In Honor Of Jean Bon Kerouac On The 60th Anniversary Of “On The Road” (1957)-"One Fast Move Or I’m Gone: Jack Kerouac’s “Big Sur”'- A Film Review

In Honor Of Jean Bon Kerouac On The 60^th Anniversary Of “On The Road” (1957)-"One Fast Move Or I’m Gone: Jack Kerouac’s “Big Sur”'- A Film Review

By Book Critic Zack James

To be honest I know about On The Road Jack Kerouac’s epic tale of his generation’s search for something, maybe the truth, maybe just kicks, stuff, important stuff has happened or some such happening strictly second-hand. His generation’s search looking for a name, found what he, or someone associated with him, maybe the bandit poet Gregory Corso, king of the mean New York streets, mean, very mean indeed in a junkie-hang-out world around Times Square when that place was up to its neck in flea-bit hotels, all night Joe and Nemo’s and the trail of the “fixer” man on every corner, con men coming out your ass too, called the “beat” generation.  Beat, beat of the jazzed up drum line backing some sax player searching for the high white note, what somebody told me, maybe my older brother Alex thy called “blowing to the China seas” out in West Coast jazz and blues circles, dead beat, run out on money, women, life, leaving, and this is important no forwarding address for the desolate repo man to hang onto, dread beat, nine to five, 24/7/365 that you will get caught back up in the spire wind up like your freaking staid, stay at home parents, beaten down, ground down like dust puffed away just for being, hell, let’s just call it being, beatified beat like saintly and all high holy Catholic incense and a story goes with it about a young man caught up in a dream, like there were not ten thousand other religions in the world to feast on- you can take your pick of the meanings, beat time meanings. Hell, join the club they all did, the guys, and it was mostly guys who hung out on the mean streets of New York, Chi town, North Beach in Frisco town cadging twenty-five cents a night flea-bag sleeps, half stirred left on corner coffees and cigarette stubs when the Bull Durham ran out).

I was too young to have had anything but a vague passing reference to the thing, to that “beat” thing since I was probably just pulling out of diapers then, maybe a shade bit older but not much. I got my fill, my brim fill later through my oldest brother Alex. Alex, and his crowd, more about that in a minute, but even he was only washed clean by the “beat” experiment at a very low level, mostly through reading the book (need I say the book was On The Road) and having his mandatory two years of living on the road around the time of the Summer of Love, 1967 an event whose 50^th anniversary is being commemorated this year as well. So even Alex and his crowd were really too young to have been washed by the beat wave that crashed the continent toward the end of the 1950s on the wings of Allan Ginsburg’s Howl and Jack’s travel book of a different kind. The kind that moves generations, or I like to think the best parts of those cohorts. These were the creation documents the latter which would drive Alex west before he finally settled down to his career life (and to my sorrow and anger never looked back).              

Of course anytime you talk about books and poetry and then add my brother Alex’s name into the mix that automatically brings up memories of another name, the name of the late Peter Paul Markin. Markin, for whom Alex and the rest of the North Adamsville corner boys, Jack, Jimmy, Si, Josh, and a few others still alive recently had me put together a tribute book for in connection with that Summer of Love, 1967 just mentioned.  Markin was the vanguard guy, the volunteer odd-ball unkempt mad monk seeker who got several of them off their asses and out to the West Coast to see what there was to see. To see some stuff that Markin had been speaking of for a number of years before (and which nobody in the crowd paid attention to, or dismissed out of hand what they called “could give a rat’s ass” about in the local jargon which I also inherited in those cold, hungry bleak 1950s cultural days in America) and which can be indirectly attributed to the activities of Jack, Allen Ginsburg, Gregory Corso, that aforementioned bandit poet who ran wild on the mean streets among the hustlers, conmen and whores of the major towns of the continent, William Burroughs, the Harvard-trained junkie  and a bunch of other guys who took a very different route for our parents who were of the same generation as them but of a very different world.

But it was above all Jack’s book, Jack’s book which had caused a big splash in 1957, and had ripple effects into the early 1960s (and even now certain “hip” kids acknowledge the power of attraction that book had for their own developments, especially that living simple, fast and hard part). Made the young, some of them anyway have to spend some time thinking through the path of life ahead by hitting the vagrant dusty sweaty road. Maybe not hitchhiking, maybe not going high speed high through the ocean, plains, mountain desert night but staying unsettled for a while anyway.     

Like I said above Alex was out two years and other guys, other corner boys for whatever else you wanted to call them that was their niche back in those days and were recognized as such in the town not always to their benefit, from a few months to a few years. Markin started first back in the spring of 1967 but was interrupted by his fateful induction into the Army and service, if you can call it that, in Vietnam and then several more years upon his return before his untimely end. With maybe this difference from today’s young who are seeking alternative roads away from what is frankly bourgeois society and was when Jack wrote although nobody except commies and pinkos called it that. Alex, Frankie Riley the acknowledged leader, Jack Callahan and the rest, Markin included, were strictly from hunger working class kids who when they hung around Tonio Pizza Parlor were as likely to be thinking up ways to grab money fast any way they could or of getting into some   hot chick’s pants as anything else. Down at the base of society when you don’t have enough of life’s goods or have to struggle too much to get even that little “from hunger” takes a big toll on your life. I can testify to that part because Alex was not the only one in the James family to go toe to toe with the law, it was a close thing for all us boys as it had been with Jack when all is said and done. But back then dough and sex after all was what was what for corner boys, maybe now too although you don’t see many guys hanging on forlorn Friday night corners anymore.

What made this tribe different, the Tonio Pizza Parlor corner boys, was mad monk Markin. Markin called by Frankie Riley the “Scribe” from the time he came to North Adamsville from across town in junior high school and that stuck all through high school. The name stuck because although Markin was as larcenous and lovesick as the rest of them he was also crazy for books and poetry. Christ according to Alex, Markin was the guy who planned most of the “midnight creeps” they called then. Although nobody in their right minds would have the inept Markin actually execute the plan that was for smooth as silk Frankie to lead. That operational sense was why Frankie was the leader then (and maybe why he was a locally famous lawyer later who you definitely did not want to be on the other side against him). Markin was also the guy who all the girls for some strange reason would confide in and thus was the source of intelligence about who was who in the social pecking order, in other words, who was available, sexually or otherwise. That sexually much more important than otherwise. See Markin always had about ten billion facts running around his head in case anybody, boy or girl, asked him about anything so he was ready to do battle, for or against take your pick.

The books and the poetry is where Jack Kerouac and On The Road come into the corner boy life of the Tonio’s Pizza Parlor life. Markin was something like an antennae for anything that seemed like it might help create a jailbreak, help them get out from under. Later he would be the guy who introduced some of the guys to folk music when that was a big thing. (Alex never bought into that genre, still doesn’t, despite Markin’s desperate pleas for him to check it out. Hated whinny Dylan above all else) Others too like Kerouac’s friend Allen Ginsburg and his wooly homo poem Howl from 1956 which Markin would read sections out loud from on lowdown dough-less, girl-less Friday nights. And drive the strictly hetero guys crazy when he insisted that they read the poem, read what he called a new breeze was coming down the road. They could, using that term from the times again, have given a rat’s ass about some fucking homo faggot poem from some whacko Jewish guy who belonged in a mental hospital. (That is a direct quote from Frankie Riley at the time via my brother Alex’s memory bank.)

