Channeling The Lost Ghost Of Ti Jean Kerouac- In Honor Of the 60th Anniversary Of The Publication Of “On The Road” (1957)

Channeling The Lost Ghost Of Ti Jean Kerouac- In Honor Of the 60^th Anniversary Of The Publication Of “On The Road” (1957)

By Gordon Gleason   

Even Phil Larkin could not remember when he first heard the name Jack Kerouac mentioned in his presence. Jack, his muse since early adult days in the late 1960s, was like a book sealed with seven seals in the Larkin household in the early 1960s when Rose Larkin prohibited any talk of atheist rabble commie unwashed beatniks in the house (the latter not the least in the list of Rose sins although atheist in the high holy Roman Catholic Larkin household where Jack apostate had some consideration). So it must have been sometime before that. Maybe name heard on a vagrant television show, The Steve Allen Show, which he sneak watched at midnight hours to see what was what and which Phil in perusing YouTube has noticed that hipster in exile Steve and “king of the beats” Jack bantered around many subjects of mutual interest under the sign of cool ass jazz and word play aficionado-hood. (One such clip of the show showed Jack reading the famous last page of his On The Road where he and Dean Moriarty are searching, endlessly searching, for the father they never just like Phil looked for literary father Jack when the time came among other things but that clip did not ring a bell when he tried to date that first heard name question ringing in his brain one Jack October in the railroad dream night.)     

Phil, never much for deep introspection although overloaded with surface introspection like any half-arsed speculator writer (Irish expression check James Joyce if you please), in any case abandoned that endless thought, that father, literary father remember thought, as he tried to place Jack’s name in his head. A thought which was triggered once he read in  a small publication magazine that the year 2017 would be the 60^th anniversary of the publication of the sensational On The Road which would get many a young man and some young women on the road, on the car highway, bus sweat, freight train hobo, hitchhike thumb road, no question.

He guessed not having any success at pinpointing some exact event or date that the first time would have had to be about 1962 when his old high school friend from his growing up town, the Acre neighborhood of North Adamsville, Peter Paul Markin always known since junior high school as “Scribe” forced all the corner boys to read the damn thing under penalty that he would read it to them on those forlorn Friday and Saturday nights when without money, without a car to flee the burg, without some girl willing to go on a date via public transportation or walking and maybe willing to do the “dutch treat” number (and thus no hope, no fucking hope for testosterone-hammered boys, of coping feels, snatch, blowjobs since any girl who consented under those conditions saw the guy, saw Phil before he became known as Foul-Mouthed Phil which is a whole story for another time since is about father Jack time not Phil schemes for those feels, snatches, blowjobs) they would be huddled against the wall in front of Tonio’s Pizza Parlor. Hoping, endlessly cold-nosed hoping when first starting out in late freshman year that some girl (or girls) would come by and maybe go into Tonio’s and play the jukebox and that would get things started. At worst start the “con,” low con for sure about what songs those chicks played which was an art-form first perfected by shy-boy Scribe as his “come on” to the girls when he was too nervous to sweet baby talk them like any other guy, like Phil when he found out that some girls, some social butterfly girls and not just the school sluts liked to hear what in “polite” society would be considered vulgar language worthy if you were a Catholic boy, a Rose Larkin Catholic boy confession worthy and a hell of a lot of hail marys and acts of contrition.        

On those nights when that low slung prospect did not look promising, Jesus were times that bad that some sweet thing come Friday night didn’t at least risk a fucking slice of pizza and iced Coke to at least tempt their fates and keep the Scribe from his altar, say around 10 PM, maybe a little later, which meant that whatever girls were going out had gone out for the night or were down Squaw Rock freely parting with feel, snatches and blowjobs and not just the school sluts either remember those social butterflies, the Scribe would take out his tattered and well-worn copy of the book and start reading. A book which he in high holy Roman Catholic Delores Markin household had to sneak buy over in Harvard Square at some dimly-lit bookstore (a bookstore that a couple of years later would be a place like lemmings to the sea where shy-boy Scribe would find the slightly neurotic, slim, okay skinny, black-attired girls that drove him wild and provide him with those freely given feels, snatches, blowjobs that he longed for in hometown high school).

Before long he would be stopped, usually by the naturally selected leader of this motley crew, Frankie Riley, who threatened murder and mayhem if the Scribe continued. Those guys were no surplus literary bums or wannabe dharma bums of some later Phil dream but hard-nosed corner denizens who were as likely to jack-roll some “faggy” guy, some punk kid or some father/uncle/older brother drunken sot paycheck fresh (and short) from Irish Grille/Dublin Pub/ Johnny Murphy’s and you don’t have to consult Mister James Joyce as look at you. Whatever short-comings the Scribe had in the manly prowess province the long and short of it was that at some point Phil and almost every other guy on the stoop read the book if only to see what the Scribe was talking about or just to keep him quiet on those depressing empty nights.

It took a long time for Phil to realize that what drew the Scribe to Jack Kerouac (the Scribe would always call him Ti Jean once he heard somebody in school who knew French call out John name that way) was that there were many affinities between the way Jack grew up a generation before them in factory-strewn Merrimack River textile heavy from Frenchie/ Irish/ Hungary/Italy Lowell about sixty miles away and working-class ship-building North Adamsville. Knew want and hungry a bit, knew more importantly “wanting habits” which drove a lot of the Scribe’s (and the rest of the Tonio corner boys) baser instincts. Knew that same craving for privacy that never came in cold water flats above vacant stores with mother hectoring and crying out one venial and about seven mortals sins per hour 24/7/365. No room to breathe. Knew that desire to break out from the tedium of what was to be scheduled fate wrapped in a big fat package box unless the break-out came and soon.

(Prelude to Jack breakout aside from vivid memory black and white film Majestic Theater Saturday afternoon haunts and hanging with the boys cool daddy jazz, big swing jazz big bad ass bands led by guys named Duke, Count, Earl, hell, maybe Emperor with some snow white song-bird fronting except when black as coal Billie fronted and blown them snowbirds all away even before the “fixer” man came calling around midnight and later, late 1940s later cool as a cucumber jazz with plenty of variations and riffs, riff to blow that high white note out to the Frisco Bay China seas like happened one night in North Beach by some unknown cat who just blew and blew  and maybe is still blowing that one time high white note and is dead ass dead having run himself raged and culled looking for that sequel in some dead night fog horn freighter of the world. Prelude to Tonio boys breakout aside from vivid memory black and white film Strand Theater Saturday afternoon matinees double-features and hanging with the boys hot off the presses big daddy rock and roll music any old way you use it proclaimed by the President, President of rock and roll Chuck Berry that one Mister Mozart and his crew (Bach, Brahms, that Russian guy) that they had best leave town because a new high sheriff was in town to shake, rattle and roll and later when the sniff of Jack dope, tea-head dope turned to modern Moloch chemical madness cloud-covered French curves and swirls acid rock.)      

