12 Churches and 5 Bars

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It was another cold, dark, and howling night in Little Twig, Montana.  No longer below zero, the wind had picked up again and slapped Daphne in the butt as she literally blew into the saloon.  At the end of the bar in his usual spot stood Cowboy Clay with his Chardonnay.  Carl nursed a whiskey a seat down from where Clay stood and Soot was to the right of Clay also sipping a whiskey.  One bar stool next to Carl was open and Daphne slid in and threw off her long down coat.  Claudia had already poured her a glass of  Sauvignon Blanc and set it down in front of her.  Daphne pulled out her cell phone and placed it on the bar.

Daphne:  I waiting for one more call and then I’m done for the day.

Soot:  I’m getting rid of my cell phone.  We never needed them before.  Why should we now?

Clay:  Well what happens when you get stuck in a ditch?

Soot:  Well, maybe I wouldn’t have gone anywhere where I’d get stuck with no way of telling anybody where I am.  Maybe these phones just cause people to be reckless.  What did ya think about that?

Carl:  You could be right, Soot.

Clay: I don’t know.  I think people are going to be stupid whether they’ve got a phone or not.

With that the first round of the Philosophy Club finished and it was on to the next round. Continue reading

Express Yourself – An Evie Taloney Movie Observation Worth Ropin

There was a song written in 1970-71 by Charles Wright and the Watts 103rd Street Rhythm Band that summed up a good part of the 1970s.  It was “Express Yourself”.  It said “Whatever you do, do it good.”  “It’s not what you look like when you’re doing what you’re doing.  It’s what you’re doin when you’re doin what you look like you’re doin.”

As we approach the Oscars, I can’t help thinking about how perfectly David O Russell’s “American Hustle” captured the 1970s with all it’s gaudy messiness.  The film’s characters and costumes and art direction and cinematography and, of course, direction help capture and amplify the strange whirlwind that blew through the 70s.

Here is the costume designer,  Michael Wilkinson, describing how he went about the design of the costumes.  He remarks that the 70s were more about expressing yourself than “looking your best”.

Women were coming into their own and becoming bolder about their sexuality.  While still trapped in hair curlers the size of lemonade cans, they also began to let their hair down and lowered their necklines.  And I remember the color, oh the color.

Wilkinson had as much fun with the men’s costumes as he did the women’s.  In the 1970s men also felt freer to “express themselves” even while they too seemed trapped by their hair; Christian Bale’s Irving Rosenfeld carefully applied comb over and Bradley Cooper’s Richie DiMaso permed-look hair took a lot of time and effort.   Jeremy Renner’s silver/gold tux lights up the screen as does Renner’s New Jersey mayor with a pompadour that takes a lot of gel and spray.  He’s a sunny big-hearted character who dresses the part of the would be savior of his city.

At the heart of the story is Christian Bale’s Irving and Bale dazzled me.  As Wilkinson remarks in the video, Bale’s lead character is awash in “paisleys and patterns” in his suits, scarves, shirts, and ties.  He carefully constructs a persona for his hustler and Bale loses himself completely in Irving.  Amazingly, Irving doesn’t see what we see when he looks in the mirror or when Amy Adams’ Sydney looks at him.  We see a paunchy balding slime ball with an ID bracelet.  They see a clever and dapper cultured entrepreneur out to have some fun as do the other characters in this wild frenzied ride through the heart of the darkness of America; a land born of hustlers and con men who still think of themselves all as masters of the universe and kings of the world.

It is a story about deceptions and lies.  But these are mostly small time cons while a much bigger con was starting to be hatched as wages stagnated never to rise again for the average worker.  By the end of the 1970s when this film takes place, hard times were the norm and what was coming was the era of “greed is good” that hasn’t yet let up. I lived in New York during this time.   So, as Cindi Lauper sang “When the working day was done, girls just want to have fun.”    That’s what I did.  And as the designer Michael Wilkinson concludes, it’s about a time when you just didn’t give a damn.  You just wanted “to try stuff”.  For a time we were out of the box called adulthood and we had some fun.

P.S. I hope the film and it’s designers win lots of awards. It is the mirror opposite of the lovely, funny and sad “Nebraska” which should also win gobs of awards.  Maybe that’s why there shouldn’t be any awards at all.  How can one really choose what’s best?