Markin flipped out when he found out that Kerouac had grown up in Lowell, a working class town very much like North Adamsville, and that he had broken out of the mold that had been set for him and gave the world some grand literature and something to spark the imagination of guys down at the base of society like his crowd with little chance of grabbing the brass ring. So Markin force-marched the crowd to read the book, especially putting pressure on my brother who was his closest friend then. Alex read it, read it several times and left the dog- eared copy around which I picked up one day when I was having one of my high school summertime blues. Read it through without stopping almost like he wrote the final version of the thing on a damn newspaper scroll. So it was through Markin via Alex that I got the Kerouac bug. And now on the 60^th anniversary I am passing on the bug to you.           

A "YouTube" film clip for the movie trailer of "One Fast Move Or I’m Gone: Jack Kerouac’s “Big Sur”.

DVD Review

One Fast Move Or I’m Gone: Jack Kerouac’s “Big Sur”, Jack Kerouac, his “beat” friends, and some latter-day literary followers, Kerouac Films, 2008

No one who knows this space, or at least knows this space since sometime last year needs to be reminded of my admiration for the literary work of the “king of beats”, Jack Kerouac. I have reviewed most of his beautifully, if painfully, written works that illuminated the middle third of the 20th century for those of us who had hungry “be-bop” rhythm- craving ears to listen and blossoming word- starved eyes to read. On the top of the pyramid, way up on top as it turns out, of course, is the master work of beatitude, “On The Road”. That mad adventure of a Dean Moriarty/Neal Cassady-mastered-minded, now very lost hitchhike old road, fast car-driving, white-lined, two-laned road America, even at a remove, gave us a way to plod through those lonely Eastern (or Western) nights when the road was dark and we wandered to find some light, even if only a flicker from someone else’s lantern in the distant skyline. Thanks, Ti Jean.

In a very direct sense, but a bad, bad sense, as this documentary, poignantly at times, makes very clear, that vision projected out beyond those lonely, hard fought roads was Jack’s downfall. Jack’s vision of the pitfalls, pratfalls and punkishness of the modern world, as filtered through the stream-of-consciousness prism of a medieval-craving mind, crushed him beneath the weight of his new found notoriety, fame, and media and fan targetability after the too, too belated 1957 publication and positive reviews (and hurtful negative reviews, as well) of “On The Road.” Some writers might have craved the limelight generated by that notoriety; swinishly bellied-up and hogged it; cleared everyone else away from its reflected glow; asked for more, hell, demanded more; or, at least, wrapped it around themselves for the entire world to see. Novelist Norman Mailer, Jack’s near contemporary, comes readily to mind.

But not Jack. He, frankly, wrapped himself around that old favorite of an older generation of American writers, alcohol, to stop the ringing in his head that all the notoriety produced and that was fogging up his mind from creative activity. And, maybe, wrapped himself, as well, around his ever-hovering mother’s shield, which could also help explain his later literary and personal decline. But that is a separate story, and a lesser one for the subject here. The long and short of it was that Jack, San Francisco-ed, West Coasted, toasted, and roasted as “king of the beats” had to get away, away from the crowds, away from the questions, away from the acolytes. And get away not just anywhere but, like a lemming to the sea, to his Breton-rooted ocean. Well, before they became some kind of Mecca for the ill-at-ease of the world such a place in Northern California would either be Mendocino or Big Sur. Here, it comes up Big Sur courtesy of poet, bookman, and City Lights Bookstore entrepreneur, Lawrence Ferlinghetti. And what comes out of it, beyond a deeper, deeper, drinking problem (to be kind) is a secondary masterpiece of Kerouacian word play and thought, the novel/confession/diary/ cry in the wilderness, “Big Sur”.

This documentary, including a run through of the cast of usual suspects seen in other, earlier such efforts reviewed in this space; his surviving (as of 2008) old “beat” buddies and old flames (including old, best buddy and inspiration Neal Cassady’s wife, Carolyn, keeper of the Neal "flame"), new aficionados, creative personalities influenced by Jack’s work, like Tom Waits and Dar Williams, and the usual crew of “talking heads” who add “color” to such productions walk, talk, and cry their way though the creative process that lead to “Big Sur”. Some of it is over-blown, some mere trade-puffing. However, collectively, they have some very decent insights into what Jack was trying to do, trying to work through, and trying to break out by his various sojourns to Lawrence Ferlinghetti’s cabin in Big Sur in an attempt to figure out his new world reality.

As a fellow aficionado I am here to say they all get part of the story right, including Lowell’s Paul Marion who has assigned himself the task of being the local “keeper” of the Kerouac flame. But, I am still left with a hole in my head about what the sodden Jack was all about in “Big Sur”, which when all is said and done, is not a masterwork on the level of “Road”, other than as an example of the maddening descend into hell. Unless great works can thrive and survive the bouts with alcohol. It is certainly left as an open question, this film commentary aficionados’ novel puffing aside, about its world view value, at least in my mind.

To give my two cents worth I do not believe that Kerouac ever got over his big man in a small pond status in youthful football-drenched Lowell and certainly never broke, despite Buddha-tranced, Desolation Angel momentarily escape, from that damn Catholic thing that drove, and inhibited, his work. I know that Catholic weight-heavy chain by heart, and his Gallic-derived version which is even worst, as well. One quick ride up the road to Lowell convinced me of that- Lowell is still that old beat mill town that Jack left long ago. But here is what you don’t realize until you get up close- there are about eight zillion Catholic churches there. Well maybe not that many but the place reeks of ritual, relics and that everlastin’ guilt. Guilt for living, guilt for not living, guilt at maybe living. Jesus, how did he get out alive, except by pure writerly inspiration. So watch this thing but just don’t get carried away with the “skinny” from the talking heads and other aficionados about “Big Sur’-go back to the roots and read the earlier Lowell-based stories, like “Maggie Cassidy”, for that.

Hey, She Ain’t No Lady-Redux-In Honor Of Rita Hayworth

Hey, She Ain’t No Lady-Redux-In Honor Of Rita Hayworth

Click on the headline to link to a Wikipedia entry for The Lady From Shanghai.

From The Pen Of Joshua Lawrence Breslin

[Dream sequel: Whiskey breath, rotgut whiskey fire breath and the bloated aftertaste of beer chasers, in need of a shave, maybe two with his five o’clock shadow although the time is still before noon, maybe a haircut trim, and a cold shower wouldn’t hurt after last night slept along the skid row docks near Benny’s Pub. He, Brendan Bradley, fresh off the ‘Frisco boats, the stinking oil tankers, walked, walked shamble walked, headed uptown, along the cobblestone pavement with its rutted indentations that bothered the hell out of his worn out feet, and his life. He heard the sound of Mayfair swell horse hoofs beating their time on the Central Park cobblestones behind him. He turned around to place the sound and there she was, blonde, naturally blonde he thought but he was willing to wait on that question.