The funny thing about the Scribe’s crazed campaign was that Phil, beside his lack of deep introspection then, was not any kind of bookworm-then  (a pejorative term on the Tonio corner which would usually have banned a guy like the Scribe from that place except he had a double-heart, had as well as that literary funk an exceptionally larcenous heart and produced in quality well-thought out plans to grab dough, grab it any way they could although nobody in their right mind would let him carry out those plans that was left to the clever Frankie Riley already mentioned). The funny part was that later, several years later when he was in the Army and confined to the base for disciplinary reasons, he ambled into the base library one afternoon and noticed that On The Road and several other books by Kerouac were on a bookshelf he was perusing looking for something by sci-fi writer Kenneth Koch. And that was that. That was that being he re-read Road and scampered through such Jack works as Dharma Bum and Desolation Angels (and in the end much more than that but check some Jack bibliography and you will have pretty much encompassed what Phil read before the fall).              

                 

The Scribe and Jack connection would intersect Phil’s life several times before The Scribe’s early violent death down in Mexico from still unknown and uninvestigated by the Federales causes around a busted drug deal. Probably the most dramatic connection driven by Jack hitchhike road dreams in the late 1940s before Interstate Route 66 car-hopping night had been Phil’s involvement through the Scribe in the westward trek to what has been called the Summer of Love out mainly in San Francisco in 1967 (although some action happened in Monterey at the first Pops Festival but that was before Phil headed out and in Todo el Mundo south of Big Sur when he/they hitched a ride from a moving house of a converted yellow school bus). The Scribe, partially influenced by Jack’s book and partially by his own endless predictions that things were going to go through a sea-change especially among the young in this country and had dropped out of college in Boston his sophomore year to see what was what out west. A couple of months later the Scribe came back and practically force-marched all the corner boys still around to head west as soon as they could. Phil under the Jack spell (and having no money a la Jack most of the time as well and no permission a la Rose Larkin who had a bloody fit when she found out where he was and had Father Lally say about ten prayers for Phil’s already damned soul) hitchhiked out with Frankie Riley in a spasm of high adventure. Phil, not in school, no money, working at some madness Robert Hall men’s clothing store to kill time and make some college-bound dough,  at the height of the madness in foreign country Vietnam would only stay out there a couple of months since he received a draft notice in late August to report for a physical in September. But while he was out west he imbibed in all the dope, music, sex and whatnot available that Mother Larkin had railed against citing one John Kerouac, lapsed Catholic sweet cherib big tubby Buddha in his brain now as correspondent. Even went to Jack beat down, beat around beatitude if you want to call it that spots in North Beach like Eddy’s and Big Max’s (where that skinny kid blew the high white note out into the Frisco Bay China seas and never looked back) to see what that earlier cultural scene had been all about.          

This year’s (2017) 50^th anniversary commemoration of the Summer of Love out again mainly in San Francisco which Phil had not been aware of until Alex James, one of his old corner confederates, had been out there and seen an art exhibition all about the music, fashion, poster art (advertising upcoming concerts in Golden Gate Park, the Avalon, Fillmore and so on) and photography and when he came back to Boston  had gathered all the remaining corner boys who had gone out in ’67 together to write their memoirs for a small Scribe tribute book had sparked some remembrances beyond that event. Got him thinking about how much Jack Kerouac, his dog-ear short life (Kerouac had died at 47), had influenced him. How episodes in Jack’s life had some meaning. One night Phil was sitting with Alex in Jimmy’s Irish Pub in downtown Adamsville (an old haunt of theirs where the drinks were cheap for no money boys when they came of drinking age just like their fathers, uncles and older brothers before them) ostensibly to talk the talk about the mad monk Scribe when he laid out to Alex what he was thinking about. Mainly thinking about from having in the subsequent years read most of Jack’s books (and remember check out some Jack bibliography and you will have an idea of how cuckoo Phil Jacked).      

Phil, a fairly well-known writer himself for a while for alternative newspapers when they were in vogue and small literary magazines when they were not, startled Alex by saying that most of what he wrote, had written in the past, sketches and articles for magazines and journals about his early youth and young adulthood, had been fired in his imagination by Jack. He then began a long screed (that was Alex’s expression when he mentioned it to a couple of guys later reflecting that Phil had gon eon about two hours without stop) about Jack starting from some mystical river (the Merrimack) which gave Jack life and which he compared with his own river experience at the local Adamsville River. Talked of Jack boyhood Tom Sawyer-like river adventures up among the Dracut woods, about those boyhood bonding experiences and visions and about Sampas, the ghost of Sampas, the holy goof who was to do so much  in the literary world but who laid his head down in World War II. Saw the Scribe as such a kindred holy goof also laid low as a result of war.

It was at that point, after Alex had flipped out over what Phil had been blasting into his head for a couple of hours, that Phil went into cruise control about the nodal points of Jack’s life as related through books and what others had grabbed onto about him. Some of it commonplace, working class 1930s commonplace, Lowell Merrimack River textile pile up for want of customers where that other want and hunger had a field day and wanting habits, wanting habits from notebook-clutched writings to visions of unclad maidens, got great gobs of reinforcement from that want and hunger, made a small-time, small-town mill boy reach up big-handed for the stars, took notes in dime-store notebooks (Woolworth’s on Merrimack Street remember, or Hancock Street in North Adamsville where hungry boys waited on lunch counter waitresses to cook up melted chesses sandwiches the cheapest thing on the menu and later downtown Boston the scene of picket lines by young white people mainly supporting the right, Jesus yes, the right of black people down South and not just down South to have that same melted cheese sandwiches at those same lunch counters cooked by those same waitresses the cheapest thing on the menu).

