Down And Dirty In Intel World-Jeremy Renner’s “The Bourne Legacy” (2012)-A Film Review

Down And Dirty In Intel World-Jeremy Renner’s “The Bourne Legacy” (2012)-A Film Review

DVD Review

By Seth Garth

The Bourne Legacy, starring Jeremy Renner, Rachel Weisz, Edward Norton, 2012

Funny how changes of regime as has happened here at this site (and at the on-line American Film Gazette) recently with the departure of Allan Jackson as site manager to parts unknown, although rumor has it that he is either in retirement or exile out in Utah, after a fierce internal fight and the installation of Greg Green, formerly of American Film Gazette, in that position. Since Greg’s takeover of the day to day operations he has assigned various writers, young the ones who brought him to power and old who for the most part stood by Allan, including me, many more movie reviews than Allan who was partial to music and book reviews ever did. Everybody was amazed when we found out that the AFG had in its long existence in hard copy and on-line published reviews of over forty thousand films as against the roughly fifteen hundred that had been posted under the deposed Jackson regime.

But that is not the main point since one would expect AFG as a specialty publication to have many more film reviews as here under Allan, who whatever our old-time friendship, really limited the types of films that he would assign or people would suggest. I think in Allan’s heart of hearts he would have been happy if all the films assigned or suggested were straight-documentaries. Since the purge he has been in secluded exile out in Utah so I don’t know that preference for sure but that is my take. Whatever his wish Allan most certainly would not as Greg Green has done assign zombie films, those super-hero flicks like Superman and Batman from some ill-spent childhoods that kids these days flock to in droves. Allan did not particularly like reviews of films after about 1952 (or music after about 1970) which was one of the reasons for the revolt of the “Young Turks” who were stymied in their efforts to write stuff they knew or cared about and not the leavings of guys like me from the old days (old in time and age here and in our interests mostly centered on the 1960s and the immediate aftermath).       

  

Allan would have hollered bloody murder if he knew that Greg had assigned writers, young and old, to do such things as spy thrillers like the James Bond series now getting a hard work-out at this site. Would have flipped out and maybe needed hospitalization if he knew that Greg was passing out assignments like the film under review The Bourne Legacy. Although he would have given the Robert Ludlum Bourne novel series that this film is based on although not written by him a go ahead no problem. Alan’s main idea, main political idea was not to encourage belief in the omnipresent spy agencies from MI5-MI6 to CIA and NSA and whatever else the governments of the world have established to decrease enormously our privacy, our “right” to be left alone. That was why he always highlighted and profiled whistle-blower cases like those of the heroic and now released from jail Chelsea Manning and as of early 2018 the still Russia-exiled Edward Snowden.

Initially before he became site manager and was just in charge or the day to day operation Greg had assigned young writer Lance Lawrence to do the trilogy of Bourne movies starring Matt Damon who created the role and made the most of it. Lance, however, was among the leaders of the now emergent “Young Turks” who gutted Allan and sent him into something like a no-name non-person land showing that even young people who can retrace history a bit resembles nothing so much as Uncle Joe Stalin trying to wipe out the name Leon Trotsky from the annals of the Russian Revolution when he won the internal battle inside the Bolshevik Party. So Lance’s series took a back seat. Meanwhile Greg had assigned me to this film. Since it does not depend either on the Jason Bourne character or Matt Damon as actor Greg decided that I should post this now.

Although this version of the Bourne saga starts a bit slowly by the time it moves into gear about a third of the way through the movie it is another classic spy-thriller. Spy-thriller of the Bourne type meaning that the CIA (and its’ even more secretive sub-divisions in that murky shadow world) had no problem working very close to the Nuremburg Nazi –trial conviction standards in attempting to create genetically-enhanced  humans who were nothing, literally nothing, but effective killing machines to be placed wherever the CIA chieftains and their minions deem necessary. Scary thought. As long as the drug regime held out. Certainly their creature Arron Cross, played by Jeremy Renner, was built for that task. That, what do they call such actions now down in Washington-deep state, yes, deep state work which all the conspiracy theorists, pro and amateur, live to chatter in cyberspace about while trolling along in their lives.       

But what if things go wrong. No, not wrong with the high tech experiments that is easy enough just waste your no-name agents, but when such programs see the light of day, get known about outside the inner circle. That is Arron Cross’ problem from about minute one once the spook bureaucrats decided to pull the plug on all the nefarious operations so they could, something out of the Vietnam War terminology, have plausible deniability (which in the end they rammed down some Senate sub-committee’s throat.) So the chase is on, the elusive and apparently too well trained killer, Aaron, becomes the subject of a massive manhunt to kill him and ask questions later. That is the plan of chief liquidator ex Col. Byer, played by Edward Norton, in any case and while as we know he will not be successful against the free spirit Cross (after his cold turkey from his jones on those green and blue pills) he is as determined as any real CIA/NSA bureaucrat to make the problem go away.

Cross is up to the task, more than up to the task but as a rogue, as a renegade he has lost access to the genetic pills which give him his strength and intelligence. In desperation he seeks out one of his handlers, a doctor, Doctor Shearing, who may have some pills. This Doctor Shearing though is a pure researcher so no drugs. Moreover dear Mister Byer is intent on covering all tracks from agents to researchers and so she must be eliminated. Once Cross makes contact with the good doctor, played by fetching Rachel Weisz who almost anybody would go to great efforts protect so he is no fool moving mountains to aid her escape the rest of the film centers on getting him those damn drugs (creating an international chase to Manila) and avoiding almost every minute all the bad guys, crooks, agents and cops that Byer and company can throw at him and her.             

Kicking, jumping, hard-riding you name it to get out of the bullseye on his back. After the murder, mayhem and frenzy settle down in their favor Cross and the Doc “disappear.” End of story-maybe.

You Got That Right Brother-The Blues Ain’t Nothing But A Good Woman On Your Mind -With Arthur Alexander's Anna In Mind

You Got That Right Brother-The Blues Ain’t Nothing But A Good Woman On Your Mind -With Arthur Alexander's Anna In Mind 

By Seth Garth 

[I will have more to say about the matter presently once I get 

more details about what is a very disturbing situation if it pans out to be true. I had heard rumors that some of the "Young Turks" who were instumental in what was supposed to be, and was advertised as, the well-desered retiremment of the long time site manager here Allan Jackson (who for those not in the know went under the moniker Peter Paul Markin in the blogosphere) once a vote of no confidence did not go his way have been letting it out that what really happened was a full-fledged purge in the old-fashioned political sense. That would acount for the rumored whereabouts of Allan being in self-imposed exile out in Utah trying to hustle up copy from the Mormon newspapers. Strange, very strange since Allan is the most irrelgious man I know and that word is exactly  appropriate. More later when I actually can find time to contact my old friend and doping and drinking partner to get at the truth. WTF Seth Garth]   

************

        

  

  

A YouTube film clip of Arthur Alexander performing his classic Anna later coveted on a cover by the Beatles.