Her carriage, one of those rent- by- the- hour tourista things that destroyed the quiet and mucked up the roads of half the big cities in the world, passed by almost tumbling him to the ground as it brushed beside him. He caught his balance just in time. She ordered the carriage stopped, waved a slight, very slight wave, like she had being doing to men since about, about eternity. And like eternity he came hither. Upon his approach she gave him a look, a look only a woman- hungry man can know. She asked for a cigarette, although he could see, see clear as day, that she had an enameled cigarette case sitting right on her lap, probably filled with expensive exotic cigarettes of unknown origin. He also could see, see clear as day, that she has a very, very expensive wedding ring prominently displayed on her finger. He hesitated for just a moment. Just that moment when he knew, knew, hell, knew as clear as day, that she was poison, well-wrapped poison, but poison. She would lead him to unknown lower depths, maybe even to the gallows. He offers a cigarette, a Camel…]

A few days later Brendan, hell let’s not be formal, everybody, every shipmate, every barroom boon companion, every bar girl from ‘Frisco to the Faroes called him Brownie, was sitting on the mussed up bed of one very blonde (question answered) Victoria Smythe, Mrs. Victoria Smythe (yes of one of the branches of that well-known high society New York Smythe family, if you are interested) mused that life takes some funny turns. A few nights back he was, newspaper for a pillow, sleeping the sleep of the damned (damn poor, he smirked) down in Skid Road wharves half an eye opened to the exploits of roaming jack-rollers. Last night, hell the last few nights, though he had definitely moved up the social ladder about fifteen steps, and moved up them in the arms of the previously mentioned Mrs. Smythe who just then was combing her hair not twenty feet away from him before her majestic vanity.

He, maybe anticipating her, was reviewing that first meeting, that first Central Park meeting, and that first offered cigarette hoping that he would not rue the day he did so. He laughed. A down and out seaman, “Brownie” Bradley, hits New York looking for… something. And he finds it without much trouble, although in the end it may be nothing but trouble.

Enter Victoria Smythe who just happened to be slumming on a per diem horse and buggy ride in Central Park and who, as fate would have it, a not uncommon fate at least in Central Park, bumped against a mere plebeian walker none to steady on his feet. Milady Smythe comes to the rescue and he/she/they are immediately smitten. Brownie paid the ticket and took the ride, despite that bell in his head ringing that please, please she is poison, and even a fool could tell that. But, no, old Brownie was bound and determined to pursue this deadly course, to play his hand until the end, also a not uncommon occurrence when one is smitten, although it is not always with blondes.

Of course, as he put his head down on those downy pillows to try to think things through, problem number one was that said Victoria was married, despite the messed up sheets he was sitting on, very married to a well-known banker, Arthur Winslow Smythe, from the great banking family branch, an older man with some serious physical disabilities and a perverse mental make-up. She made no excuses that she had married old Arthur strictly as a gold-digging proposition, he, Arthur, knew it, accepted it, accepted the ten thousand other men, and had made provision for that in his will on the off-chance that one Victoria Meacham got , well, as he called it “a little frisky.” Otherwise she got everything, everything he owned.

Naturally young, attractive, dear Victoria was fed up. Probably fed up from day one the way she pillow talk told it. Fed up with cranky, feisty, grabby Arthur in an almost murderous way. At least that was the way she had said it last night before the sheets got mussed up, although she laughed at the thought of murder and dismissed it out of hand. Brownie thought then though that he detected a little evil in the laugh but the whiskey, high shelf -bonded whiskey, Arthur whisky, not in need of beer chasers, and those pastel sheets got in the way. He thought though she would be crazy to upset the apple cart with the gold-plated set-up that she had going for her.

Problem number two, a more immediate problem, a problem of where he fit into the gold-plated set-up, was that Victoria and said hubby were going on a long sea voyage via the Panama Canal to their home port, ‘Frisco, on their yacht. Last night out of the blue she had practically taunted him with her purred “Hey, Brownie , you’re a sailor,” (but strictly playing Mrs. Smythe at that moment as the mister was sitting right across the dinner table), “ why don’t you come along as a crew member?” Okay Brownie, second chance, please, please don’t do it. Remember the bells? He signed on, no questions asked. Damn, he thought, after-thought once the Haig fog had worn off and the pastel sheets had faded in the morning sun glaring through the bay window. But from then on you know he was a goner.

Why? Well, up front, old Arthur has a partner, Grimes, who was also under Victoria’s spell, at least enough to try to assist her in getting rid of the old goat by any means necessary. See Grimes wanted the firm to himself and was willing to ally himself with the devil herself to get it. A little Victoria perfume, a little scotch (actually a lot of scotch), and couple of views of Victoria’s sheet collection and he was busy making the funeral arrangements, complete with wreath, for his dearly lamented partner. I don’t have to draw you a diagram on this proposition. Brownie knew nothing of this, was to know nothing of it, and was probably better off not knowing, that sweet very blonde Victoria was working all the angles. Grimes, of course, was more than delighted by Victoria’s new found acquisition, a skid row bum, perfect.

Here is the “skinny” on the plot to do in one Arthur Winslow Smythe, banker, in. Poison. Poison, pure and simple, except not some exotic snake oil stuff, or some chemist’s special blend, or anything like that. No, nothing but coffee or actually the caffeine in coffee. See the physical maladies that old Arthur had required him to take about twelve mediations just to allow him to operate without pain on a daily basis. The problem was that the various combinations were so delicately balanced that any extra stimulant would wreak havoc on his heart.

So the idea was that someone, and we now know who that someone is, and it is not Grimes, and it sure as hell isn’t Mrs. Smythe, is going to deliver the fatal dose (actually about six caffeine pills) to our boy Arthur when he is “pretty please” asked by Victoria to bring Arthur his nightly “meds.” All of this to be done during that leisurely trip to ‘Frisco. Sweet. And, of course, as a mere crew member Brownie can gain easy access to Arthur’s room on his Florence Nightingale mission and nobody will think anything of it. Even sweeter. And if anything gets screwed up we all know who the fall guy is.

But as such things do, the best laid plans of mice and men sometimes go awry. First, Grimes winds up dead, very dead. How? Well, Arthur might have been old, might have been perverse, and might have been susceptible to random acts of murder but he did not get where he was by playing the fool. Grimes had left one of his expensive cigarette butts (Orient’s Special Blend) in the bedroom ashtray of one Victoria Smythe after he had mussed up her pastel sheets one night during a planning session. The next morning Arthur, coming in to wish his lovely bride top of the day, spied it.

He then, suspicions aroused, caught on to the plan to do him in by hiring a detective to follow Grimes (and another one on Victoria, smart guy) and waited to play his hand out. One night late at the office down in Wall Street, after luring Grimes there on a business discussion, he just shot Grimes point- blank as he entered his office. Nerves of steel, nerves of steel not counted on by our co-conspirators. Then he went into his office and took, took about twelve caffeine pills, along with his regular medications. They found him the next morning slumped over his desk.

So Grimes was out, but so was Victoria. See, that will Arthur left behind stipulated that if there was any peculiarity about his death Victoria would get nothing, nada. Not one dime. They never did figure out what killed old Arthur but it sure was strange the way he died. And the fingerprints on his killer gun, and the ballistics, sealed it. Victoria, when last seen, was headed to cheap street with a one-way ticket, walking. Brownie? Well Brownie decided that New York City was just a little too small for him and his ways just then. Life’s lesson learned- he found out soon enough that not all femme fatales are on the level when the heat is turned up. Love, or what passed for love, will only take you so far though, and then justice, rough justice anyway has to come into play. Still, if you asked Blackie in the sober light of day whether he would do it again, would offer that Camel, hell, you know the answer. When there is a femme fatale around stand in line brother, just stand in line.

