca, California, with a high-school student, Homer (!) Macauley (Mickey Rooney), who works nights as a postal-telegram delivery boy to help his widowed mother get by. The movie moves from vignette to vignette, taking in the Macauley family (Ray Collins is the spirit of the dead father; Fay Bainter is the mother; Donna Reed is their daughter), the telegraph office (Frank Morgan is a hard-drinking but indefatigable operator), townspeople young and old, and visiting servicemen, with shifts now and then to Homer’s elder brother Marcus (Van Johnson), already away from home in military service and preparing to go overseas. For all its unabashed sentimentality, this human comedy makes considerable room for tragedy, and I can only imagine what it must have felt like to watch in 1943. ★★★★ (TCM)

[A well-known leading man made his uncredited debut in this movie.]

*

The Jinx: The Life and Deaths of Robert Durst, second season (dir. Andrew Jarecki, 2024). The second (final?) season of the The Jinx covers Robert Durst’s trial, conviction, and sentencing in the murder of his friend Susan Berman and his death four months later. The people on camera are an array of heroes and villains: a dedicated cold-case prosecutor, long-suffering members of Durst’s first wife’s family, Durst family members who did nothing when Durst’s first wife disappeared, friends who display a bewildering allegiance to a killer, and a second wife of convenience determined to keep Durst’s assets from going to his first wife’s family. And above all, Durst himself, quick and conniving on telephone calls, whiny and defiant in the courtroom, avoiding justice again and again (remind you of anyone?). As the credits for the final episode roll, the Jeff Beck/Joss Stone cover of “I Put a Spell on You” plays — aptly, aptly. ★★★★ (M)

*

Wicked Little Letters (dir. Thea Sharrock, 2023). Post-Great War in Sussex, with pious unmarried Edith Swan (Olivia Colman) receiving bizarrely obscene anonymous letters. Suspicion falls on her free-spirit neighbor Rose Gooding (Jessie Buckley), and an arrest and trial follow. An assiduous constable, Gladys Moss (Anjana Vasan), has doubts about Rose’s guilt and enlists the help of other neighborhood women to set things straight. Wonderfully comic, at times suspenseful, with handwriting at the center of things, and based on a true story that seems like something out of Dickens. ★★★★ (N)

*

Inside Out 2 (dir. Kelsey Mann, 2024). Late in the film, we heard a young audience member ask a grown-up, “Why is Riley sad?” In this (not really for kids) sequel, Riley Andersen, now thirteen, is beset by Puberty, which arrives in the form of a wrecking ball that destroys her Sense of Self (capitals are fitting for this allegorical tale), after which a new array of emotions take control: Anxiety, Embarrassment, Ennui, and Envy. That old Sense of Self was a beautiful, symmetrical, silver structure, the work of a mind that could say “Mom and Dad are proud of me” and “I’m a good person”; the new one is a jagged, asymmetrical, fiery mess, whose main theme is “I’m not good enough.” But — and because it’s a Disney movie, it’s no spoiler — the kid is going to be all right, and more complicated. ★★★★ (T)

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Ruth Martin, stickler

From the Lassie episode “The Ring” (January 19, 1958). Ruth Martin (Cloris Leachman) has invited Uncle Petrie (George Chandler) to come work on the farm. Timmy (Jon Provost) takes an instant dislike to the newcomer. Ruth and Paul Martin (John Sheppod) are arguing:

“Who called Uncle Petrie in the first place? Not me.”

“Fine grammar for a college graduate – ‘not me.’”

“Don't change the subject.”

The original Ruth Martin is not an especially likable character. She’s snippy, fretful, and prone to drama. And she’s always correcting pronouns. Ruth Two (June Lockhart) was a much steadier sort. Impossible to imagine Ruth One keeping her wits about her when threatened by a mountain lion. Ruth Two, too, corrects pronouns, but only those spoken by her son Timmy.

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[I watch Lassie when I fold laundry. Come at me.]

HCR on Donald J. Trump v. United States

Heather Cox Richardson, in the July 1 installment of Letters from an American :

At his confirmation hearing in 2005, now–Chief Justice John Roberts said: “I believe that no one is above the law under our system and that includes the president. The president is fully bound by the law, the Constitution, and statutes.”

In his 2006 confirmation hearings, Samuel Alito said: “There is nothing that is more important for our republic than the rule of law. No person in this country, no matter how high or powerful, is above the law.”

And in 2018, Brett Kavanaugh told the Senate: “No one’s above the law in the United States, that’s a foundational principle…. We’re all equal before the law…. The foundation of our Constitution was that … the presidency would not be a monarchy…. [T]he president is not above the law, no one is above the law.”

Now they have changed that foundational principle for a man who, according to White House officials during his term, called for the execution of people who upset him and who has vowed to exact vengeance on those he now thinks have wronged him.

Geoffrey Pullum explains it all

Geoffrey Pullum has a new book, The Truth About English Grammar. From a Guardian review:

Pullum constantly insists that all modern lexicographers, as well as all grammarians not called Pullum, are wrong about everything, which lends his book a slightly crazed tone of “Who are you gonna believe, me or your lying dictionaries?”

Related posts
Pullum on Strunk and White : Pullum on Strunk and White and adjectives and adverbs : Pullum and the passive voice : More on Pullum, Strunk, and White : Pullum on On Writing Well

[Tooting my horn: Pullum on Strunk and White is one of the most widely read posts in these pages.]

Music, worsening

Too easy to make and too easy to consume: Rick Beato explains “The Real Reason Why Music Is Getting Worse.”