Thought long and hard Jack thoughts from early childhood about the mysteries of life, about later lionized beat down beatitudes driven by station of the cross images and desires, from early on about redemption and mystery of life, of birth and of dead and older brother passed to the heavens and why and why papa died so young and such as befell Kerouac family linen (and like Irish also a Catholic thing not in public washed, fuck no, even though every other family had black sheep and secret woes). The Scribe beautiful in his chaste desires not worrying about beatitudes worrying more about Minnie Murphy’s well-turned ass sitting three rows behind her in lascivious church pews) Mentioned cannibal mother, maybe eternal cannibal mothers, mere, who make a big deal of strictly venial sins and let the older brother whoopers pass in silence) who nose-dived him every chance she could get yet he in the end, get this, could never cut that string that bound the two generations like some naughty Greek myth, mentioned not fit for work father (no, not the father searched for and never known he died in some abandoned freight yard bludgeoned by some railroad bull or from an overdose of sterno you can take your pick of the accumulated legends of the road when Neal/Dean blew out of reform school blues and hitched to Denver to begin that search that would never end unto the grave, a sullen grave down in Mexico or Florida) who died young from misery and his own small-hood hubris. 

Passed the passing time of young boy Catholic schools at old Saint Joseph’s the church of good immigrant clans from up north in the North Country over the border in Quebec who came down a few generations back to get off of starvation farms, seriously starvation places filled with robust churches and fallow fields, no mercy, have mercy, and look for work in noisy spinning mills until exhaustion set in. 

Transferred over to Acre Bartlett school and all the miseries of junior high school boy and girl hormone troubles from no give French-speaking girls whose no give made those Irish Catholic girls up the street with a Bible tucked between their knees look like street whores and so real miseries until high school track and football hero times when some be-bop girl with a big band swing voice and a flaming red dress which said come thither slaked his thirst. Then back to that Irish cunt up the streets who wouldn’t give anything and she didn’t even have a Bible between her knees. Hell he wrote a whole book about it, about her, hell, never really got over her every time he hit mother Lowell town he would ring the ring but not tot to be under some civil servant dream cloud when the age demanded, not craved unto civic death mad monk poets and guys who could make sense of what was what in the jungle of post-war America, yeah as would soon be found out craved poets, junkies, surfers, dead-of-night hot rod hipsters and outlaw motorcyclists with big cajones, called it Mary Magdalen or something like that whose younger sister who had not use for Bibles between her knees and a mouth made for carnal knowledge knowing Jack value would have given whatever she had to give if he looked her way once-thems the breaks.            

Roll Columbia, roll on all up in arms bigtime when Columbia New York City was big time and football hero Saturday afternoon dreams which would make that famous Lawrence hero game laughable but he couldn’t give up the time to pass some science test and then he broke his fucking bones and so long big time Columbia when Columbia was big time granite grey autumn afternoon gridiron exploits with crazy New York jacks and jills to make the Barnard co-ed wet. Sorry Jack but Time Square hipsters, con men, fags, yes that is what they called them then like now in hidden rooms fags, fairies, queens, queers, drags, fixer man junkies, wide-eyed dope fiends sucking benny tablets from Rexall drug store pharmacies, bent whores who for the price of once around the world would take you for a ride, would later put you up in Mexico City junkie whorehouses with short side clap and leave you restless and broke howling at some ill-spent moon-some later day be-bop world  king said that. Learned to navigate with the dime store junkies (not Woolworth’s this time but some Bargain Basement hooker hang-out doing dime needles and back street blowjobs for room and board) and street wise bandit gangster poets and Harvard-trained morphine madmen.

Most importantly maybe not recognized then but would play later when he was gone (at freaking 47 just when his juices should have been flowing, when that great big American anti-novel could have been written, hell, the material was there for it all the way from Lowell town via Quebec provinces to Denver nights and San Fran hump big high white note to the Japan seas swales) a faggy Jew boy who could croon with the Molochs, fathom up hipster angels and dank negro streets or knew the magic of medieval kabala, said high Kaddish when the time came, could sing of the long gone Whitman night with that same sadness, a fag but what of it as long as he didn’t try any rough stuff, did try to break your crack. Howled at San Fran winds and blew his own high white note and drove everybody, every square-assed poet bleeping about some bull flowers, love, romance, bugs, lepers, and gone daddies and mommies to the showers-gone. Yes, he would deliver the totem to a disbelieving world, a reckless dangerous world not looking for second –hand second-coming Messiahs.                

Start to write like some dervish mad man on any available surface.  Skip a few our mother the sea scenes and cabin fever pitches up in Artic waters near death from drowning Greenland waters and bring in the new world a-borning. A time with acre lots and ranch house breezeways and dishwaters coveted by men in grey flannel suits taking gobs of liquid medicine and headache wives all in one. Cheap jack stuff, stuff not fit for flannel-shirted, moccasin-shod, dungaree-panted Jack swilling wine in North Beach lots and new age poem reads.  And he, Jack he, looking for the meaning of existence thinking that it was on some lame Robert Frost road less travelled so crisscrossed the continent looking for what the Scribe called in his time the great blue-pink American West night (strangely both city boys, both welded Eastern city boys and so of the same mesh when all was said and done the Scribe too Jack-like done in by pitching his wanting habits to far above). A time when Jack tired of same old, same old traversed and trailed around looking for some model father Adonis Oedipus mother and wound up in a Latimer Street junkie wino hotel with wheelman to the Gods Dean Moriarty and you know how that storied began (and ended). Ended in balmy San Fran nights listening to the willows belch and cool daddies take big brass and blow baby blow, benny, sister, brother, cousin high to make tea-head moan and moan. Wrote about it on all those well-kept and organized notebooks and blasted out in some speed demon time a paper roll of words and adventures.

...Then hiatus, writing ever writing but not hip enough to make the New York publishing industry cut until the time of his time came (although he would always groan it was well pass his time, pass the time of Mexican whores, New York City weirdos and father pimps, dope-chokers and wino flippers and he may have been right who knows) Known: Jack caught some pregnant fever pitch among the young post-war maddened atomic bomb death walk-outs who took up surfing, hot cars, wandering, outlaw motorcycles and to while their times and forget those bomb shelter Hiroshima dead. The rest would be history.