On The 100th Anniversary-The Bolshevik Revolution and Women’s Liberation

On The 100th Anniversary-The Bolshevik Revolution and Women’s Liberation

Workers Vanguard No. 1107 10 March 2017 TROTSKY LENIN The Bolshevik Revolution and Women’s Liberation (Quote of the Week) On International Women’s Day in Petrograd in March 1917, a mass outpouring of working women sparked the revolutionary upheaval that culminated in the Russian October Revolution. The smashing of capitalist class rule brought unheard-of gains for women in all areas of public and private life. Despite economic backwardness and poverty, the young Soviet workers government sought to undermine the material foundations of women’s oppression, which is rooted in the institution of the family. The Bolsheviks understood that complete social equality could only be attained with the abolition of classes in a world socialist society. In a 1920 commemoration of International Working Women’s Day, Bolshevik leader V.I. Lenin underscored the fact that the fight for women’s liberation is inseparable from the fight for international socialist revolution. Capitalism combines formal equality with economic and, consequently, social inequality. That is one of the principal features of capitalism, one that is deliberately obscured by the supporters of the bourgeoisie, the liberals, and is not understood by petty-bourgeois democrats. This feature of capitalism, incidentally, renders it necessary for us in our resolute fight for economic equality openly to admit capitalist inequality, and even, under certain conditions, to make this open admission of inequality the basis of the proletarian statehood (the Soviet Constitution). But even in the matter of formal equality (equality before the law, the “equality” of the well-fed and the hungry, of the man of property and the propertyless), capitalism cannot be consistent. And one of the most glaring manifestations of this inconsistency is the inequality of women. Complete equality has not been granted even by the most progressive republican, and democratic bourgeois states. The Soviet Republic of Russia, on the other hand, at once swept away all legislative traces of the inequality of women without exception, and immediately ensured their complete equality before the law. It is said that the best criterion of the cultural level is the legal status of women. This aphorism contains a grain of profound truth. From this standpoint only the dictatorship of the proletariat, only the socialist state could attain, as it has attained, the highest cultural level. The new, mighty and unparalleled stimulus given to the working women’s movement is therefore inevitably associated with the foundation (and consolidation) of the first Soviet Republic—and, in addition to and in connection with this, with the Communist International. Since mention has been made of those who were oppressed by capitalism, directly or indirectly, in whole or in part, it must be said that the Soviet system, and only the Soviet system, guarantees democracy. This is clearly shown by the position of the working class and the poor peasants. It is clearly shown by the position of women. But the Soviet system is the last decisive struggle for the abolition of classes, for economic and social equality. Democracy, even democracy for those who were oppressed by capitalism, including the oppressed sex, is not enough for us. It is the chief task of the working women’s movement to fight for economic and social equality, and not only formal equality, for women. The chief thing is to get women to take part in socially productive labour, to liberate them from “domestic slavery,” to free them from their stupefying and humiliating subjugation to the eternal drudgery of the kitchen and the nursery. This struggle will be a long one, and it demands a radical reconstruction both of social technique and of morals. But it will end in the complete triumph of communism. —V.I. Lenin, “International Working Women’s Day” (4 March 1920)

When Lady Day Chased The Blues Away, Again And Again-“Billie Holiday: Embraceable You”-A CD Review

When Lady Day Chased The Blues Away, Again And Again-“Billie Holiday: Embraceable You”-A CD Review 

CD Review

By Music Critic Seth Garth

Billie Holiday: Embraceable You, Billie Holiday, 2 CD set, Polygram    

Everybody, at least the everybodies who came of age in the 1950s and 1960s, had at least heard the sad life story and junkie death of the legendary blue singer Billie Holiday. Knew that information either from having read her biography, the liner notes on her records (vinyl for those younger readers who have not become hip to the beauties of that old-fashion way to produce recordings in the current retro revival of that method), newspaper obituaries, or from the 1970s film starring Diana Ross (lead singer of Motown’s The Supremes). So everybody knew that Lady Day had come up the hard way, had had a hard time with men in her life and had plenty of trouble with junk, with heroin. Had turned her into some hustling gal with dark lights out of a Nelson Algren story about her daddy making her blues go away, had the “fixer” man making the pain going away for a moment. (I believe that the Prez, the great saxophonist Lester Young who himself blew many a high white note out to the China seas as the phrase went on the West Coast when he was “on” gave her that name. Put lady and day together and it stuck. He backed her up on many recordings, including here, and in many a venue, including New York café society before they pulled her ticket. The name fit her as did that eternal flower arrangement, sweet gardenia speaking of sexual adventures and promise, in her hair)     

Yeah, that is the sad part, the life and times part. But if you listen to this CD under review like the other ones in this series and other compilations that I am reviewing at this time while I am in a “from hunger” wanting habits mood about Lady Day’s work like I get into every once in a while about music that moved, moves, me, spoke, speaks, to me. If you listen through this double CD you will also know why in the first part of the 21^st century guys like me are still reviewing her work, still haunted by that voice, by that meaningful pause between notes that carried you to a different place, by that slight hush as she envelopes a song which kept your own blues at bay. I repeat kept your blues away whatever she suffered to bring that sentiment forward.

That last statement, those last two sentences are really what I want to hone in on here as I have previously since Billie Holiday is an acquired taste, and a taste which grows on you as you settle in to listen to whole albums rather than a single selection spending half the night turning over vinyl, flipping tapes, changing CDs if you don’t have multiple CD recorder, or grabbing the dial on an MP3 player. Here is my god’s honest truth though. Many a blue night when I was young, hell, now too, I would play Billie for hours, tune that vinyl over in my case, and my own silly blues would kind of evaporate. Nice right.

Here is the not nice part, maybe better the not respectful part for a sanctified woman’s voice and spirit.  Once a few years ago I was talking to some young people about Billie and, maybe under the influence of the Diana Ross film or from their disapproving parents, kind of wrote her off as just another junkie gone to seed. I shocked them, I think, when I said if I had had the opportunity I would have given Billie all the dope she wanted just for taking my own blues   away. That is why we still listen to that sultry, slinky, sexy voice today. 

Is everything in this CD or in her overall work the cat’s meow. No, toward the end in the 1950s you can tell her voice was hanging by a thread under the strain of all her troubles, legal and medical. But in the 1930sand 1940s, the time of her time, covering Cole Porter, Gershwin and Jerome Kern songs with a little Johnny Mercer thrown in, the time of Tin Pan Alley songs which seem to have almost been written just for her she had that certain “it” which cannot be defined but only accepted, accepted gratefully. 