Thanks, Elaine and Kirsten.

Drawing cloth and clothing

[“Figuring It Out.” Zippy, July 2, 2024. Click for a larger view.]

Today’s Zippy is all about cloth and clothing and the work of the “fine artist.” Bill Griffith is of course an artist and cartoonist both.

As you may know, there are entire books about how to draw folds in fabric. For instance. And if I remember correctly, Terry Zwigoff’s documentary Crumb has a scene with Robert Crumb talking about drawing folds.

Synchronicity: there’s folding to be done in today’s Zits.

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Of presidents and kings

From Justice Sonia Sotomayor’s dissent:

Looking beyond the fate of this particular prosecution, the long-term consequences of today’s decision are stark. The Court effectively creates a law-free zone around the President, upsetting the status quo that has existed since the Founding. This new official-acts immunity now “lies about like a loaded weapon” for any President that wishes to place his own interests, his own political survival, or his own financial gain, above the interests of the Nation. Korematsu v. United States , 323 U. S. 214, 246 (1944) (Jackson, J., dissenting). The President of the United States is the most powerful person in the country, and possibly the world. When he uses his official powers in any way, under the majority’s reasoning, he now will be insulated from criminal prosecution. Orders the Navy’s Seal Team 6 to assassinate a political rival? Immune. Organizes a military coup to hold onto power? Immune. Takes a bribe in exchange for a pardon? Immune. Immune, immune, immune.

Let the President violate the law, let him exploit the trappings of his office for personal gain, let him use his official power for evil ends. Because if he knew that he may one day face liability for breaking the law, he might not be as bold and fearless as we would like him to be. That is the majority’s message today.

Even if these nightmare scenarios never play out, and I pray they never do, the damage has been done. The relationship between the President and the people he serves has shifted irrevocably. In every use of official power, the President is now a king above the law.

From Justice Ketanji Brown Jackson’s dissent:

For my part, I simply cannot abide the majority’s senseless discarding of a model of accountability for criminal acts that treats every citizen of this country as being equally subject to the law — as the Rule of Law requires. That core principle has long prevented our Nation from devolving into despotism. Yet the Court now opts to let down the guardrails of the law for one extremely powerful category of citizen: any future President who has the will to flout Congress’s established boundaries.

In short, America has traditionally relied on the law to keep its Presidents in line. Starting today, however, Americans must rely on the courts to determine when (if at all) the criminal laws that their representatives have enacted to promote individual and collective security will operate asspeedbumps to Presidential action or reaction. Once self-regulating, the Rule of Law now becomes the rule of judges, with courts pronouncing which crimes committed by a President have to be let go and which can be redressed as impermissible. So, ultimately, this Court itself will decide whether the law will be any barrier to whatever course of criminality emanates from the Oval Office in the future. The potential for great harm to American institutions and Americans themselves is obvious.

Context: “Supreme Court Says Trump Is Partly Shielded From Prosecution” (The New York Times, gift link). The opinion and the dissents are here.

Crazy weather

We watched some local news last night, and I ended up transcribing some of the weatherman’s patter:

“Grab them shades on the way out the door. Precip cast? Fuggedaboudit! I mean, we still need a tall drink of water. I just ain’t happening tonight nor tomorrow.”

[The suspect is a white male, late fifties or early sixties, tall, wearing a toupee, glasses, tight-fitting sport jacket, and sneakers.]

Generative AI, trust, and distrust

At Inside Higher Ed, Jacob Riyeff writes about generative AI and its effect on teacher-student relationships. What breaks his heart, he says, are the ways in which AI makes it difficult for him to trust his students:

I assume students don’t think about their unattributed use of chat bots as affecting a personal relationship. But those of us who actually still believe in the edifying power of higher education can’t see the relationship between instructors and students as one of instrumental exchange — products (assignments filled out) for payments (grades). Or as one of mechanical input and output. In the classroom, in office hours, and in conferences, there is (can be) a genuine mutual sharing between persons if we strive for it, if we foster dialogue and sharing of perspectives in our common scrutinizing of reality and pursuit of truth. And the making and assessing of assignments is (can be) an extension of that relationship’s mutual sharing. But to engage in that scrutiny and that pursuit in common, the relationship between instructor and student requires integrity — that is, both parties need to be honest in their communications with one another.

Exactly. Passing off someone else’s (or, now, something else’s) work as one’s own violates the trust between teacher and student.

Riyeff says that for now, he expects to continue having versions of the following exchange with his students:

Student: Why can’t I just use a chat bot to write this essay?

Me: Because I don’t care about what OpenAI’s products can do. I care about what you’re thinking.

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[Off the bot!]

Apples?

[70 East 102nd Street, Manhatttan, c. 1939–1941. From the NYC Municipal Archives Collections. Click the second image for a much larger view and some choice details.]

The vagaries of the archives: that first photograph, an outtake, misidentifies the lot number. I’m not sure how I found my way to the second photograph. I just traipsed the streets.

What’s that stand of apples doing there? Or are they tomatoes? Or plums? Did the photographer put the stand there for fun? Perhaps at the grocer’s request? I would like to know if the stand appears in a photograph from the opposite side of the street, but photographs from this street are few.

Golden Bantam is a variety of corn. I can find no evidence that it was ever a name for an apple (or tomato, or plum). The mystery deepens.

I chose these photographs for the fruit, but when I checked Google Maps, I realized that I know this location, at Park Avenue and 102nd Street, from a movie and from life.

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More photographs from the NYC Municipal Archives (Pinboard)