Monday, January 31, 2022
Sunday, January 30, 2022
Saturday, January 29, 2022
Still chipping away at the woodpile in the drive
Friday, January 28, 2022
Thursday, January 27, 2022
Bread time
Wednesday, January 26, 2022
Tuesday, January 25, 2022
Monday, January 24, 2022
Sunday, January 23, 2022
Saturday, January 22, 2022
MRI, and more importantly, Westborn Market!
Friday, January 21, 2022
Film review: Black Widow (1954)
No, not the Marvel character. (And not really a Black Widow of any kind, despite the pre-credit sequence explaining that this is a name for women who kill their husbands. Unless... well, you decide.) This was billed as a rare color Noir on the Criterion Channel, but it's much more of an old-fashioned Agatha Christie number. In fact, "old fashioned" is the appropriate adjective all-round: all the stars (except for the young woman at the center, who looks absolutely nothing like the woman in the foreground of the poster) are a bit past their prime. Most notable is Ginger Rogers, playing a venerable stage actress with one of those dowdy 50's haircuts
(which the young woman has too, surprisingly), but also Gene Tierney, criminally underused as the wife of our protagonist, a very bulgy-eyed, middle-aged looking Van Heflin. Rounding out the stars-of-yesteryear is George Raft, playing the most gangster-looking cop you'll ever see.
Quick summary: young (19) orphan Nancy "Nanny" Ordway arrives from Savannah, Georgia to stay with her uncle, a fairly successful stage actor, and make her way in the big city. She turns out to have a real knack for self-promotion (in the lingo of the film, a "purpose girl"), and quickly hooks up with a rich, arty brother and sister. The brother falls hard for her, and while she professes to love him back, her eyes are roving. She meets our hero, famous theater director Peter Denver at a party thrown by Roger's Lottie Marin (in the apartment directly above his own),
a party he has been commanded to attend by his wife Iris as she boarded a plane to go and stay with her sick mother. He invites her out to dinner, reassuring the skeptical Lottie that he has no amorous interest in the girl, who has professed to be a writer. And in fact he tells Iris all about the meal on the phone later. However, it seems that Nanny has become obsessed with Peter, a fact that seems to have escaped him, even as he lets her use his apartment to write in during the day while he's out. Finally, after weeks of her mother's illness, Iris returns, and they both enter the apartment - only to find that Nanny has not cleared out as promised. In fact - she's dangling from a rope in the bathroom! A stick figure picture of a hanged person is found on a sheet of paper with her favorite quotation (something about the mystery of death and love) from Salome (an opera she has been playing incessantly), just like the stick figures she has been drawing on notes to Peter. Already things look awkward for Peter,
but they get a lot more awkward when the sister of the couple she had been staying with testifies to Raft that Nanny had told her about an affair between Peter and herself,
and then it is discovered not just that Nanny was pregnant when she died, but that she was throttled first and then strung up. Iris leaves again and Peter has to go on the lam to clear his name before the cops catch up with him. Who did kill Nanny? Whose baby was it? If Peter wasn't her lover, why did Nanny lie? Can we trust Peter?
It's certainly never boring, and there's some wonderful barbed dialog (particularly from Rogers' character, who is deliciously against type for her), but there is one key role that I think is badly miscast. A Cesar Romero type would've been much better. See if you agree - you'll know who I mean. Kind of an odd, jokey ending, too.
Time for the Prius to get serviced
Thursday, January 20, 2022
Talkin' philosophy
This is me interviewing the incredibly nice Jeff McMahan, currently of Corpus Christi College, Oxford, for my series of interviews. He was definitely a "catch" (a lot of "name" philosophers don't even bother to respond to my interview request emails) and a real pleasure to talk to. An all-round good egg! Now we have to do the transcript...
Wednesday, January 19, 2022
Guardianship
I'm kicking myself for not taking a screen capture of our Zoom court date today. That said, that's probably illegal for all sorts of reasons, so maybe it's not so bad. Anyway, allow me to explain:
The judge was VERY nice (and overlooked a couple of missing items that would have been impossible for us to get - like detailed school reports), and that's been hanging over our heads for a LONG time. (Jami was "getting sick" in the bathroom literally minutes before the court session started. This is one occasion when I am VERY thankful for the pandemic - doing that in court would have been SO much more of a palaver.)
Jami expands:
The judge wasn't so soft on our lawyer. Maybe Simon didn't pick up on that, but the judge basically told the lawyer that the lawyer fucked up royally (our case rested on a medical generalist--which is all our insurance covers--rather than a psychological specialist--which would have cost thousands to visit and we would have had to pay at LEAST $1000 to attend the court process today) and the judge told her in no uncertain terms that such a fuck up would never appear in HER court again.