Strangely the rest would be played out in small coffeehouses and cabarets, out in open air parks and other greenspaces by guys like now straight as an arrow if not straighter Alex James and bent out of shape Scribe seeking that newer world that he never was able to catch up to. Caught in notoriety and big bang televisions shows with guys asking him about why if he was looking for that lost father he was father to hell-bent stragglers and misfits, the lord of the misfits he was called and maybe they were right. When the deal went south though he was blocked up with wifey, mere, and a junkie’s gin bottle all for a candid world to see. Sixty years later it still beats a quickened heartbeat to a sullen world. Thanks Ti Jean               

The Golden Age Of The B-Film Noir- “The Black Glove” (1954)

The Golden Age Of The B-Film Noir- “The Black Glove” (1954)

DVD Review

By Film Editor Emeritus Sam Lowell

The Black Glove, starring Alex Nichol, Hammer Productions, 1954

Recently in a review of the British film Terror Street (distributed in Britain as 36 Hours) I noted that long time readers of this space know, or should be presumed to know, of my long-standing love affair with film noir. I went on to mention my introduction to the classic age of film noir in this country in the age of black and white film in the 1940s and 1950s when I would sneak over to the now long gone and replaced by condos Strand Theater in growing up town North Adamsville and spent a long double feature Saturday afternoon watching some then current production from Hollywood or some throwback from the 1940s which Mister Cadger, the affable owner who would let me sneak in for kid’s ticket prices long after I reached the adult price stage at twelve I think it was, would show in retrospective to cut down on expenses in tough times by avoiding having to pay for first –run movies all the time. I further mentioned that on infrequent occasions would attend a nighttime showing (paying full price after age twelve since parents were presumed to have the money to spring  for full prices) with my parents if my strict Irish Catholic mother (strict on the mortal sin punishment for what turned out to have been minor or venial sins) thought the film passed the Legion of Decency standard that we had to stand up and take a yearly vow to uphold and I could under the plotline without fainting (or getting “aroused” by the fetching femmes).

What I did not mention although long time readers should be aware of this as well was that when I found some run of films that had a similar background I would “run the table” on the efforts. That is the case with a recently obtained cache of British-centered 1950s film noirs put out by the Hammer Production Company as they tried to cash in on the popularity of the genre for the British market (and the relatively cheap price of production in England). Terror Street had been the first review in this series (each DVD by the way contains two films the second Danger On The Wings in that DVD not worthy of review) and the film under review the ominously titled The Black Glove (released in England as Face The Music) the second such effort. On the basis of these three viewings I will have to admit they are clearly B-productions none of them would make anything but a second or third tier rating.         

After all as mentioned before in that first review look what they were up against. For example who could forget up on that big screen for all the candid world to see a sadder but wiser seen it all, heard it all Humphrey Bogart at the end of the Maltese Falcon telling all who would listen that he, he Sam Spade no stranger to the seamy side and cutting corners, had had to send femme fatale Mary Astor his snow white flame over once she spilled too much blood, left a trail of corpses, for the stuff of dreams over some damn bird. Or cleft-chinned barrel-chested Robert Mitchum keeping himself out of trouble in some dink town as a respectable citizen but knowing he was doomed and out of luck for his seedy past taking a few odd bullets from his former femme fatale trigger-happy girlfriend Jane Greer once she knew he had double-crossed her to the coppers in Out Of The Past. Ditto watching the horror on smart guy gangster Eddie Mars face after being outsmarted because he had sent a small time grafter to his doom when prime private detective Phillip Marlowe, spending the whole film trying to do the right thing for an old man with a couple of wild daughters, ordered him out the door to face the rooty-toot-toot of his own gunsels who expected Marlowe to be coming out in The Big Sleep. Those were some of the beautiful and still beautiful classics whose lines you can almost hear anytime you mention the words film noir.

In the old days before I retired I always liked to sketch out a film’s plotline to give the reader the “skinny” on what the action was so that he or she could see where I was leading them. I will continue that old tradition here (as I did with Terror Street and will do in future Hammer Production vehicles to be reviewed over the coming period) to make my point about the lesser production values of the Hammer products. A saving grace of The Black Glove is that the lead guy, the guy whose task it is to solve the mystery of the murder of a London torch-singer whom he barely had known but who had the come hither look that might have played out in pillow talk if she had been not killed with a couple of unexplained slugs is that the “private eye” double-downs as a big time American in London trumpet-player. Yeah, a guy who despite his off-hand detective work is searching for the high white note every jazz guy, hell, maybe everybody involved with music, is looking to corral and sent out into the streets. To make aficionados and amateurs remember his calling card.         

Famous trumpeter James Bradley, known as Brad, played by Alex Nichol, by happenstance hears some torch-singer on his way back to his hotel after a well-received concert in some London large venue. He takes the leap and goes into the place where the music comes from and sees this dishy dame singing torch stuff to beat the band. They meet and between one thing and another they wind up at her apartment although no sexual stuff happened as far as we know. That is when things go awry. That dishy dame torch singer is found dead by gunshot after Brad leaves. Naturally he is the number one suspect for the job, for the frame as could be expected of a guy leaving some dishy dames place late at night and no other candidates for the frame are around. Something about the whole thing didn’t sit right with him once the coppers let him go after they grilled and half-believed his story (although he no-no left his trumpet case in the dishy dames living room). So he began to see if the pieces could be fit together see who put the frame on him and why.         

As expected Brad figures it out. Seems that dishy dame had been part of an up and coming young women trio that never quite got off the ground. Reason, one reason anyway-tangled romances. Tangled romances involving a high-end jazz piano player who really just wanted to play his stuff, another well-known jazz piano player and a record company producer. One way or another they were all involved with that dead dame. Like I said Brad figured it out via his knowledge of music. Figured it out very much like Nick Charles did in The Thin Man series from the 1940s where he brought every possible suspect into a room with coppers at the ready to grab the villain. You know you can never trust a record producer who should have been the prime suspect from minute one. In the end our Brad though gives up the “tec” business and goes back to searching for that high white note every jazz guy is looking for. Better that Terror Street but can’t get pass that Blue Gardenia second tier in the film noir pantheon. Sorry Hammer.                 

On Childhood Memories-With The Somerville, Ma Honk! Parade In Mind

On Childhood Memories-With The Somerville, Ma Honk! Parade In Mind

By Frank Jackman

[I normally confine myself to current events political commentary or some especially significant anniversary or comment on some event of historical import from the distant past but the other night I ran into Fritz Taylor, a guy I have known for a number of years and a fellow Vietnam War veteran, at Jack’s over in Cambridge where I still like to grab a quick drink when I am in that town. He had just finished up marching in the annual Honk! Parade (that ! belongs there and is no typo) which starts in Somerville and ends in Harvard Square. While we were chatting about this and that he started talking about his childhood remembrances of parades down South in his hometown of Mill Ridge in Georgia. This piece is a short take on what he talked about which might interest those who have their own memories of childhood parades, of long ago parade traditions which attempted to unite communities and did on occasion. Frank Jackman]

*****

Fritz Taylor, was, is a man of institutional memories. Will tell you that using that exact term himself. By that he means that he has grown over the years to think more about certain critical events that formed his life ever since he was a small fry (his term) down in rural Georgia. And do it by comparisons on occasion. Fritz had recently participated in the annual Honk! Parade which is something of an alternative parade from the ones in his, my, maybe your childhood when some town volunteer association, or the town itself went all out on say Memorial Day, July 4^th, Christmas time for examples and gathered up various organizations, groups and clubs to form some sort of celebration for town folk, for the young really.         