Johnny Prescott daydreamed his way through the music that he was listening to just then on the little transistor radio that Ma Prescott, Martha to adults, and Pa too, Paul to adults, but the main battles over the gift had been with Ma, had given him for Christmas. In those days we are talking about, the post-World War II red scare Cold War 1950s in America, the days of the dreamy man in the family being the sole provider fathers didn’t get embroiled in the day to day household kids wars and remained a distant and at times foreboding presence called in only when the dust-up had gotten out of hand. And then Papa pulled the hammer down via a classic united front with Ma. Johnny had taken a fit around the first week in December in 1960 when Ma quite reasonable suggested that a new set of ties to go with his white long-sleeved shirts might be a better gift, a better Christmas gift and more practical too, for a sixteen year old boy. Reasonable since alongside Pa being that sole provider, being a distant presence, and being called in only when World War III was about to erupt in the household he also worked like a slave for low wages at the Boston Gear Works, worked for low wages since he was an unskilled laborer in a world where skills paid money (and even the skills that he did have, farm hand skills, were not very useful in the Boston labor market). So yes ties, an item that at Christmas time usually would be the product of glad-handing grandmothers or maiden aunts would in the Prescott household be relegated to the immediate family. And that holiday along with Easter was a time when the Prescott boys had in previous years had gotten their semi-annual wardrobe additions, additions provided via the Bargain Center, a low-cost, low rent forerunner of the merchandise provided at Wal-Mart.                

This year, this sixteen year old year, Johnny said no to being pieced off with thick plaid ties, or worse, wide striped ties in color combinations like gold and black or some other uncool combination, uncool that year although maybe not in say 1952 when he did not know better, uncool in any case against those thin solid colored ties all the cool guys were wearing to the weekly Friday night school dances or the twice monthly Sacred Heart Parish dances the latter held in order to keep sixteen year old boys, girls too, in check against the worst excesses of what the parish priests (and thankful parents) thought was happening among the heathen young.

No, that is not quite right, that “Johnny said no” part, no, he screamed that he wanted a radio, a transistor radio, batteries included, of his own so that he could listen to whatever he liked up in his room, or wherever he was. Could listen to what he liked against errant younger brothers who were clueless, clueless about rock and roll, clueless about what was what coming through the radio heralding a new breeze in the land, a breeze Johnny was not sure what it meant but all he knew was that he, and his buddies, knew some jail-break movement was coming to unglue all the square-ness in the over- heated night. Could listen in privacy, and didn’t have to, understand, didn’t have to listen to some Vaughn Monroe or Harry James 1940s war drum thing on the huge immobile RCA radio monster downstairs in the Prescott living room. Didn’t have to listen to, endlessly Saturday night listen, captive nation-like listen to WJDA and the smooth music, you know, Frank Sinatra, Andrews Sisters, Bing Crosby, and so on listen to the music of Ma and Pa Prescott’s youth, the music that got them through the Depression and the war. Strictly squaresville, cubed.

Something was out of joint though, something had changed since he had begun his campaign the year before to get that transistor radio, something or someone had played false with the music that he had heard when somebody played the jukebox at Freddy’s Hamburger House where he heard Elvis, Buddy, Chuck, Wanda (who was hot, hot for a girl rocker, all flowing black hair and ruby red lips from what he had seen at Big Max’s Record Shop when her Let’s Have A Party was released), the Big Bopper, Jerry Lee, Bo, and a million others who made the whole world jump to a different tune, to something he could call his own. But as he listened to this Shangra-la by The Four Coins that had just finished up a few seconds ago and as this Banana Boat song by The Tarriers was starting its dreary trip through his brain he was not sure that those ties, thick or uncool as they would be, wouldn’t have been a better Christmas deal, and more practical too.

Yeah, this so-called rock station, WAPX, that he and his friends had been devoted to since 1957, had listened to avidly every night when Johnny Peeper, the Midnight Creeper and Leaping Lenny Penny held forth in their respective DJ slots, had sold out to, well, sold out to somebody, because except for late at night, midnight late at night, one could not hear the likes of Jerry Lee, Carl, Little Richard, Fats, and the new rocker blasts, now that Elvis had gone who knows where. Killer rocker Chuck Berry had said it best, had touched a youth nation nerve, had proclaimed the new dispensation when he had proclaimed loud and clear that Mr. Beethoven had better move alone, and said Mr. Beethoven best tell one and all of his confederates, including Mr. Tchaikovsky, that rock ‘n’ roll was the new sheriff in town. But where was Chuck, where was that rock blaster all sexed up talk and riffs to match now that everybody was reduced to Bobby Darin, Bobby Rydell, and Bobby, hell, they were all Bobbys and Jimmys and Eddies and every other vanilla name under the sun now not a righteous name in the house. As Johnny turned the volume down a little lower (that tells the tale right there, friends) as Rainbow (where the hell do they get these creepy songs from) by Russ Hamilton he was ready to throw in the towel though. Ready to face the fact that maybe, just maybe the jail-break that he desperately had been looking forward to might have been just a blip, might have been an illusion and that the world after all belonged to Bing, Frank, Tommy and Jimmy and that he better get used to that hard reality.   

Desperate, Johnny fingered the dial looking for some other station when he heard this crazy piano riff starting to breeze through the night air, the heated night air, and all of a sudden Ike Turner’s Rocket 88 blasted the airwaves. Ike whose Rocket 88 had been the champion choice of Jimmy Jenkins, one of his friends from after school, when they would sit endlessly in Freddy’s and seriously try to figure out whose song started the road to rock and roll. Johnny had latched onto Big Joe Turner’s Shake, Rattle and Roll which Elvis did a smash cover of but who in Joe’s version you can definitely heart that dah-da-dah beat that was the calling card of his break-out generation, as well as the serious sexual innuendo which Frankie Riley explained to one and all one girl-less Friday night at the high school hop. Billy Bradley, a high school friend who had put an assortment of bands together and so knew more than the rest of them combined, had posited Elmore James’ Look Yonder Wall as his selection but nobody had ever heard the song then, or of James. Johnny later did give it some consideration after he had had heard the song when Billy’s band covered it and broke the place up.