Some of the songs here may be a little more uneven that her later work when she teamed up with serious jazz and blues players like the aforementioned Lester Young blowing out high white notes to the China seas while she basked in the glow of the lyrics. But just check out Our Love Is Here To Stay, One For My Baby, the title track Embraceable You and Day In Day Out and you will get an idea of what I am talking about. And maybe get your own blues chased away    

The Boy With Two Left Feet-With Fred Astaire And Ginger Roger’s 1935 Film Roberta In Mind

The Boy With Two Left Feet-With Fred Astaire And Ginger Roger’s 1935 Film Roberta In Mind

By Film Critic Emeritus Sam Lowell

Remember the expression made famous, or infamous depending on your perspective, about old soldiers never dying but just fading away. Well it appears that yours truly, Sam Lowell, now supposedly placed “out to pasture” is still taking every opportunity to sneak a comment or quasi-film review as he fades into the sunset. Today’s comment concerns a film review that new film critic Sandy Salmon did a few days ago on the 1935 film Roberta starring the prolific dance team of Ginger Rogers and Fred Astaire with Paris and high fashion as the backdrop. Whatever the backdrop, whatever, as Sandy pointed out, the scriptwriter put down for plot the whole exercise was strictly as a vehicle for Rogers and Astaire bursting into song and/or dancing to the high heavens. Take that for what it is worth but what interests me is a comment Sandy made about his own youthful, well, two left feet, which made his social life, meaning his high school date life rather tenuous. Today I join the club, the club of two left feet dreamers dreaming that they were sweeping some damsel off her feet, or at least keeping off her feet, Fred Astaires.        

Naturally a story goes with it. See in high school I was sweet, okay, okay I had a “crush” on this girl from my sophomore English class, Theresa Wallace, based on the great conversations we had about literature mostly I think then on the work of Thomas Hardy and various other English authors that I, and she, were crazy for. I think she liked me too although I was a little shy and backward about picking up any feminine hints and furthermore had heard nothing on the high speed grapevine which would convey that information with such candor that it would be the envy of any professional intelligence organization like the CIA or NSA today . The big thing that I was interested in was whether she was taken, “going steady” in the terms of the day. That question got answered in the negative fortunately for in our neighborhood, among the corner boys in the know, if a girl was taken then that signaled “hands-off” as a question of honor although I later, too late, found out that tradition was honored more in the breech than the observance. The big thing here was that Theresa was “single.”         

We were having a conversation during lunch break one day, don’t ask me what the gist of the conversation was, when out of the blue Theresa mentioned that he parents were really strict, were hard-shell 12^th Street Baptists which I guess then was pretty serious stuff although I had my own problems with my Roman Catholic religion so I wasn’t in a position to evaluate the seriousness of her family’s religious bent. What she then said which gave me a sinking feeling in my stomach was that they would not allow her to go out on dates, not with boys, not on double dates, nothing except church sponsored socials heavily chaperoned. The next thing she said though sent me to heaven or something like that, happy anyway. She, after something like a civil war with her parents when she described the situation to me, had persuaded them to let her go to the Spring Frolic, the big sophomore class dance. She had to go alone or with her girlfriends but no boys were coming to the door and no boys were to take her home. I guess from the restrictions it was a close thing whether they would let her dance with boys at the dance.

The important thing was that she was wondering whether I was going or not. Now usually I avoided school dances (church ones too) like the plague after what happened in seventh grade at the Christmas dance which I will describe a little shortly. My idea for Theresa before she told me about her parents strictures was maybe ask her to the movies or to go to Doc’s Drugstore to listen to the jukebox but not to a dance, no way. But Theresa gave me such a smile while she was asking if I was going or not it put me in a quandary. Then she said although I couldn’t pick her up she would meet me at the dance and we could have a few dances together if I liked. If I liked. You know I was going to the dance after that invitation come hell or high water.                

      

That brings up the why of my serious avoidance of dances. Back in seventh grade I was something of a good guy for girls to talk too without being fresh, showing some respect. For that I caught the eye of Betsy Binstock, the prettiest girl in seventh grade, who came up to me one day around Thanksgiving and asked me if I would take her to the Christmas dance. You know what I said so we don’t even have to go into that. I was thrilled but I also knew that I knew nothing about dancing except some silly stuff I had seen on American Bandstand where the kids were really cool in their dance steps. So I, after my first full-press getting ready for a date (mouthwash, deodorant, hair oil, etc.) picked up Betsy and we walked the half mile or so to the junior high school we attended. The dance, as always, was held in the gym festooned to try to hide the fact that it was a gym and not a dance hall. Unsuccessfully. I was excited just to be seen with Betsy and I noticed guys, guys I hung around with too, checking me out on my good luck. Once the dance began there were several songs played on the cranky record player which because we are talking about the pristine age of roll and roll which did not require dancing close together I was able to get through.

Then the other shoe fell, fell on Betsy. The junior DJ who was working the record player played a slow one, played Save The Last Dance For Me (of course I would remember the name of the song that would do me in). So we started to dance which Betsy was very good at. Needless to say I was not and accidently tripped over her feet causing her to fall. That fall was the bitter end. For the rest of the evening-the very long evening- Betsy made a point of limping every chance she got. Worse, worse in the seventh grade social universe, she let Lenny Balfour take home. Done for.

With that sad ass backdrop story in mind I decided that in the few weeks remaining until the Spring Frolic I would take some dance lessons from a friend of mine’s older sister. I swore him to secrecy and he held up his end of the bargain. His sister did the best she could and although I had improved somewhat every step I took was cause for a nervous breakdown on my part, maybe hers too. So the big night came. I was dressed to look good (what the hell you do learn some social graces for if not for being around girls, women) and Theresa came in a little later with a girlfriend looking I swear like a delicate bud, like some Botticelli Venus. We both blushed a bit when she spotted me. Once again, pretty much the norm in rock and roll times at dances, the first few were fast ones where you could just gyrate on your own and cause no pain. Just before intermission the paid profession DJ played a slow one to end the first half of the dance. Played Moon River I think. Things did not go well so I will confess to a little forgetfulness on the song played. But here is why things did not go well. Theresa stepped all over my feet. At intermission both of us flustered Theresa said maybe we should go down to the nearby beach instead of staying at the dance since she said she had something to explain to me.             

As we walked down to the beach Theresa, half in tears, told me because of her family’s religious views she had never really learned how to do any close dancing. She had asked her girlfriend, and had sworn her to secrecy, to teach her some steps, but she just could not get the hang of it and had been worried that I might find fault with her since I was such a good dancer. (She didn’t know only because of her being all over my feet I didn’t get a chance at hers.) She was sorry that she had two-left feet. I mentioned, no, I confessed to her, my own fragile efforts. We laughed. Then I suggested maybe we should start a club for people with two-left feet. She replied “with only two members.” Oh, yes, yes indeed. That remark got us through high school together-even through the senior prom.            

Every Corner Boy’s Dream, Getting Out From Under The Sign Of “From Hunger”-The Big Score -With Sterling Hayden’s “The Killing” In Mind

Every Corner Boy’s Dream, Getting Out From Under The Sign Of “From Hunger”-The Big Score -With Sterling Hayden’s “The Killing” In Mind  

By Fritz Taylor

The Killing, starring Sterling Hayden, Collen Gray, directed by Stanley Kubrick, 1956

Johnny Clay, Johnny Boy, let’s call him Johnny Stir because that is what his whole freaking life had amounted to, would amount when the deal went down, was a piece of work. Took stretches in stir, prison, the pen as rest periods so he could set up the next big scheme, plan out stuff, make the perfect plan. (Johnny had one time actually punched out a fellow inmate to lose his “good time” so he could finish planning a caper in peace.) For Johnny it was never about the money really, he figured he never would be able spend all the dough or would blow it in a week in Vegas, something like that. It was all about the plan, about getting the dough, getting some satisfaction that he had the whole thing figured. Johnny’s exploits were so famous, he had figured so many plans that they made a movie, The Killing, Stanley Kubrick famed director did the piece early in his career, about Johnny’s biggest heist, about the racetrack caper, no, the Great Racetrack caper and it does not matter which one but in the case it was a big name one, as it came down in lore in the criminal underworld grapevine. Plenty held it up it up as the greatest dough grab caper of them all.         