The way Fritz put it (and I agreed and you would probably do so too) was that the organizers grabbed every viable civic organization, band and exotic float assemblage possible. So an average parade would have the local high school band (maybe college if one was nearby), the school glee club, the school majorette baton twirlers and cheerleaders, 4-H club if in a rural area like his Mill Ridge growing up home, the Elks, Masons, Lions and such, church bands, CYO, Demo-lay, choirs, and whatever other cheap transport musical organization available. Then a ton of automobile, open convertible types housing various public officials, fire engines, police cars, street sweepers, public works dump trucks and so on. Also assorted walkers carrying signs advertising some drugstore, pizza parlor or supermarket usually with some pretty girl leading the procession. Naturally as well floats sponsored by various organizations the most important one being the float carrying the Queen of the May, the town queen or event queen and her court of a bevy of young lovelies. Throw in a few clowns, geeks, nerds, hispsters and some misplaced derelicts and wanderers and you have pretty full picture. Oh yeah, and placed here at the end not by accident the local VFW, American Legion or specialized veterans organizations of specific wars like the Spanish- American War.          

That last category the Spanish-American War veterans (you know the guys who went up San Juan Hill with Teddy R. and hi-jacked Cuba for a few decades or hijacked the Philippines, Puerto Rico other such spots) is what fascinated Fritz when he was a small fry (remember his term), well, that and those wholesome well-shaped lovelies on those preposterous floats when he came of age to notice such things. He said he would always remember these ancient men walking, slowly walking mostly, some with canes some aided by comrades, with erect carriage usually wearing their Sunday best suit laden with medals on their lapels. (Probably when he first started to watch parades in the early 1950s these men were in there seventies and early eighties and so ancient to a young boy who probably thought twenty was ancient in the great scheme of things.) Would notice each year that there were maybe fewer marching, more with canes or being aided but always treated by the very patriotic crowds with much hand-clapping and salutes.      

Fast forward to Somerville Honk! Parade-2017

If the parades of Fritz’s youth were filled with civic pride and immense patriotic fervor the Honk! Parade is the antithesis. Started   

several years ago this parade features every type of odd-ball band which can put instruments and outlandish costume together each Columbus Day Sunday beginning at noon (also known as Indigenous Peoples Day among politically correct progressives in some quarters). Add in people on stilts, people riding bicycles, floats and whatever pleases them. Add in all kinds of progressive activist and peace groups and you get a feel for what is going on that day in Somerville as it wends its way to finish line Harvard Square a couple of miles down the road. A Very Blue occasion in a very blue state in a very blue town. Each year for the past few years, years in which Fritz has felt duty-bound to march, a contingent from Veterans for Peace his organization since after Vietnam War times when he finally got “religion” (my term) on the issue has participated in the extravaganza.     

Veterans for Peace has a great portion of its local membership culled from those who served in ancient times Vietnam War  (a war now being examined by Ken Burns/Lynn Novack in an eighteen hour ten part series on PBS). So come Columbus Day Sunday those who line up to march are very similar in age to those old days Spanish-American War veterans from Fritz’s Mill Ridge growing up days. Except they tend to be a rag-tag army of guys wearing anything from shorts to long pants along with an assortment of VFP tee-shirts of different colors and with different slogans embossed on the back). And of course the now very familiar and famous flags of white with a black dove embossed on them which stick out in an event thet participate in. As Fritz ambled along Massachusetts Avenue as it turned into Cambridge he wondered if the many small fry who lined the route with their parents were as fascinated with the ancient VFP contingent as he has been with those old men Spanish-American war veterans. He hoped so and hoped they got a very different message from than he had back in the day. Thanks Fritz                   

[I did not march that day since I have been recovering from knee replacement surgery but I expect to be back on the line next year to wonder Fritz’s wonder. Frank Jackman]  

John McCain-Hands Off Professors Bill Ayers and Bernadine Dohrn

Commentary

October 11, 2008

For the fourth time this presidential season I have had to repost this item on Bill Ayers and Bernadine Dohrn. This time it is one putative Republican presidential candidate John McCain, mad "terrorist" bomber of everything he could get in his sights over North Vietnam while he was a Navy pilot, who is muddying up the waters. I have nothing in common with Democratic Vice-presidential candidate Joe Biden but he has his finger on the situation. Why, if it was such a big issue didn't John McCain raise to Barack Obama to his face on debate night, October 7, 2008. Not much of interest was being said so it would have been okay to brooch the subject. Well done, Joe. As for the rest of this damn presidential campaign season- the hell with it. Forward to a workers party!

October 7, 2008

Apparently, for the third time this presidential season I have to dust off this old review of the Weather Underground and the activities of leftist Bill Ayers and Bernadine Dohrn. Why? Sarah Palin, self-proclaimed "hockey mom" Republican Vice-presidential candidate, has decided that the virtue of the American Republic requires a rehashing of that old chestnut concerning the supposed organic relationship between the "terrorist" professors and Democratic presidential candidate Barack Obama. I am reposting previous comments here because, frankly, I have nothing to add to the previous comments. Except this, Professors Ayers and Dohrn can now serve as prima facie evidence that ostensible leftists should be very careful in the choice of bourgeois capitalist candidates they "hang around with". In short, stay very far away from those types.



August 26, 2008

Apparently, the Republican presidential campaign of Arizona Senator John McCain is trying to get mileage out of some tenuous connection between Democratic presidential candidate Illinois Senator Barack Obama and very, very ex-Weatherpeople Professors Bill Ayers and Bernadine Dohrn. This same issue popped up in the spring of 2008. The introductory comment used there reposted directly below and a review of what The Weather Underground really meant politically still apply. I would only add that forty years of "cultural wars" by these reactionaries, led by Karl Rove and his ilk, is enough. I only hope that when our day comes we will relegate them to some nice island somewhere so they can "reflect" on their sins and leave the rest of us alone.

*******

May 2008

There is currently a tempest in a teapot swirling around Democratic presidential candidate Barack Obama concerning his relationship with former Weatherpeople Bill Ayers and Bernadine Dohrn. Here are a couple of reviews from last year on the historic significance of that movement. The real question to ask though is not why Obama was hanging around with Ayers and Dohrn but why they were hanging around with this garden-variety bourgeois candidate on the make. Enough said.