But funny as Johnny listened that night it didn’t sound like the whinny Ike’s voice on Rocket 88 so he listened for a little longer, and as he later found out from the DJ, it had actually been a James Cotton Blues Band cover. After that band’s performance was finished fish-tailing right after that one was a huge harmonica intro and what could only be mad-hatter Junior Wells doing When My Baby Left Me splashed through. No need to turn the dial further now because what Johnny Prescott had found in the crazy night air, radio beams bouncing every which way, was direct from Chicago, and maybe right off those hard-hearted Maxwell streets was Be-Bop Benny’s Chicago Blues Radio Hour. Be-Bop Benny who everybody who read the rock and roll magazines found easier at Doc’s Drugstore over on Hancock Street knew, had started Chuck Berry, Little Richard, and Fats Domino on their careers, or helped.

Now Johnny, like every young high-schooler, every "with it" high schooler in the USA, had heard of this show, because even though everybody was crazy for rock and roll, just now the airwaves sounded like, well, sounded like music your parents would dance to, no, sit to at a dance, some kids still craved high rock. So this show was known mainly through the teenage grapevine but Johnny had never heard it before because, no way, no way in hell was his punk little Radio Shack transistor radio with two dinky batteries going to ever have enough strength to pick Be-Bop Benny’s show out in Chicago. So Johnny, and maybe rightly so, took this turn of events for a sign. When Johnny heard that distinctive tinkle of the Otis Spann piano warming up to Spann’s Stomp and jumped up with his Someday added in he was hooked. You know he started to see what Billy, Billy Bradley who had championed Elmore James way before anybody knew who he was, meant when at a school dance where he had been performing with his band, Billie and the Jets, he mentioned from the stage before introducing a song that if you wanted to get rock and roll back from the vanilla guys who had hijacked it while Jerry Lee, Chuck and Elvis had turned their backs then you had better listen to the blues. And if you wanted to listen to blues, blues that rocked then you had very definitely had better get in touch with the Chicago blues as they came north from Mississippi and places like that.

And Johnny thought, Johnny who have never been too much south of Gloversville, or west of Albany, and didn’t know too many people who had, couldn’t understand why that beat, that dah, da, dah, Chicago beat sounded like something out of the womb in his head. But when he heard Big Walter Horton wailing on that harmonica on Rockin’ My Boogie he knew it had to be in his genes.

Here’s the funniest part of all though later, later in the 1960s after everybody had become a serious aficionado of the blues either through exposure like Johnny to the country blues that got revived during the folk minute that flashed through the urban areas of the country and got big play at places like the Newport Folk Festival or like Jimmy Jenkins through the British rock invasion the blues became the dues. It was especially ironic that a bunch of guys from England like the Stones and Beatles were grabbing every freaking 45 RPM record they could get their mitts on. So if you listened to the early work of those groups you would find thing covered like Shake, Rattle and Roll (Big Joe’s version), Arthur Alexander’s Anna, Howlin’ Wolf’s Little Red Rooster and a ton of stuff by Muddy Waters. Yeah, the drought was over. 

Once Again- The Young Women With Long-Ironed Hair- With Joan Baez, Mimi Farina, And Judy Collins In Mind

Once Again- The Young Women With Long-Ironed Hair- With Joan Baez, Mimi Farina, And Judy Collins In Mind

By Bart Webber 

[Some stories and the one concerning the 1960s trend by folkie-influenced young women to no matter their hair-string, short, curly, kinky wanted to look like the queens of the folk  scene much as every self-respecting guy a half decade or so before (although it probably seemed like a half century before things were moving just that fast in those times) had to have longish sideburns whether that condition could prevail or not in order to get anywhere with the young girls who would not look twice at you much less dance with you unless you lived in the image of Elvis. Some guys never got over that make-over other moved on to long hair and beards when the sea-change occurred about 1964. I know since I had both sideburns, flinty ones and later ling stringy hair and a whispy beard since I did't start shaving for real until I was about twenty. Bartlett Webber[   

 ************

Funny how trends get started, how one person, or a few start something and it seems like the whole world follows, or the part of the world that hears about the new dispensation anyway, the part you want to connect with. That new dispensation for my generation began back in the late 1950s, early 1960s so maybe it was when older guys started to lock-step in gray flannel suits (Mad Men, retro-cool today, okay) and before Jack and Bobby Kennedy put the whammy on the fashion and broke many a haberdasher’s heart topped off by a soft felt hat. It would be deep into the 1960s before open-necks and colors other than white for shirts worked in but by then a lot of us were strictly denims and flannel shirts or some such non-suit combination. Maybe it was when one kid goofing off threw a hard plastic circle thing around his or her waist and every kid from Portland, Maine to Portland, Oregon had to have one, to be tossed aside in some dank corner of the garage after a few weeks when everybody got into yo-yos or Davey Crockett coonskin caps. Or maybe, and this might be closer to the herd instinct truth, it was after Elvis exploded onto the scene and every guy from twelve to two hundred in the world had to, whether they looked right with it or not, wear their sideburns just a little longer, even if they were kind of wispy and girls laughed at you for trying to out-king the “king” who they were waiting for not you.  

But maybe it was, and this is a truth which I can testify to, noting the photograph above, when some girls, probably college girls (now called young women but then still girls no matter how old except mothers or grandmothers, go figure) having seen Joan Baez on the cover of Time (or perhaps her sister Mimi on some Mimi and Richard Farina folk album cover)got out the ironing board at home or in her dorm and tried to iron their own hair whatever condition it was in, curly, twisty, flippy, whatever  don’t hold me to hairstyles to long and straight strands. (Surely as strong as the folk minute was just then say 1962, 63, 64, they did not see the photo of Joan on some grainy Arise and Sing folk magazine cover the folk scene was too young and small then to cause such a sea-change).

Looking at that photograph now, culled from a calendar put out by the New England Folk Archive Society, made me think back to the time when I believe that I would not go out with a girl (young woman, okay) if she did not have the appropriate “hair,” in other words no bee-hive or flip thing that was the high school rage among the not folk set, actually the social butterfly, cheerleader, motorcycle mama cliques. Which may now explain why I had so few dates in high school and none from Carver High (located about thirty miles south of Boston). But no question you could almost smell the singed hair at times, and every guy I knew liked the style, liked the style if they liked Joan Baez, maybe had some dreamy desire, and that was that.                   