Kubrick got old school rock steady, no nonsense hard-hitting not afraid to take a punch or two for the good of the cause, to further the plan, ruggedly handsome with that deep voice that meant don’t fuck around with a straight shooter Sterling Hayden for the Johnny part. Did right to get him, line the actor right up for the Johnny caper probably having heard how he had been a stand-up guy, a heavy lifting guy, the rough edges guy for Doc Davin in that Wyman jewelry store caper a few years before, had worked the asphalt jungle from whence he came and didn’t complain when bleeding like a pig in Doll’s arms the Kentucky coppers nabbed him just as he was about to get back home. Trouble was that Johnny had been doing a nickel on that job in Lexington and so Stanley had to wait for Johnny boy to blow the joint and hope and pray that he didn’t go wacky in his planning and bop some inmate and lose his freaking “good time”-again. Johnny Stir in stir was that kind of noggin.      

By the way everybody knew, everybody who counted, including the coppers in about five states and the feds too since some of the action crossed state lines, that Johnny was Doc’s protégé, had met Johnny when they both were in stir. (Doc for messing around with young girls, a no-no in normal society and among the brethren who take armed robberies seriously too but Doc’s planning abilities and the fact that he never drew a day for any of his real capers got him a bye in the latter circles, had guys lined up wanting to get well on some Doc caper. Johnny, young, feisty and frankly wet behind the ears was doing a one to five for a daylight armed robbery attempt at the Granite City National Bank in Peoria who proved his worth by taking the fall, not snitching, not in his blood when the thing went awry and a panicked banker pulled the alarm and all hell broke loose. What most people didn’t know, except maybe guys who were close to the two men, was that Doc, showing his age a little, slowing down a little had worked out the Wyman caper about 50-50 with Johnny. Johnny, a fast learner in that sense, was eager to help out, to learn the craft.        

It was a beauty too, would have worked out fine. Here is the Johnny part to show his breeding, his bloodlines. You were not going to rob Wyman’s in daylight Johnny knew that much from bitter experience. You also were not going to get far at night with a frontal attack in the night the alarm system was too good. Johnny had Doll, Doll an old bar girl turning tricks to keep herself in rent money and Johnny in canteen cash while he was inside now out of the picture since young Faye (Collen Gray played her in the film) had caught  his eye one night at the Blue Grotto once he got out on doing the nickel and Doll was history, sent him the floor plans of the whole block Wyman’s was on. Saw that the whole thing could be done by blasting through the basement from a store a couple of doors down. Beautiful. The whole thing went off without a hitch until some nosey night watchman, not even a real copper so why was he not just sitting in his chair snoozing like he did every other night. Another Johnny contribution to the plan, checking out the live security patterns, which in the case went for nought.

There was a lot of shooting, the real coppers came in and Johnny and Doll fled, Johnny bleeding like a sieve, as best they could after making sure Doc got away. The other guys, guys he didn’t know, guys Doc wasn’t sure of either since he had been out of circulation for a while, didn’t do squat, a couple got nicked, one guy, a nobody got killed, got dead and bled all the way home like dropping a bread crumb trail giving the coppers a lead once they caught up with him and squeezed him hard before he died about where Johnny and Doc might be. (Doll was a late entry in the getaway since she insisted that she go with Johnny once she saw he was bleeding, told him she would go back to doing tricks to keep them in dough if he asked her to she was that kind of doll and to shut her up Johnny tumbled to her driving him to Kentucky.)

Doc got away clean and nobody ever heard from him again or at least nobody was talking about him and his whereabouts. Johnny as we know got a nickel for bleeding too much to make a clean getaway. Johnny also got religion on confederates, on their reliability, little good it did him in the end.

Problem had been, and Doc and he had gone round and round on the subject, the talent from the old days was just not around anymore. Either they were working somewhere in the food chain for the mob or were off doing something else, something legitimate with their skills in the post- World War II boom, especially the military service guys. So you had to go with what you had as Johnny would find out when he did the racetrack caper. The explosives guy had been battling the bottle for a few years and the expert safe cracker was being harassed by his pregnant wife not to get involved. Christ that would never happen in the old days when you had the pick of the litter in such specialties. Guys were lining up for work to get well.

The minute they grabbed Johnny, bleeding and all, he was already working on his next plan, the first of his own under his own imprimatur. He would spend that nickel, really four and half years since he was a model prisoner as he was anxious to get his plan in motion. This time no mistakes, no mistakes that he could help. Johnny had like a lot of guys coming up in the 1930s heard about the legendary bank robber Willie Sutton whose most famous utterance was that when he was asked by the coppers when he cashed his check on some not well thought out caper why he robbed banks he nonchalantly answered-“that is where the money is.” That first Johnny stir time Granite City bank robbery was based on that same idea although he would not hear about Sutton’s famous remark until he was in stir the first time and some yegg fished him on the tale.

Here is where Johnny figured something out from his own botched experience, something Willie and another guy named Pretty Boy Floyd didn’t see coming. The days of robbing banks was history, was too filled with pitfalls to make sense. Johnny’s take was where else would the money be. Dough, lots of it, the coin of the realm which from hunger guys like Kentucky poor white trash farm boy Johnny counted as valuable, as worth grabbing. That is where the Kentucky part came in, a racetrack, a high-end race track on a busy weekend big stakes day like the Derby would have tons of dough just waiting for the smartest guy in the room to grab it before the track owners got their mitts on it. So Johnny worked and worked on the thing figuring who he needed. Who could help get the loot.

           

The thing had to be an inside job, needed some people on the inside to clear the path and to keep some distractions while the heist was in progress. Needed a ticket teller, maybe a bar-tender, definitely a cop. Doc Davin would have been proud of his protégé, would have tipped his hat to Johnny if he had worn a hat. Johnny contacted his old friend Dibs, a guy he did time with and whom he trusted since Benny Long, the famous wrestler and a guy Johnny had used on a couple of capers when he needed muscle, physical muscle and not bang-bang guys, had vouched for him. Benny’s word was enough and in the end Dibs did just fine even if he went down, fell down hard when times got weird. Dibs set up the teller and the bartender knowing that the teller had a bitch wife with expensive tastes and sharp tongue problems and the bar-tender who was a stone-cold junkie in the days when nobody, not even race track owners, was testing for illegal drug use of their employees. Dibs also got the copper who was moonlighting at the track to earn some cash since he, the copper, was up to his ears in gambling debts to Sam Sloane and Slone was breathing down his neck for pay up or else dough. When Johnny cleared stir he got Benny, hard muscle and a sharpshooter from the Army he knew to complete the picture. Day labor.

Go. Day of action. Bank teller lets Johnny led by copper into the back room where the money was being counted in nice next small denomination piles (beautiful, Johnny, beautiful on that unmarked bills angle. Genius.) Meanwhile to keep everybody spinning, keep seven balls in the air Benny starts a brawl in the bar egged on by the bar-tender (the bar being the way that Johnny and copper would exit the joint). Here is where things got even hairier although it might crimp a legend’s status with some people. That ex-Army sharp-shooter was to kill the lead horse in the featured race creating chaos in the stands and elsewhere. Maybe there was some poetic justice in the fact that ex-Army get killed by a security cop after he killed Man of War or whoever took the tumble. No big deal he was just day labor, wages anyway. 