YOU DO NEED A WEATHERMAN (PERSON) TO KNOW WHICH WAY THE WIND BLOWS

DVD REVIEW

THE WEATHER UNDERGROUND: REBELS WITH A CAUSE, 2003

In a time when I, among others, are questioning where the extra-parliamentary opposition to the Iraq War is going and why it has not made more of an impact on American society it was rather refreshing to view this documentary about the seemingly forgotten Weather Underground that as things got grimmer dramatically epitomized one aspect of opposition to the Vietnam War. If opposition to the Iraq war is the political fight of my old age Vietnam was the fight of my youth and in this film brought back very strong memories of why I fought tooth and nail against it. And the people portrayed in this film, the core of the Weather Underground, while not politically kindred spirits then or now, were certainly on the same page as I was- a no holds- barred fight against the American Empire. We lost that round, and there were reasons for that, but that kind of attitude is what it takes to bring down the monster. But a revolutionary strategy is needed. That is where we parted company.

One of the political highlights of the film is centered on the 1969 Students for a Democratic Society (SDS) Convention that was a watershed in the student anti-war protest movement. That was the genesis of the Weathermen but it was also the genesis of the Progressive Labor Party-led faction that wanted to bring the anti-war message to the working class by linking up the student movement with the fight against capitalism. In short, to get to those who were, or were to be, the rank and file soldiers in Vietnam or who worked in the factories. In either case the point that was missed, as the Old Left had argued all along and which we had previously dismissed out of hand, was that it was the masses of working people who were central to ‘bringing the war home’ and the fight against capitalism. That task still confronts us today.

One of the paradoxical things about this film is that the Weather Underground survivors interviewed had only a vague notion about what went wrong. This was clearly detailed in the remarks of Mark Rudd, a central leader, when he stated that the Weathermen were trying to create a communist cadre. He also stated, however, that after going underground he realized that he was out of the loop as far as being politically effective. And that is the point. There is no virtue in underground activity if it is not necessary, romantic as that may be. To the extent that any of us read history in those days it was certainly not about the origins of the Russian revolutionary movement in the 19th century. If we had we would have found that that movement also fought out the above-mentioned fight in 1969. Mass action vs. individual acts, heroic or otherwise, of terror. The Weather strategy of acting as the American component of the worldwide revolutionary movement in order to bring the Empire to its knees certainly had (and still does) had a very appealing quality. However, a moral gesture did not (and will not) bring this beast down. While the Weather Underground was made up a small group of very appealing subjective revolutionaries its political/moral strategy led to a dead end. The lesson to be learned; you most definitely do need weather people to know which way the winds blow. Start with Karl Marx.

He Could Have Been A Contender, Oops, Champion Of The World-Bette Davis, Edward G. Robinson and Humphrey Bogart’s “Kid Galahad” (1937)- A Film Review

He Could Have Been A Contender, Oops, Champion Of The World-Bette Davis, Edward G. Robinson and Humphrey Bogart’s “Kid Galahad” (1937)- A Film Review

DVD Review

By Lance Lawrence

Kid Galahad, starring Bette Davis, Edward G. Robinson, Humphrey Bogart, Warren Morris, Jane Bryan, 1937    

A guy I used to work for when I was a kid, when I was looking for a little spending money to escort whatever flame I was pursuing at the moment was fond of saying “some guys are born to be lovers, some fighters.” That comment directed at me since in those days I was as prone to fight somebody over some now misty and silly slight, maybe someone said something about some gal I was interested before I got wise to the fact that I wasn’t much of a fighter at a skinny 140 pounds taking on guys much bigger and stronger. That guy I worked for had me tagged though as a lover not a fighter if you had to choose between the two. Especially when at sixteen I mixed it up with a guy much bigger than I over a girl and got nothing but the worst of it. This cutting up old touches had resulted from viewing the film under review, Kid Galahad, where the fighter, a guy who would turn professional fighter before the film is half over, was both a lover and a fighter. Some mean feat which would have garnered much respect in the old neighborhood if such a person existed in those days. My growing up time employer would have gladly tipped his hat to that duel prowess. Would probably too note this big exception to the rule, and exception which would not have included me in any shape or form.

     

I can’t say that as a kid I was very interested in pugilism, the art of fighting, fighting in the ring although I never then had qualms about guys who did try for the brass ring. Guys who would start out young at the local police station gym, club fighters, and move up or out, mostly out. These were mostly “from hunger” Irish and Italian guys looking to break out of the heavy labor which would be their fate if they didn’t make it out. They were never a big part of the local scene and I don’t’ remember much talk about anybody but Irish Johnny Mangone (playing the Irish mother, Italian father card) who was some kind of Golden Gloves champion although how far up I don’t remember. I do know, because my father Boyo was a ringleader, that the fathers, uncles, older brothers used to populate the local gin mill, The Tam, every Friday night to watch, and presumably bet on the profession fights on television from maybe the old Madison Square Garden in New York City sponsored by Gillette Razor Company in those beardless days.

But enough of old touches and let’s get to why this Warren Gooseberry, played by Wayne Morris, or whatever his name was from down on the farm and nothing but a blonde hick and rube who would have lasted about two minutes in my neighborhood except he had a deadly right hook before somebody got wise and christened him Kid Galahad to make the women wet as a songwriter wrote about Elvis one time. This kid was trying to make his way, trying to make enough money in the big city to buy a farm and get married. This guy was strictly from nowhere because he believed he could make the nut on tips or whatever as a bellboy in an upscale hotel. Fat chance.       

Fat chance except as part of his duties the Kid (I refuse to further  use his given moniker) winds up serving them off the arm, serving drinks, hard liquor for a boxing promoter, Nick Donati, played by tough guy  gangster type Edward G. Robinson and his significant other (although no way they called such arrangements that back then in the time frame of this film the 1930s but more like mistress or kept woman, whore in some quarters), Fluff played by Bette Davis.

(By the way according to fellow reviewer Seth Garth the last time Robinson was seen in this space was as famous Chi town gangster Johnny Rocco, he of the tough guy racketeers who dominated urban life back then, maybe now too, bleeding like a sieve after a character played by Humphrey Bogart who will be mentioned below popped him full of lead for being ugly. No, for roughing up his flame down in the Keys in Key Largo. Come to think of it that was the last time Bogie made this space as well as a good guy (in the end) who after seeing hard service in the European Theater in World War II at first claimed that “one more Johnny Rocco, more or less, was not worth dying for.” Until Johnny roughed up his honey. To complete the triad the last time Bette Davis was seen in this space according to fellow reviewer Will Bradley she was being stalked by an enraged Pacific islander woman whose paramour had been murdered by an enraged Ms. Davis who thought she was his lover in The Letter.)  