The application form asks for a "medical expert." The lawyer knew that meant "psychologist" when the disability in question is cognitive/intellectual. However, she preferred to read it literally and allow us to rely on our general physician, who has treated all of us and appeared in court today for no fee at all, just because she wants this to work for Frederick. And though our GP is perfectly capable of asserting as a medical expert that Frederick is incapable of living independently, the court really would have been happier (i's dotted, t's crossed kind of a thing) if she had had a PhD in psychology, not medicine.
Tuesday, January 18, 2022
This time the ice was see-through
Monday, January 17, 2022
Sunday, January 16, 2022
Up in the 30s, mountain bike trails on the way to Holly
Saturday, January 15, 2022
Friday, January 14, 2022
Film review: Vivacious Lady (1938)
An early-ish film from George Stevens, although he was already famous enough by the outbreak of WWII to be one of the five big-name directors of "Five Came Back" fame. We know him most recently because of The More The Merrier (one of my faves of last year) which, like this one, features the ever-reliable Charles Coburn, although he is a bit wasted as a stick-in-the-mud in this one (well, he usually starts out that way, but melts pretty quickly, but his melt is put off until just before the closing credits in this one). It's a fairly early one for James Stewart, whom, you notice, gets second-billing to the true star, Ginger Rogers, and was only cast on her insistence, because she was dating him at the time. This might explain their fairly sizzling chemistry, in a movie that, while chaste on the surface, has a veritable maelstrom of hormones churning just below. Rogers' comedic role in this has a lot in common with her role in Billy Wilder's The Major and The Minor, without that one's quease-inducing almost-pederasty, and she reminded me of a proto-Lucille Ball on more than one occasion.
Here's the basic plot: the film begins with Jimmy Stewart's botany professor Peter Morgan arriving in New York from his home town of New Sharon, Indiana, to find and bring home his wastrel cousin Keith, whom he finds, sozzled, at a table in a nightclub, waiting to see the woman he's fallen in love with perform her song number. This, of course, turns out to be Ginger Rogers' Francey, with whom Peter is immediately smitten, and as Keith is hiding from Peter in the hopes that he'll give up trying to bring him home, he and Francey leave the nightclub (because, according to her, the food there is awful) for a night on the town.
By the time Keith is on the train back to New Sharon with Peter, Peter is bringing along his new wife. The trouble is, Daddy (Coburn, natch), who, like his father before him, is chancellor of the august University of New Sharon, is unlikely to be enthused. A further wrinkle is that there is a woman waiting at the station with Pops who thinks (more because of Pater's encouragement than Peter's) that she is the future Mrs. Gordon. This is Frances Mercer's Helen, and you can just tell that she and Francey are to come to blows before the film is out. But in the meantime, Francey goes home with Keith, who, if you remember, was the one who first lusted after her, an arrangement that Peter is not thrilled with. The rest of the film is the two of them sneaking around trying to enjoy some marital nookie without tipping off the parents, as Peter tries to pluck up courage to break it to them. An additional complication is the fact that Peter's mother Martha (Beulah Bondi, another reliable performer whom we'd seen before in Remember The Night) has a heart condition that makes her faint at the least sign of familial discord. One particularly stressful incident is the prom
(apparently this university has a prom) where Keith, Peter and Francey turn up together (and Francey only gets let in when Peter claims her as a student of his), Peter hoping to get to dance with her, but Helen has other ideas. It is here that the Francey-Helen fight breaks out and scuttles Peter's plans to introduce Francey.
(Apparently Rogers' famously insured legs had to be well padded for the fight scene.) To prevent Martha seeing what was going on, Keith (who is a great sport, even buying a wedding cake for the couple and giving each one of them their respective model spouse to sleep with as they are kept apart)
has to quickly cut in and dance her away. After a night where they try to canoodle in a boat house only to find it completely overrun already with student couples, just about everything goes wrong for our couple. Eventually Peter does break it to Pops, but is still too scared to break it to mother, who has retired to her bed. But Helen does, and Martha decides to check Francey (who is staying in an all-female boarding house, whose prissy concierge provides great comic relief) out for herself. Amazingly, they get on like a house on fire, and it emerges that not all is as it seems with Martha. But Pops still forbids it and threatens Peter with the sack if he doesn't straighten out. Things go from bad to worse as Martha walks out on father, while father takes a wealthy donor to witness Peter lecturing just after an already sozzled Keith has informed him that Francey is about to board a train back to New York. Peter's great plan to solve everything involves getting drunk for the first time ever. Will it succeed, or will two generations of Morgans be left spouseless?
Overall, although the pace is a little leisurely, and one's patience is tested by Peter's dithering and by contrived misunderstandings of the sort that I have made clear I detest, the performers are all tip-top (Stewart is not as mannered or saintly as he would later become) and the undercurrent of sexual frustration is positively titillating.
But the title is positively meaningless, a fairly common phenomenon for films of that era it seems.