My old friend Sam Lowell, a high school friend who I re-connected with via the “magic” of the Internet a few years ago, told me a funny story when we met at the Sunnyville Grille in Boston one time about our friend Julie Peters who shared our love of folk music back then (and later too as we joined a few others in the folk aficionado world after the heyday of the folk minute got lost in the storm of the British invasion). He had first met her in Harvard Square one night at the Café Blanc when they had their folk night (before every night was folk night at the place when Eric Von Schmidt put the place on the map by writing Joshua Gone Barbados which he sang and which Tom Rush went big with) and they had a coffee together, That night she had her hair kind of, oh he didn’t know what they called it but he thought something like beehive or flip or something which highlighted and enhanced her long face. Sam thought she looked fine. Sam (like myself) was not then hip to the long straight hair thing) and so he kind of let it pass without any comment. 
Then one night a few weeks later after they had had a couple of dates she startled him when he picked her up at her dorm at Boston University to go over the Club Blue in the Square to see Dave Van Ronk hold forth in his folk historian gravelly-voiced way. She met him at the door with the mandatory long-stranded hair which frankly made her face even longer. When Sam asked her why the change Julie declared that she could not possibly go to Harvard Square looking like somebody from some suburban high school not after seeing her idol Joan Baez (and later Judy Collins too) with that great long hair which seemed very exotic, very Spanish. 
Of course he compounded his troubles by making the  serious mistake of asking if she had it done at the beauty parlor or something and she looked at him with burning hate eyes since no self-respecting folkie college girl would go to such a place where her mother would go, So she joined the crowd, Sam got used to it and after a while she did begin to look like a folkie girl (and started wearing the inevitable peasant blouses instead of those cashmere sweaters or starched shirt things she used to wear).     
By the way let’s be clear on that Julie thing with Sam back the early 1960s. She and Sam went “dutch treat” to see Dave Van Ronk at the Club Blue. Sam and Julie were thus by definition not on a heavy date, neither had been intrigued by the other enough to be more than very good friends after the first few dates but folk music was their bond. Despite persistent Julie BU dorm roommate rumors what with Sam hanging around all the time listening to her albums on the record player they had never been lovers. A few years later she mentioned that Club Blue night to Sam as they waited to see Pete Seeger and Arlo Guthrie with me and my companion, Laura Talbot, to see if he remembered Van Ronk’s performance and while he thought he remembered he was not sure. 
He asked Julie, “Was that the night he played that haunting version of Fair and Tender Ladies with Eric Von Schmidt backing him up on the banjo?” Julie had replied yes and that she too had never forgotten that song and how the house which usually had a certain amount of chatter going on even when someone was performing had been dead silent once he started singing.

As for the long-ironed haired women in the photograph their work in that folk minute and later speaks for itself. Joan Baez worked the Bob Dylan anointed “king and queen” of the folkies routine for a while for the time the folk minute lasted. Mimi (now passed on) teamed up with her husband, Richard Farina, who was tragically killed in a motorcycle crash in the mid-1960s, to write and sing some of the most haunting ballads of those new folk time (think Birmingham Sunday). Julie Collins, now coiffured like that mother Julie was beauty parlor running away from and that is okay, still produces beautiful sounds on her concert tours. But everyone should remember, every woman from that time anyway, should remember that burnt hair, and other sorrows, and know exactly who to blame. Yeah, we have the photo.            

Yet Again Into The Lion’s Den- Not Fit For Hallmark Channel Prime-time, Maybe -Cary Grant And Irene Dunne’s “The Awful Truth (1937)- A Short Film Review-Of Sorts

Yet Again Into The Lion’s Den- Not Fit For Hallmark Channel Prime-time, Maybe -Cary Grant And Irene Dunne’s “The Awful Truth (1937)- A Short Film Review-Of Sorts   

[In a recent introduction to this new series, a series based on short film reviews for films that deserve short reviews if not just a thumb’s up or down I noted that Allan Jackson, the deposed previous site manager, required his film reviewers to write endlessly about the film giving the material an almost cinema studies academic journal take on it. That caused a serious decline in the number of reviews over the years which I hope to make up with a flurry of snap reviews for busy people. To see in full why check the archives for November 28, 2018- Not Ready For Prime Time But Ready For Some Freaking Kind Of Review Film Reviews To Keep The Writers Busy And Not Plotting Cabals Against The Site Manager-Introduction To The New Series. Greg Green]

DVD Review

By Sam Lowell

The Awful Truth, starring Irene Dunne, Cary Grant, 1937

I am inured to the trolls who have been haunting and harassing me ever since I casually mentioned that a couple of films dealing with romance and thwarted romance especially would find no airspace on the vanilla-flavored one plot fits all Hallmark Channel that during the Christmas  has distracted a good portion of the population from anything more controversial than what to wear to the festivities in small town home town America where almost all the action takes place. One reader of those reviews in a deliberate slap in the face called me either asexual or a hermaphrodite, heartless, lacking in manly virility even in comparison to the guys the lead female character had dumped, lacking human warmth or even a pulse, and needing a brain transplant. That series of bromides from my long-time companion Laura Perkins, a devoted, should I say fanatical adherent to the Hallmark Channel at Christmastime. So you can imagine what the unformed, ill-advised trolls who apparently between 24/7/365 devotion to the channel have plenty of time to commit to no holds barred defenses of this mush.

Like I said I have become inured, had in any case expected some blow back from my comments since Laura was first on the warpath and she is generally a very civilized person, except on the question of the fake love and romance stories churned out on that network. Subsequently I have been called queer, not queer in the LGBTQ sense but as some kind of withered human being. Been called various reptilian names and been charged with crimes ranging from causing the fall of Eden way back when to aggravated assault on the senses for making unkind remarks about the silliness that dare not speak its name-although I will. And have.   

I have been doing film reviews of one kind or another for many publications of one kind or another, some with generous payment and some for a penny a word or so it seemed with the time spent and I would be hard-pressed to see plots, and I have seen some horrible ones, so mundane as those on Hallmark. Therefore I have begun a little campaign, probably hopeless and thankless, of reviewing films with a slant toward whether they would make the networks’ programming format. Or that they were too real for the mud thrown at the audience on Hallmark.    