Yeah you read it right Nick Donati, the famous fight manager who had many a contender but never seemed to have guy who could have or wanted to go all the way.  Nick a guy who worked the newspaper scribes like a violin whenever he had a prospect. Of course in those days the fight game, the way out for many a young guy who faced the soup kitchen or hard labor lugging stuff to and fro had many illustrious promoters ready to see what they were made of-contenders or tankers, mostly the latter. Like Nick’s nemesis Turkey Morgan, Bogie’s role, a gangster trying to get his cut in the fight racket who had through fair means or foul, mostly foul the hottest property in the game-the heavyweight champion of the world. The whole thing gathers steam when rube from nowhere Kid takes umbrage when that vaunted heavyweight champion of the world roughs up Fluff. Bang Nick Donati, how he did it nobody knows, had another fighter in his stable. And for playing Sir Galahad Fluff was ready to ditch sullen neglectful Nick for the young stud, for somebody who treated her like a lady. One conquest and the Kid hasn’t even gotten into the ring to make the Garden women audiences get funny thoughts. 

On the basis of knocking the champ for a loop Nick sent the Kid into the ring to get a little bloodied on his way up. Except to the chagrin of Nick and the deadly anger of Turkey the Kid bounces the prelim guy on the floor. The Kid had to blow town for a while so Fluff stashed him upstate at Nick’s mother’s farm. The Kid was right at home too just like he had left before seeking the bright lights of the city. Oh yeah except Ma was not alone for there is a virginal Nick younger sister, Marie, played by Jane Bryan, who winds up being crazy about the Kid-and he her. Problem, big problem, maybe two big problems really. That Fluff hunger for him and Nick’s fervent attempt to keep the mugs, the sawdust bums, the punching bag stiffs away from her. The Fluff part got taken care of by her taking a powder on Nick once she knew the freaking score with the Kid and Nick’s sister. She had been around enough to know things were hopeless especially when the Kid and Marie showed up at the nightclub where she was warbling, and Marie knew how she Fluff felt before all hell broke loose when Turkey and the champ tried to provoke the Kid.

Once Nick caught onto the romance between Marie and the Kid though he went wild, tried to do serious damage to the mug, to the Kid. Pushed the Kid into fighting the champ too soon and with the purposefully wrong strategy. Wrong approach, wrong once Fluff and Marie who were in attendance begged for mercy for the Kid. Bang-bang new strategy and the Kid takes the crown. Unfortunately, Nick, as was not usual for him, left a few loose ends like welshing on the underhanded deal he had made with gangster angry Turkey and as things worked out rather than a post-fight victory party there was a mutual shoot-out where both contestants were mortally wounded. Too bad. But good was the Kid winning the championship-and Marie. My employer would have scratched his head in approval.    

The Golden Age Of The B-Film Noir-Dan Duryea’s “Terror Street” (1953)

The Golden Age Of The B-Film Noir-Dan Duryea’s “Terror Street” (1953)

DVD Review

By Film Editor Emeritus Sam Lowell

Terror Street, starring Dan Duryea, Hammer Productions, 1953 

Long time readers of this space know, or should be presumed to know, of my long-standing love affair with film noir. The classic age of film noir in this country in the age of black and white film in the 1940s and 1950s when I would sneak over to the now long gone and replaced by condos Strand Theater in growing up town North Adamsville and spent a long double feature Saturday afternoon watching some then current production from Hollywood or some throwback from the 1940s which Mister Cadger would show in retrospective to cut down on expenses in tough times by avoiding having to pay for first –run movies all the time. I also on infrequent occasions would attend a nighttime showing with my parents if my strict Irish Catholic mother (strict on the mortal sin punishment for what turned out to have been minor or venial sins) thought the film passed the Legion of Decency standard that we had to stand up and take a yearly vow to uphold and I could under the plotline without fainting (or getting “aroused” by the fetching femmes). But mainly with me and five siblings they went to one of the three, count them three, movie theaters in small town North Adamsville by themselves to get away from our madness while Grandmother Riley tended to us with her no-nonsense regimen.

Yes, who could forget up on that big screen for all the candid world to see a sadder but wiser seen it all, heard it all Humphrey Bogart at the end of the Maltese Falcon telling all who would listen that he, he Sam Spade no stranger to the seamy side and cutting corners had had to send femme fatale Mary Astor his snow white flame over once she spilled too much blood for the stuff of dreams. Or cleft-chinned barrel-chested Robert Mitchum knowing he was doomed and out of luck taking a few odd bullets from his former femme fatale trigger –happy girlfriend Jane Greer once she knew he had double-crossed her to the coppers in Out Of The Past. Ditto watching the horror on smart guy gangster Eddie Mars face after being outsmarted after sending a small time grafter to his doom prime private detective Phillip Marlowe ordered him out the door to face the rooty-toot-toot of his own gunsels who expect Marlowe to be coming out in The Big Sleep. Those were some of the beautiful and still beautiful classics whose lines you can almost hear anytime you mention the words film noir.

But there were other lesser films that were produced in this country starring the likes of the queen bee of the B-film noir night Gloria Grahame and he-man Glenn Ford. And not just this country but in Great Britain (if that term still applies after empire lost and Scotland and Wales clamoring to go their own ways) where in the 1950s many minor Hollywood stars like Dan Duryea in this film under review Terror Street (in merry olde England released as 36 Hours got work when benighted England took on the film noir world. When an outfit called Hammer Productions produced a tonof such small epics none with the cinematography mood play, diologue or plotline of those classics mentioned above and among the best of them only running neck and neck with those quickly produced Hollywood B classics.        

In the old days before I retired I always liked to sketch out a film’s plotline to give the reader the “skinny” on what the action was so that he or she could see where I was leading them. I will continue that old tradition here (and in future Hammer Production vehicles to be reviewed over the coming period) to make my point about the lesser production values of the Hammer products. Thoughtful American military pilot Bill Rogers, the role played by minor Hollywood star Duryea, snuck out of America by a friendly fugitive military plane on a mission to find out why his good-looking Norwegian-born wife met during the war (you know what war if the film was made in 1953) in holding out against the Nazi scum in England hasn’t written, has flown the coop. 