The long and short of it was that the whole thing worked fine, the loot was gotten out of the track and nobody, not the coppers, not the race people knew what the hell had happened. Like I said they still talk about the Great Derby robbery in hushed voices in many a cell and backroom. So Johnny picked up a win just as he got an assist on the Wyman caper since both went off without a hitch. But sometimes, hell, most of the time some goddam thing fouls up the works and mars what should be total victory.

That is what laid Johnny, Johnny Stir in case you forgot, low. This ticket teller was a loose cannon, was a nervous nelly afraid of his own shadow, afraid of losing his bitch wife’s affections if he didn’t come up with dough. When he copped to the caper he told wifey that payday was coming, hold on. Bitch wife having no confidence in her man pressed for details. He spilled his guts, spilled all that she needed to know. Know to pass on to her lover who was as dough crazy as she was. He would hold up the joint where the money split was to happen. In the event the deal, the money split went down too soon Johnny had not arrived to parcel out the shares. Lover boy and Johnny’s boys went bang-bang with nobody left standing except that stinking little teller. He lasted long enough to get home and go bang-bang with that gold-digging wife before he fell down. A little rough justice anyway.

Johnny saw what had happened at the share-splitting apartment and knew he had to blow town fast, knew that the coppers would figure out that these bloody scenes revolved around the Great Derby heist. Johnny grabbed Faye and they were ready to blow on the fastest plane out (the fastest then cumbersome prop jobs). One problem all the dough had to go from a trash bag to a quickly bought suitcase to be carried on board the plane. No go- the suitcase had to be checked.

Here where fate is kind of funny. The suitcase got knocked off the cart it on heading to the plane’s cargo area. All the dough went to the winds, all four of them. So long dough. Johnny and Fay tried to get away from the airport but before they can the coppers start to grab them. Fay standing by her man urged him to run but he said what was basically 1950s WTF and accepted his fate. See it was never about the money, never. Always about the execution of the plan, the kinkier the better. Fay knowing what Johnny was facing told her man she would turn tricks to keep herself in rent money and Johnny in canteen money as she waited for him to finish his time. Johnny nodded knowingly (he had been down that road with Doll back when who stooped to anything to keep herself, them in dough and only told Fay to stick to blowjobs and such and leave her ass for him when he got out). Even before the coppers put the hand-cuffs on Johnny was thinking about the next caper, the next plan. Something to do with Monets from the art museum, the Chicago Art Institute, something that would not blow away in the wind. Yeah, that Johnny Stir was a piece of work, a real piece of work.            

   

As The 100th Anniversary Of The Armistice Day 11/11/1918 at 11 AM Commences-Some Creative Artists Who Fought/Died/Lived Through The Nightmare That Destroyed The Flower Of European And American Youth –Ernest Hemingway

As The 100^th Anniversary Of The Armistice Day 11/11/1918 at 11 AM Commences-Some Creative Artists Who Fought/Died/Lived Through The Nightmare That Destroyed The Flower Of European And American Youth –Ernest Hemingway

By Seth Garth

A few years ago, starting in August 2104 the 100^th anniversary of what would become World War I, I started a series about the cultural effects, some of them anyway, of the slaughter which mowed down the flower of the European youth including an amazing number of artists, poets, writers and other cultural figures. Those culturati left behind, those who survived the shellings, the trenches, the diseases, and what was then called “shell shock,” now more commonly Post-Traumatic Stress Disorder (PTSD) which is duly recognized, and compensated for at least in the United States by the Veterans Administration in proven cases reacted in many different ways. Mainly, the best of them, like the ordinary dog soldiers could not go back to the same old, same old, could not revive the certitudes of the pre-war Western world with it distorted sense of decorum and went to what even today seem quirky with moderns like Dada, Minimalism, the literary sparseness of Hemingway, and so on. I had my say there in a general sense but now as we are only a few months away from the 100^th anniversary of, mercifully, the armistice which effectively ended that bloodbath I want to do a retrospective of creative artistic works by those who survived the war and how those war visions got translated into their works with some commentary if the spirit moves me but this is their show-no question they earned a retrospective.

A Very Bare Look At The Native American (Indigenous People, If You Prefer) Experience In America-The Film Adaptation Of James Fenimore Cooper’s “The Last Of The Mohicans: A Narrative Of 1757 ” (1992)

A Very Bare Look At The Native American (Indigenous People, If You Prefer) Experience In America-The Film Adaptation Of James Fenimore Cooper’s “The Last Of The Mohicans: A Narrative Of 1757 ” (1992)

DVD Review

By Alex Radley

The Last of the Mohicans, starring Daniel Day-Lewis,  Madeleine Stowe, based loosely on the novel by James Fenimore Cooper, 1826 and an earlier film adaptation in 1936, 1992

I am grateful to Greg Green the site manager at this publication for giving me, a stringer, a chance to break into the film review department which these days according to him drives a lot of what goes on here. Greg approached me about doing a review of the film adaptation of James Fennimore Cooper’s The Last Of The Mohican since I was the only one he contacted that had not read the book and he did not want the political types around here like Frank Jackman, Seth Garth and Josh Breslin to get their hands on the thing and go on and on about the screwing of the Native Americans, the indigenous peoples who populated this continent way before the Spanish, English, French and who knows maybe the Russians staked claims to land not their own. To speak nothing of the later decimation once those bloody English colonists got their independence and went after those peoples hammer and tong. Didn’t want (and he told me to make sure I go this into the review) to hear about the destruction of the land, the trail of tears and the contemporary situation with the plight of the indigenous population although he was painfully aware since his ex-wife was part Lakota Sioux (the guys who gave General Custer all he could handle and more at Little Big Horn) that some terrible injustices have been done to those peoples. Also Greg did not want to hear (although he did not ask me to make a point of saying this so I am doing this on my own hook) about how James Fennimore Cooper knew nothing about Native Americans in upstate New York, except  maybe what he heard around the taverns that he reportedly frequented where he got whatever he knew about anything and used that to run the rack on a bunch of woodland gothic romance novels which would have embarrassed any Harlequin Publications romance novelist.

Since I qualified on all counts I got the nod, got the nod too when after viewing the film I mentioned to Greg (and to Sandy Salmon who I assume told Greg that I had not read the book because I don’t recall telling anybody else here that information when the question came up around the water cooler one morning) that I liked the film very much even if there was more gore and off-hand violence than necessary. He asked me to skip that observation but when I said it would be hard to write the review without mentioning that violence he said put it here before I got to give the reader the skinny and forget about it later. (I admit I am a rookie but I never heard the word “skinny” as a way to say tell the story before I landed here and I kept hearing an old guy, a bent over old guy who looked about one hundred years old named Sam Lowell, telling everybody he ran into about making sure that they did a good job on the “skinny.”)    