My latest  presentation, a 1930s film to boot which given the Hollywood codes of the day should easily allow it to qualify  for Hallmark consideration, is a Cary Grant-Irene Dunne vehicle entitled The Awful Truth which is a pretty good if not great romantic comedy which nevertheless deals with the question of trust between married people, or any couple whatever their marital status or these days gender. The plotline is not spectacular but the play by play of a marriage gone down the tubes, and then resurrected, is worth a peek.

Cary, playing the gallant don’t take living on the high side of life too seriously that he made into an art form when he did comedic Mayfair swell characters, American version, is miffed at his ever-loving wife, Irene, because she seemingly has been having a flirtation, an affair although do look for that word in the script, with a French guy who she claims is her music teacher. Cary, manly, virile Cary does not believe the innocent story she had to tell about why they, she and that French guy, had been out all night. So to the courts, the chancery courts in those days for the decree nisi, including giving custody of the inevitable cute family dog to Irene. A decree which will become final in ninety days unless something happens.    

During that crucial ninety days she, Irene, gets herself engaged, reluctantly engaged, to some cowboy angel drifter from Oklahoma and he, Cary, cavorts, nice word, with some society dame with plenty of dough and status. But rather than go their separate ways this pair find about sixteen ways to cross each other’s path and either make trouble or surprise for the other. Of course, we are going for the big ending, an ending Hallmark would appreciate-the kiss and make-up at the end. And as if on cue just minutes short of the ninety- day cutoff they walk into that good night-together. But Hallmark in 2018 might object that Cary was down on his knees playing with the dog, might object that they shared an open door between bedrooms, that Irene was drunk as a skunk in one scene, that some of the songs as performed were too suggestive and showy. The list goes on. No, once again this is not fare for Hallmark eyes and ears. Let’s see what remarks Laura will make, all others I am inured to so fire away.       

On The 80th Anniversary- On The Great White Way-Broadway-Katharine Hepburn and Ginger Rogers’ “Stage Door” (1937)-A Film Review

On The 80^th Anniversary- On The Great White Way-Broadway-Katharine Hepburn and Ginger Rogers’ “Stage Door” (1937)-A Film Review

DVD Review

By Leslie Dumont

[This review was in the pipeline in 2017 but due to some internal problems kind of got lost in shuffle so 80^th anniversary is still appropriate. Greg Green]  

Stage Door, starring Katharine Hepburn, Ginger Rogers, Adolphe Menjou, 1937  

Sometimes we of the later feminist-friendly generations are clueless by means or happenstance about the efforts of earlier generations of women to get ahead in this man’s world (less so that before but as the recent sexual harassment scandals of 2016 point out this bad ass stuff runs deep among important segments of the male population). Still it was nice to have Greg Green the new site manager call me up to do this review since the previous site manager, Allan Jackson, who I had known for years refused to do so. Even when one of his best friends, Josh Breslin, from back in the 1960s in California was my companion for many years (and we still talk now more frequently since we are both working at this site). Refreshing too to do basically an all women film like Stage Door at a time when such efforts were rare, certainly rare than today and where for the most part men take the background although always have a lingering presence.

The beauty of this one is that a number of then well-known women actresses like Katharine Hepburn and Ginger Rogers work the crowd with up and coming types like Lucille Ball and Eve Arden. Of course the story-line is important here as well since well know Algonquin Roundtable writers Edna Ferber and George S. Kaufman provided the original premise if not the bulk of the screenplay dialogue. Moreover it is very good that this ensemble do their thing not in glamour puss Hollywood but in the Great White Way, Broadway, which used to be called, and maybe still is by some, the legitimate theater. Of course the backdrop of stuck on stardom and its pitfalls is the same in both locations with the same failure rates and broken dreams of the thousands who headed either East or West to get themselves noticed.

The set-up, a great idea used many times to good effect in ensemble efforts, of this one is that all the main female actors reside in one lunatic asylum of a women’s hotel, famous lodgings near good old Broadway. The banter thus is close in and sharp. In the old days some would say catty particularly when Katharine Hepburn’s haughty character charges through the door. You have the whole range of experiences from last year’s up and coming star who is now on the road to bust to a bright-eyed novice dilettante who wants to make the big show on her own terms. The central action though is between Terry, played by poor little rich girl out slumming (at some level) and Jean, played by Ginger Rogers who will take whatever she can get from some two-bit dance routine to the boss’ bed if necessary. Those are the poles and all the others from that last year’s fallen wonder to truly second-rate talents who should think about a career change (fat chance) run the string out.      

We see it all, all the back story of the uphill battle the average woman faced to get her foot in the door, from the cancelled appointments to don’t call us, we’ll call you to the infamous, and in the wake of the Harvey Weinstein line of sexual harassment and other sexual crimes, insidious casting couch which beckoned to Jean by the main male figure, Anthony Powell, played by Adolphe Menjou whose way of operating seemed eerily portentous. Not to worry though Terry, after a traumatic experience, finds her voice-she despite, or because of, that good breeding has star quality-that certain “it.” (Of course figuring that out was a no-brainer since almost all these actresses had that star quality). The only discordant note, a note which I am not sure rung true and certainly broke away from the wit and sarcasm that drove the film was the suicide of that last years’ star when she was on the way to down and out. How many wannabe actors wind up in that extreme situation I am not sure of but it did throw me off a bit as the key event to get Terry to emote like crazy in the play she was starring in and show that “it.”     

Tell Me Rosalie Sorrels Have You Seen Starlight On The Rails?-In Honor Of The Late Rosalie Sorrels

Tell Me Rosalie Sorrels Have You Seen Starlight On The Rails?-In Honor Of The Late Rosalie Sorrels  

By Fritz Taylor

[This piece was written and in the pipeline before the recent (2016) internal wrangle at this site about who would write what and what kind of material would survive the posting wars so I asked new site manager not to put the now familiar notice about job titles and specialties beneath my by-line as he has done on most pieces submitted of late. He has honored my request and this may yet lead to a cessation of the practice since unless the reader has been privy to the vast inside information about the replacement of old-time manager Allan Jackson (and in the interest of transparency my old friend going back to Vietnam Veterans Against the War (VVAW) by former American Film Gazette editor Greg Green it poses more questions than it answers. In any case I will keep my opinions to myself for now about whether we have just gone through a purge and attempt to write Allan out of blogosphere history somewhat reminiscent of the old Stalinist tricks trying to write (and airbrush) Russian revolutionary Leon Trotsky out of history or a simple retirement of an eligible candidate. Fritz Taylor           

Every hobo, tramp, and bum and there are social distinctions between each cohort recognized among themselves if not quite so definitely by rump sociologists who lump them all together but that is a story for another day has seen starlight on the rails. Has found him or herself (mainly hims though out on the “jungle” roads) flat up against some railroad siding at midnight having exhausted every civilized way to spent the night. Has seen the stars out where the spots are darkest and the brilliance of the sparkle makes one think of heaven for those so inclined, think of the void for the heathen among them. Has dreamed dreams of shelter against life’s storms.