Fun

(This is the second in “The Grand” series.  The first one was “Old Blisters” that introduces the cast of characters.)

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It is another cold and windy night in Little Twig, Montana. The temperature had been below zero for almost a week, but with the rise in temperature to above zero, the wind had picked up again.  You could hear it howl and it made the sign outside the saloon bash against the bricks.  It was the usual cast of characters at The Grand sitting at booths and at the bar.  Daphne is sipping a Sauvignon Blanc.  She is dressed all in black with a jaunty grey cloche on her head.  Cowboy Clay with a Chardonnay in hand is next to her talking to Carl who is nursing a micro brew when Sonny breezes in and sees a spot next to Clay.  Claudia pours him a glass of Merlot.

Clay: How’s it goin’?

Sonny: Not bad.  Just came in from Idaho and it’s really dry.

Clay: Is it like California?  I hear that’s bad.

Sonny: Well, those Californians are just going to have to decide whether they want to take a shower and flush the toilet or eat.

Daphne chimes in:  Is that really the choice?  Flush or starve? Can’t the Ag business use less water?  I mean it’s not like they are a bunch of small family farms growing enough for themselves and the people in their towns.  Don’t they export most of the lettuce, tomatoes, pomegranates, almonds?

Sonny: Well, they are family farms, just really big ones.  And they have the long water rights.

Well, the discussion went on for a few minutes about who owns what and how water rights came to be through mining rights and taxpayers rights versus corporations rights and Beverly Hills farmers and manifest destiny and survival of the fittest before a truce was called and they went back to talking about the weather.

Clay:  Some trucker said his temperature reading went from 20 below to 60 below for a few miles past Reed Point.

Daphne: What shall I play on the Juke?  Lorde or Alan Jackson?

Clay: Whatever you want, Darlin’?

Daphne: Oh and I brought some pears if anybody wants some.

Sonny: I’ll take two.  I like to drizzle a little balsamic on them and sprinkle with a little  blue cheese.  Thanks!

I had fun last night.  Different people have different ways of having fun.  And most people have various ways of having fun.  But one of my favorite ways of having fun is a lively discussion of something or other.  In that respect, I should have been born French where I could go out to a cafe after work and philosophize with friends over a nice bottle of wine and some oysters and good bread.  We could talk about anything but the weather unless it was about how the weather might influence our moods or our art.  We could talk about who could call themselves writers and who couldn’t.  Or who was an artist?  Or was all life and thus all art futile? Continue reading

Gone to the Lake

Gone to the Lake

Cabins

A cabin is not the same as a house.  “It is not a shelter” but often a place of “delicious peril” and “a jumping off place” for a child.  A cabin on a lake is a place to be alone with oneself and from that will come strength to deal with “the more serious winter perils later on.”   Diane Johnson makes these observations in her new book “Flyover Lives: A Memoir”.  Diane Johnson has numerous books published as well as having written the screenplay for Stanley Kubrick’s “The Shining.”  She grew up near Moline, Illinois; part of the vast in between of the United States called flyover country.  It’s not far from where I grew up and I share some of her memories of going to a cabin for the summer time.  For as she reminded me, the Illinois summers are mercilessly hot and humid and escaping north was an old tradition.  But there are as many dissimilarities too.

Her family has been in America for more than two hundred years and her stories of them are not of timber barons or inventors.  They are quite ordinary lives of farmers, teachers, country doctors and a lot of housewives, but she writes with such detail and feeling that their lives are as intriguing as any biographies of presidents or generals. And they bring back memories. And sometimes that is a good thing.

One of her relatives, a great uncle, built a cabin on the Upper Peninsula of Michigan near the Mackinaw Straits    She spent summers there in  the 1930s and 1940s.  And she writes of the difference between a cabin and a house.

I felt for this house the special love that almost everyone, I’ve since discovered, feels for a summer house—a love quite different from the feelings you have for the house you grow up in.  Perhaps a summer house is where,  forced into your own company, you discover that you are yourself, and maybe that’s something that can’t happen in an ordinary life, when you belong to your parents and school. The organized city child is deprived of these hours of messing around alone, though they must be the crucial ones in which we discover things, develop a point of view, learn to rely on ourselves as reliable observers, establish in our own minds that we are we. Continue reading

Year of Horsin’ Around

Year of Horsin' Around

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