   

The whole film hinges on Hawkeye, played by versatile Daniel Day-Lewis, a white guy adopted by the last of the Mohicans, or who would become the last after his biological son was killed in a confrontation with another tribe, a tribal warrior, and Hawkeye’s abilities to keep a couple of daughters of the British commander at Fort William Henry alive during a year, 1757, of the big showdown between the French and English over who would control the continent. As we know it was touch and go between the two enemies, no quarter given. No quarter given especially by the French who outnumbered in the area of conflict upstate New York made alliances with some of the tribes in the area. Of course in the film there are the good Indians, the Mohicans even if destined to wither away, aiding the British and bad Indians, headed by ruthless savage Huron warrior prince Magua, a real bastard who I would not want to run into in a dark alley or out in the wilderness either.  

Leslie Dumont who knows some stuff told me that I should play this film up on the big romance between frontiersman Hawkeye and the older daughter, Cora, played by what Leslie called fetching Madeleine Stow, who despite about seven battles, a couple of massacres and plenty of blood wind up giving each other meaningful glances no matter what the situation (much to the chagrin of her main British officer suitor who will go to his death on the fire rack cursing her name-in French). I suppose you could see the film that way, a frontier, when the frontier was upstate New York not the West of later times, romance in the well-worn, according to Leslie, Hollywood trope of running a “boy meets girl” angle wherever possible to draw on the sympathies of the majority female audiences for such films while the blood is being spilled all around by ghastly tomahawks, knives, spears, guns, cannons and every other munition of war.

But to me what makes the film interesting is that thing that Greg warned me away from, the struggle for control of the continent up close and personal between the commander of the garrison, Colonel Munro, Cora’s father and French General Montcalm who would get his comeuppance on the Plains of Abraham up in Quebec and the English would win the big prize, and the hell with the Indians. I think maybe Frank and Seth, I don’t know Josh yet but I hear he is a character who has been around a while too were on to something trying to go with the “stolen land” angle I hope Greg doesn’t get too ticked off about that and I wind up sucking wind re-writing Sam’s pieces which they say is the “kiss of death” around here.      

When The World Was Fresh And Young And All Things Were Possible (Or So We Thought)-Ah, To Be Young Was Very Heaven-Ans Cat Steven’s Soundtrack Too-Ruth Gordon And Bud Cort’s “Harold And Maude” (1971)-A Film Review

When The World Was Fresh And Young And All Things Were Possible (Or So We Thought)-Ah, To Be Young Was Very Heaven-Ans Cat Steven’s Soundtrack Too-Ruth Gordon And Bud Cort’s “Harold And Maude” (1971)-A Film Review

DVD Review

By Frank Jackman

Harold and Maude, starring Ruth Gordon, Bud Cort, 1971

I have commented in the past, and a number of other commentators have as well most notably or publicly the late great Gonzo journalist Doctor Hunter S. Thompson, on when the 1960s ended. Meaning not 1969 or 1970 however you count decade-endings but the spirit, the wildness ride of the 1960s, the time when we variously sought a “newer world” in the expression of poet Alfred Lord Tennyson and “to be young was very heaven” in the words of poet William Wordsworth. Thompson himself put it at 1968 and the Democratic National Convention in bloody Chicago and I, for one, and I am not alone on this, called May Day, 1971, the day we tried, and failed, to shut down the government if it would not shut down the Vietnam War the ebb tide. Others have picked the horrific Rolling Stones concert at Altamont as the low tide and others have expressed other lesser events at the touchstone of the night of the long knives, the long night of fighting, these days seemingly daily rear-guard actions in the cultural wars burning a hole in this country, in America. All of this to say that the film under review, the now classic Harold and Maude, upon re-watching (after having seen it several times when it was a cheap no dough for big dinners date night ritual to go watch and re-watch the film when it first came out in 1971) seems very much a product of those times, a moment in those times and therefore dated. Dated not in a negative sense necessarily although some of the dialogue seems that way but very much rooted in the dying embers of the 1960s, the ebb tide previously mentioned.

       

I noted recently in a rare film review of the anti-fascist classic from 1945 starring Dick Powell Cornered, previously rare apparently since under the new Greg Green regime since here I am again, reviewing a classic of another sort, that generally I had been concerned with other types of commentary, mostly political and social, cultural if you will. Greg “drafted” me for this assignment with the understanding that since I had already seen the film when it came out and he wanted somebody to do a “then and now” piece as he called it, and as it is called in the business, in the film review business at least at his previous job as editor at American Film Gazette I was the logical choice. Neglecting the real logical choice Sam who actually reviewed the film in 1971 but who these days is in a knock down, drag out fight with young up and coming reviewer Sarah Lemoyne over a series of issues that need not detain us here. So I am second logical choice not only because I had seen (and re-seen) the film but because I have some comments about the times centered on that ebb tide business mentioned above.     

The premise of Harold and Maude is fairly simple, a benighted young rich kid, Harold, played by Bud Cort who I don’t recall having done anything much of anything on screen after this performance which may tell us something as well about the film or the times since it was not well-regarded except in the rarified air of Cambridge and such alternative life-style havens and as well the extremely rarified air around Sam Lowell in those day for he prophetically was one of the few who reviewed the film positively. Harold had, rich or poor then, two things many of the young could relate to a deep-seeded if comically portrayed hatred for his well-heeled but indifferent mother who controlled lots of his life’s decisions and too much time on his hands waiting to break out in the world. That former may seem strange today but during the 1960s a common slogan was “don’t trust anybody over 30” which meant every freaking parent of the baby-boomer generation was in our cross-hairs. The latter as well since we were caught in a world we didn’t create, a war we could not comprehend while being caught up in its throes and no constructive way to make ourselves heard without going to the barricades.    

Harold, an odd-ball and a loner, although nobody would have cared much one way or the other about his idiosyncrasies then, beside staging about twenty-seven fake suicide attempts for his mother’s “benefit” attended funerals, became on the surface at least comforted by that attendance. As part of that ritual he eventually meets the Maude of the title, played by energetic Ruth Gordon, a woman almost eighty and still going strong, still full of spunk. She attends the funerals for a very different reason, a reason having to do with coming to terms with her own mortality, not an unimportant concern given her age. Harold, after umpteen attempts by his mother to get him married to an assortment of young women, gravitates toward, well toward a grandmother figure. Maybe we all hated our parents then but we gave grandparents a pass. I know my own grandmother saved my young ass from many a home life wrangle with my own mother.

Once you get past the extreme age difference between the pair they are kind of an interesting couple. Maude has, as I said, her own agenda, but while they interact she is a positive influence on Harold breaking out of his self-imposed shell. His affect, his clothing, his interest shift as he becomes more in thrall of Maude. The dicey part, or rather the two dicey parts which may have accounted for the negative reviews back in the day, was that relationship leading to a romance, leading to sexual intercourse between the two. These days you can love who you want, or at least that is the thought of many people on the question of gender identification but the area of intergenerational sex still has some distance to go. Who the hell would go to bed with their grandmother after all. More pressing was that Maude agenda item. She held firm to the notion that at a certain age, eighty, she would have had enough of life. And she acted on it, took her own life when the deal went down leaving Harold bereft. But not paralyzed for knowing Maude Harold was able to break out of death door’s grasp. Like I said dated, but not necessarily in a negative way given our social identity issues today.

Tell Me: What Does The Resistance Looks Like-This Is What The Resistance Looks Like-Join The Resistance Now!!

Tell Me: What Does The Resistance Looks Like-This Is What The Resistance Looks Like-Join The Resistance Now!!