But not everybody has the ability to sing to those heavens (or void) about the hard night of starlight on the rails and that is where Rosalie Sorrels, a woman of the American West out in the Idahos, out where, as is said in the introduction to the song, the states are square (and at one time the people, travelling west people and so inured to hardship, played it square, or else), sings old crusty Utah Phillips’ song to those hobo, tramp, bum heavens. Did it while old Utah was alive to teach the song (and the story behind the song) to her and later after he passed on in a singular tribute album to his life’s work as singer/songwriter/story-teller/ troubadour.         

Now, for a fact, I do not know if Rosalie in her time, her early struggling time when she was trying to make a living singing and telling Western childhood stories had ever along with her brood of kids been reduced by circumstances up against that endless steel highway but I do know that she had her share of hard times. Know that through her friendship with Utah she wound up bus-ridden to Saratoga Springs in the un-squared state of New York where she performed and got taken under the wing of Lena from the legendary Café Lena during some trying times. And so she flourished, flourished as well as any folk-singer could once the folk minute burst it bubble and places like Café Lena, Club Passim (formerly Club 47), a few places in the Village in New York City and Frisco town became safe havens to flower and grow some songs, grow songs from the American folk songbooks and from her own expansive political commentator songbook. And some covers too as her rendition of Starlight on the Rails attests to as she worked her way across the continent. Worked her way to a big night at Saunders Theater at Harvard too when she called the road quits a decade or so ago. So listen up, okay.           

In The Twilight Of The Folk Minute- Peter Seeger And Arlo Guthrie In Concert In The Late 1980s

In The Twilight Of The Folk Minute- Peter Seeger And Arlo Guthrie In Concert In The Late 1980s

By Zack James

[As of December 1, 2017 under the new regime of Greg Green, formerly of the on-line American Film Gazette website, brought in to shake things up a bit after a vote of no confidence in the previous site administrator Allan Jackson (aka Peter Paul Markin in the blogosphere) was taken among all the writers at the request of some of the younger writers abetted by one key older writer, Sam Lowell, the habit of assigning writers solely to specific topics like film, books, political commentary, and culture is over. Also over is the designation of writers in this space, young or old, by job title like senior or associate. After a short-lived experiment by Green designating everybody as “writer” seemingly in emulation of the French Revolution’s “citizen” or the Bolshevik Revolution’s “comrade” all posts will be “signed” with given names only. The Editorial Board]

[Although I am also a much younger writer I today stand in agreement with Bart Webber and Si Lannon, older writers who I admire and whom I have learned a lot from about how to keep it short and sweet but in any case short on these on-line sites. And now Lance Lawrence from the younger writers.  .

In any case the gripe the former two writers and Lance had about the appropriateness of this disclaimer above or whatever it purports to be by the "victorious" new regime headed by Greg Green and his hand-picked Editorial Board is what I support. As Bart first mentioned, I think, if nothing else this disclaimer has once again pointed told one and all, interested or not, that he, they have been “demoted.”  Same here.

In the interest of transparency I was also among the leaders, among the most vociferous leaders, of what has now started to come down in the shop as urban legend “Young Turks” who fought tooth and nail both while Alan Jackson (aka Peter Paul Markin as blog moniker for reasons never made clear, at least to me) was in charge and essentially stopped young writers from developing their talents and later when we decided that Allan had to go, had to “retire.” But I agree with my fellow three writers here that those on the “losing” end in the fierce no-holds barred internal struggle had taken their "beating" and have moved on as far as I can tell. That fact should signal the end of these embarrassing and rather provocative disclaimers. Done. Zack James]

**********

 “Jesus, they charged me fourteen dollars each for these tickets to see Pete Seeger and Arlo Guthrie. Remember Laura about ten or fifteen years ago when we saw Pete for five bucks each at the Café Nana over in Harvard Square (and the price of an expresso coffee for two people and maybe a shared piece of carrot cake since they had been on a date, a cheap date when he didn’t have much cash and at a time when the guy was expected to pay, no “dutch treat,” no Laura dutch treat expected anyway especially on a heavy date, and that one had been s when he was intrigued by her early on) and around that same time, that same Spring of 1973, Arlo gave a free concert out on Concord Common,” said Sam Lowell to his date Laura Peters and the couple they were standing in line with, Patrick Darling and Julia James, in front of Symphony Hall in Boston waiting for the doors to open for the concert that evening. This would be the first time Pete and Arlo had appeared together since Newport a number of years back and the first time this foursome had seen either of them in a good number of years since Pete had gone to upstate New York and had been spending more time making the rivers and forests up there green again than performing and Arlo was nursing something out in Stockbridge. “Maybe, Alice,” Patrick said and everybody laughed at that inside joke. 

Sam continued along that line of his about “the back in the days” for a while, with the three who were also something of folk aficionados well after the heyday of that music in what Sam called the “1960s folk minute” nodding their heads in agreement saying “things sure were cheaper then and people, folkies for sure, did their gigs for the love of it as much as for the money, maybe more so. Did it, what did Dave Van Ronk call it then, oh yeah, for the “basket,” for from hunger walking around money to keep the wolves from the doors. For a room to play out whatever saga drove them to places like the Village, Harvard Square, North Beach and their itch to make a niche in the booming folk world where everything seemed possible and if you had any kind of voice to the left of Dylan’s and Van Ronk’s, could play three chords on a guitar (or a la Pete work a banjo, a mando, or some other stringed instrument), and write of love, sorrow, some dastardly death deed, or on some pressing issue of the day.”