No question war-time romances were not made in heaven and so that wife, Katie, after seeing Bill off for a long term flight school assignment in America got lonely, got antsy and struck up a bad relationship with a guy who promised her adventure and some much needed dough. Dough earned by being part of an international smuggling operation, mostly diamond. So once she had some serious dough and some serious wanting habits fulfilled like minks and high-end clothes she blew Bill off-headed uptown with the Mayfair swells. Leaving no forwarding address. Yeah, the vagaries of war. But intrepid Bill wasn’t buying that story and through musing up her girlfriend found out where she was hanging her hat. That is when all hell broke loose and maybe Bill should have just shaken it off and moved on.    

But not intrepid Bill. He confronted Katie at those new digs but before he could either make his case or find out why she had cold-shouldered him he got conked on the head by a party or parties unknown. And Katie well Katie got dead, got very dead by a gun found in Katie’s old apartment by Bill but which wound up in his conked-out head hand. The frame is on and Mister Bill is made to fit it. Fit to take the big step-off, to meet his maker (via the bloody hangman) unless he can work out who the hell killed his beloved wife, and why, within 36 hours when he has to catch that fugitive plane back  to America-or else.     

Of course the thing he needed to do immediately was flee that uptown swell apartment so he could avoid the bloody coppers who wanted to make sure he met that maker. Of course as well not being English he needed some help once he made his getaway. In his dashing getaway he found himself in an apartment of a young woman, some Judy who had a heart of gold since she worked the mission racket down on cheap street. He charmed his way into her good graces and she got knee- deep into his plot. Things seem to begin to make sense once Bill got information that dear Katie was shilling for this con artist who was working the international smuggling racket and with a nefarious fence who didn’t care if school kept or not as long as the dough kept rolling in.    

Naturally that Salvation Annie had to be put in danger by Bill’s plan to smoke out this dastardly con man posing as a treasury inspector. But the thing about Salvation Annies is that they don’t wilt so easy and ours doesn’t either. When the deal went down Bill put the rooty-toot-toot to the con man and the fence took some heat from the cops. Our Bill made the 36 hour connection no swear as Annie left him off at the base nice as could be. So you can see no femme like Jane Greer, no smart guy like Eddie Mars with gunsels at his disposal and no dark scenes to make you hope old Bill doesn’t face that hangman’s noose. Now if a fox like Katie had been highlighted well maybe after she led Bill a merry chase we could have had a plotline worth talking about. Sorry Hammer.         

In The Thick Of The Great Depression-Daydreams Of Social Mobility-The Film Adaptation Of Booth Tarkington’s “Alice Adams” (1935)- A Review

In The Thick Of The Great Depression-Daydreams Of Social Mobility-The Film Adaptation Of Booth Tarkington’s “Alice Adams” (1935)- A Review    

DVD Review

Si Lannon

Alice Adams, starring Katharine Hepburn, Fred MacMurray, from a novel by Booth Tarkington, 1935   

Growing up poor is a tough dollar no doubt about it. Maybe that is why I was assigned this film Alice Adams (based on the Booth Tarkington novel) by site manager Greg Green although a number of other writers here have also grown up under those conditions. Perhaps Greg chose me because my family circumstances kind of mirror those of the main character Alice, played by Katharine Hepburn. I grew up in the working-class poor Acre neighborhood in North Adamsville south of Boston where we were kind of the “middle class” meaning nothing other than we had our own house, small and dingy but our own as my mother was always fond of saying until her dying breathe (to distinguish us from those who rented apartments in the array of triple-decker buildings that were peppered around the neighborhood). Which also meant that my father, Norman, always had steady if not well-paid work at the North Adamsville Gear Works which was a sub-contracting outfit for the shipbuilding operations which dominated the town’s economy and kept us going until that shipbuilding pulled out to off-shore locations well after I came of age in the 1950s. That steady work was an important difference in the area since many, mainly men in those days of male breadwinners and female housewives, like Peter Paul Markin’s father for one, were always last hired, first fired in the up and down shipbuilding economy. There was always a tension between those who looked like they had made and those who were going to be left behind-always left behind.

That though is where the similarities between Alice, once again played by severely beautiful Katharine Hepburn, in the film and I differ significantly. Alice was always “putting on airs,” always lying to herself and others about her class situation. Always doe-eyed daydreaming that she was someplace above her station only to be crushed more times than not-for a while. I, on the other hand unknowingly accepted that we were working poor and that I should stay with guys like Markin and some of the guys who work here who grew up in the same town or small circumstances. Maybe it was because the rich and poor classes in my town never mixed much, except maybe a little in school and that only in passing.  (The very rich or the strivers sent their kids to private schools to “escape” having to deal with the raucous public schoolers and gain some resume credentials-some sent their kids to Catholic parochial schools but they were poor as church mice too and just wanted their kids away from the heathens like me and my crowd.)      

It was almost painful to see Alice and her upward social mobility strivings at the cost of her dignity and her intelligence kowtowing to others in town who flouted their good fortune fortunes. Of course some of this is just the myth of the American dream come to small-town America via a small town American girl who maybe read too many romantic novels, Cinderella stuff, when young. Abetted by a social striving mother who harpooned her father into giving a up a steady if underpaid and underutilized his skills job in order to rise economically for Alice’s benefit. Jesus, no wonder Alice was ready to debase herself at every moment in her quest for a rich man who would carry her off.  

Maybe I better set the story and you can figure out whether she was a holy goof or had more sense than I did in trying to get out from under that small- town girl rock. Alice, via her father, lives in an old-fashioned working- class house which befitted an employee, a clerk working for somebody else. Alice though had dreams and maybe some small connections to the upper classes via a tenuous friendship with one of the town debutantes. In order to “fit in” or believe she did she developed a whole persona who denied reality and lived in cloud cuckoo land. Except at one key dance she “met” Arthur, a rich young man played by Fred MacMurray last seen in this space bleeding like a sieve after Barbara Stanwyck threw a few off-hand slugs into him after the pair plotted the murder of her husband for dough and freedom in Double Indemnity, who somehow despite her wanderlust was attracted to her. Attracted despite being in some kind of relationship with that debutante who threw the party where they met.

Despite Alice’s antics, despite her slavish devotion to her dreams of upward mobility and her willfully false consciousness about her family’s financial condition Arthur stays the course. Stays the course even when she invites him to what turns out to be a disastrous dinner. Stays the course despite her brother’s getting into legal trouble and her father too in attempting to move up in class for her sake. Ms. Hepburn in the early days had a certain refreshing rose-cheeked charm and beauty but I will be damned unless Arthur was an airhead how she snagged that guy. But she did.