After being silent for a moment Sam got a smile on his face and said “On that three chord playing thing I remember Geoff Muldaur from the Kweskin Jug Band, a guy who knew the American folk songbook as well as anybody then, worked at learning it too, as did Kweskin, learned even that Harry Smith anthology stuff which meant you had to be serious, saying that if you could play three chords you were sure to draw a crowd, a girl crowd around you, if you knew four or five that  meant you were a serious folkie and you could even get a date from among that crowd, and if you knew ten or twelve you could have whatever you wanted. I don’t know if that is true since I never got beyond the three chord thing but no question that was a way to attract women, especially at parties.” Laura, never one to leave something unsaid when Sam left her an opening said in reply “I didn’t even have to play three chords on a guitar, couldn’t then and I can’t now, although as Sam knows I play a mean kazoo, but all I had to do was start singing some Joan Baez or Judy Collins cover and with my long black hair ironing board straight like Joan’s I had all the boy come around and I will leave it to your imaginations about the whatever I wanted part.” They all laughed although Sam’s face reddened a bit at the thought of her crowded with guys although he had not known her back then but only later in the early 1970s.                     

Those reference got Julia thinking back the early 1960s when she and Sam went “dutch treat” to see Dave Van Ronk at the Club Blue. (Sam and Julia were thus by definition not on a heavy date, neither had been intrigued by the other but folk music was their bond and despite persistent Julia BU dorm roommate rumors what with Sam hanging around all the time had never been lovers). She mentioned that to Sam as they waited to see if he remembered and while he thought he remembered he was not sure. He asked Julie, “Was that the night he played that haunting version of Fair and Tender Ladies with Eric Von Schmidt backing him up on the banjo?” Julie had replied yes and that she too had never forgotten that song and how the house which usually had a certain amount of chatter going on even when someone was performing had been dead silent once he started singing.

Club Blue had been located in that same Harvard Square that Sam had mentioned earlier and along with the Café Nana, which was something of a hot spot once Dylan, Baez, Tom Rush and the members of the Kweskin band started hanging out there, and about five or six other coffeehouses all within a few blocks of each other (one down on Arrow Street was down in the sub-basement and Sam swore that Dylan must have written Subterranean Homesick Blues there). Coffeehouses then where you could, for a dollar or two, see Bob, Joan, Eric (Von Schmidt), Tom (Rush), Phil (Ochs) and lots of lean and hungry performers working for that “basket” Sam had mentioned earlier passed among the patrons and be glad, at least according to Van Ronk when she had asked him about the “take” during one intermission, to get twenty bucks for your efforts that night.

That was the night during that same intermission Dave also told her that while the folk breeze was driving things his way just then and people were hungry to hear anything that was not what he called “bubble gum” music like you heard on AM radio that had not been the case when he started out in the Village in the 1950s when he worked “sweeping out” clubs for a couple of dollars. That sweeping out was not with a broom, no way, Dave had said with that sardonic wit of his that such work was beneath the “dignity” of a professional musician but the way folk singers were used to empty the house between shows. In the “beat”1950s with Kerouac, Cassady, Ginsberg, and their comrades (Dave’s word reflecting his left-wing attachments) making everybody crazy for poetry, big be-bop poetry backed up by big be-bop jazz the coffeehouses played to that clientele and on weekends or in the summer people would be waiting in fairly long lines to get in. So what Dave (and Happy Traum and a couple of other singers that she could not remember) did was after the readings were done and people were still lingering over their expressos he would get up on the makeshift stage and begin singing some old sea chanty or some slavery day freedom song in that raspy, gravelly voice of his which would sent the customers out the door. And if they didn’t go then he was out the door. Tough times, tough times indeed.             

Coffeehouses too where for the price of a cup of coffee, maybe a pastry, shared, you could wallow in the fluff of the folk minute that swept America, maybe the world, and hear the music that was the leading edge then toward that new breeze that everybody that Julie and Sam knew was bound to come what with all the things going on in the world. Black civil rights, mainly down in the police state South, nuclear disarmament, the Pill to open up sexual possibilities previously too dangerous or forbidden, and music too, not just the folk music that she had been addicted to but something coming from England paying tribute to old-time blues with a rock upbeat that was now a standard part of the folk scene ever since they “discovered” blues guys like Mississippi John Hurt, Son House, Bukka White, and Skip James. All the mix to turn the world upside down. All of which as well was grist to the mill for the budding folk troubadours to write songs about.

Julie made her companions laugh as they stood there starting to get a little impatient since the doors to the concert hall were supposed to open at seven and here it was almost seven fifteen (Sam had fumed, as he always did when he had to wait for anything, a relic of his Army days during the Vietnam War when everything had been “hurry up and wait”). She had mentioned that back then, back in those college days when guys like Sam did not have a lot of money, if worse came to worse and you had no money like happened one time with a guy, a budding folkie poet, Jack Dawson, she had a date with you could always go to the Hayes-Bickford in the Square (the other H-Bs in other locations around Boston were strictly “no-go” places where people actually just went to eat the steamed to death food and drink the weak-kneed coffee). As long as you were not rowdy like the whiskey drunks rambling on and on asking for cigarettes and getting testy if you did not have one for the simple reason that you did not smoke (almost everybody did then including Sam although usually not with her and definitely not in the dorm), winos who smelled like piss and vomit and not having bathed in a while, panhandlers (looking you dead in the eye defying you to not give them something, money or a cigarette but something) and hoboes (the quiet ones of that crowd  who somebody had told her were royalty in the misfit, outcast world and thus would not ask for dough or smokes) who drifted through there you could watch the scene for free. On any given night, maybe around midnight, on weekends later when the bars closed later you could hear some next best thing guy in full flannel shirt, denim jeans, maybe some kind of vest for protection against the cold but with a hungry look on his face or a gal with the de riguer long-ironed hair, some peasant blouse belying her leafy suburban roots, some boots or sandals depending on the weathers singing low some tune they wrote or reciting to their own vocal beat some poem. As Julie finished her thought some guy who looked like an usher in some foreign castle opened the concert hall doors and the four aficionados scampered in to find their seats.                 

…As they walked down the step of Symphony Hall having watched Pete work his banjo magic, work the string of his own Woody-inspired songs like Golden Thread and of covers from the big sky American songbook and Arlo wowed with his City of New Orleans and some of his father’s stuff (no Alice’s Restaurant that night he was saving that for Thanksgiving he said) Sam told his companions, “that fourteen dollars each for tickets was a steal for such performances, especially in that acoustically fantastic hall” and told his three friends that he would stand for coffees at the Blue Parrot over in Harvard Square if they liked. “And maybe share some pastry too.”      

When The Fight To Turn The World Upside Down Was In Full Flower- With The Doors The Unknown Soldier In Mind

When The Fight To Turn The World Upside Down Was In Full Flower- With The Doors The Unknown Soldier In Mind 

 By Frank Jackman  

[As of December 1, 2017 under the new regime of Greg Green, formerly of the on-line American Film Gazette website, brought in to shake things up a bit after a vote of no confidence in the previous site administrator Allan Jackson (aka Peter Paul Markin in the blogosphere) was taken among all the writers at the request of some of the younger writers abetted by one key older writer, Sam Lowell, the habit of assigning writers solely to specific topics like film, books, political commentary, and culture is over. Also over is the designation of writers in this space, young or old, by job title like senior or associate. After a short-lived experiment by Green designating everybody as “writer” seemingly in emulation of the French Revolution’s “citizen” or the Bolshevik Revolution’s “comrade” all posts will be “signed” with given names only. The Editorial Board]

******

“The Unknown Soldier”    

Wait until the war is over
And we're both a little older
The unknown soldier

Breakfast where the news is read
Television children fed
Unborn living, living, dead
Bullet strikes the helmet's head
And it's all over
For the unknown soldier
It's all over
For the unknown soldier
Hut, hut, hut ho hee up
Hut, hut, hut ho hee up
Hut, hut, hut ho hee up
Comp'nee, halt
Present, arms
Make a grave for the unknown soldier
Nestled in your hollow shoulder
The unknown soldier
Breakfast where the news is read
Television children fed
Bullet strikes the helmet's head
And, it's all over
The war is over
It's all over
War is over

Well, all over, baby
All over, baby
Oh, over, yeah
All over, baby

Ooh, ha, ha, all over
All over, baby
Oh, woah, yeah, all over
All over, heh

Songwriters
Robbie Krieger; John Densmore; Jim Morrison;Ray Manzarek

[Under the newly installed regime of site manager Greg Green and the “Young Turks” imposed Editorial Board which guides his actions a new policy of openness has emerged. One aspect of that new policy has been an idea that writers with gripes or other things to say about the internal workings of the site should express themselves, if they like, as introductions to their articles. That in response to the “bottled up” emotions under the old Allan Jackson regime where the idea of expressing such thoughts in the public prints were totally frowned upon even by close and longtime friends like me. Also, and I am not sure I agree with this sentiment, to give the readership, and any potential new readership, an inside look at how a social media site works-or doesn’t work.      

We shall see but today I want to take the opportunity to describe the genesis of this article which the readership might appreciate rather than some screed about how the older writers are feeling that they are shortly to be purged, heads will roll, as one of them said, and other arcane comments which nobody except the parties involved care about.

Several years ago, it must have been around Christmas time I was attending an Arlo Guthrie concert, his daughter Sarah opening for him, a benefit concert for the New England Folk Song Society which like all such folk societies and folksingers outside of a few famous ones like the never-ending Bob Dylan, Joan Baez, Judy Collins, Tom Rush is always short of cash. During intermission (or maybe before the show started) I was walking by the inevitable CD and other paraphernalia tables when I noticed that the Society was selling calendars. Since there are a half a dozen people I know well enough to give such an item to and no more I checked it out.

Wow! Each month had a photograph detailing some 1960s folk minute like Jim Kweskin and the Jug Band at Newport in 1963, Odetta, Joan Baez, Judy Collins, Joan’s sister Mimi Farina also at Newport. Great photos including the one I am thinking about as I write this short commentary. A photograph of three good-looking young women, or at least I think they looked good to these old eyes sitting on a couch in 1968 at the height of the Vietnam War wearing the hats, short dresses, bare stocking-less legs that their mothers would have frowned upon, in style long hair and such of the time.

In front of them though a medium-sized  handmade sign, a sign important at the time when every young man, including me, had some decision to make about fighting, or not fighting, in the Vietnam War. Of even accepting induction, of resisting the draft of the time. The sign in the language of the time: girls only do it with boys who don’t. Christ if I had had that inducement I too might have thought about draft resistance an option. My girlfriend of the time was rabidly pro-war mainly because her older brother was already over in Vietnam. Not long after I would too be in the Army eventually as a military resister. I wonder if that would have counted had I run into them. Frank Jackman]

********
There was no seamless thread that wrapped the 1960s up tightly. A thousand things, or it seemed like a thousand things, came together in pretty rapid succession to draw down in flames, for a while anyway although none of us though it would on be for only a while just as we thought that we would live forever, or at least fast, the dread red scare Cold War freezes of our childhood. But you could traces things a little, make your own “live free” categories of the events that chipped away the ice of those dark nights.

Start in with the mid-1950s if you like with the heat of the black struggle for some semblance of civil liberties down South (and some sense for equality up North), the first break-out of music with the crowning of rock and roll as the wave of the future (black rhythm and blues, scat, rockabilly mixed all stirred up), the “discovery” of teen alienation and angst exemplified by movie star James Dean, who lived fast, and died fast a metaphor that would work its way through youth culture over the next generation. An odd-ball mix right there. Then start to throw in the struggles against the old authority, the old certitudes that had calmed our parents’ lives in places like Frisco town where they practically ran the red-baiters in the HUAC out of town, but of course the biggest event that opened the doors for liberals, radicals, hell even thoughtful conservatives was the sweet breeze coming down the road from Boston with the election of Jack Kennedy.    

That event opened up a new psyche, that it was okay to question authority, whatever the limitations and shortness of the Camelot times with the struggles against some hoary things like segregation, the dead penalty, nuclear proliferation, the unevenness of life which would get propelled later in the decade with fight for women’s liberation, gay liberation, and the fight against the draft, the damn war in Vietnam that drove a nail into the heart of the generation. There were more things, cultural things and experimentations with new lifestyles that all got a fair workout during this period as well.     

Plenty of us in retrospective would weigh the various combinations of events differently in figuring out how the uprising started just as plenty of us have our specific dates for when the tide began to ebb, when the mean-spirited and authoritarian began their successful counter-offensive that we still live with for not taking the omens more seriously.

And then we have the photograph that graces this short screed. This photograph is almost impossible to imagine without some combination of that hell broth mix stirred up in the 1960s. Three self-assured women comfortable with the loose and individualistic fashion statements of the day from floppy hats to bare legs, bare legs that would have shocked a mother. Uncomfortable about the damn Vietnam war that was eating up boyfriends, brothers, just friends at a heavy rate and they unlike their mothers who came through World War II waiting patiently and patriotically for their military heroes to come home, come home in one piece, have a very different sense of the heroic. A sense of the heroic going back to ancient times when one group of women demanded that their men come home on their shields if they had to rather than speak of defeat and others providing a distant echo for these three women pictured here who refused their potential soldier boys any favors if they went off to war. More, much more of the latter, please.