Click on the headline to link to a Wikipedia entry for the 1930s gangster classic, Petrified Forest.
Petrified Forest, starring Humphrey Bogart, Bette Davis, Leslie Howard, Warner Brothers, 1936
Okay here is the genesis of this review. Recently, being on a something of a film noir tear, especially a crime noir tear, I reviewed a little light puff of a noir film, Moontide, where well-known 1940s French film star Jean Gabon tried to break into the Hollywood film racket with a role as a tough hombre, seen-it-all dockworker who is really, just ready, to settle down after all the wine, women and song escapades have worn thin. And settle down in 1940s movie parlance (and maybe life too) was with a good woman and a white picket fenced house (or in this film a barge, it’s near the sea, see). The good woman, a kind of eternal working-class version of everywoman also happened to be down on her luck, and in that film was played by Ida Lupino.
Well, seeing Ms. Lupino in that role got me to think about a similar role that she played trying to be a good “wifie,” (and “mother” to the dog Pard) to Humphrey Bogart in High Sierra. In that film the grizzled Bogart played a serious desperado, a three-time loser desperado, Roy Earle, looking to “retire” to that picket-fenced house except the cops would not let him. Let him, especially after a certain messed-up resort hold-up caper went awry. And when Mr. Earle bought it, as it had to be since crime does not pay, grizzled wised-up gangster or not, Ms. Lupino was left to keep his memory fresh and keep moving on.
Of course all of that high Bogartism got me to thinking about other grizzled gangster roles (and grizzled detectives too) that the bad boy actor Humphrey Bogart played, and that led naturally to the film under review, Petrified Forest, where as Duke Mantee Bogart put in his bid for king of the gangster hill. In fact this film (he had also played the role on Broadway, I believe) first established him for that challenge. The story line here has him on the run from, what else, a busted bank robbery, and every cop in the Pretty Boy Floyd, John Dellinger, Bonnie and Clyde American untamed West was looking for him and his confederates. He winds up in a flea-bitten café located, where else, next to the Petrified Forest, a great symbol of humankind’s age old struggle to deal with nature, and to break with the primitive past.
And that isolated, flea-bitten café setting is important because there is a young serving- them-off-the-arm waitress, Gaby, played by a very young Bette Davis, as the owner’s daughter, trapped there, full of dreams, literary dreams, and a very, very strong to desire to put those silly tree rocks behind her. And, as the film opens, a very well-turned out gentleman/intellectual/ hobo/alcoholic, Alan, played by Leslie Howard, on his uppers trying to get off that dusty road. And that little tension, a tension that was palpable to audiences in the 1930s, between Bogart’s gangster take-everything-you-can-grab-and-grab-it-quick and Howard’s ordered intellectual world gone awry with the times, the 1930s despair times what they were, is what drives the theme of this one. Alan, knowing his time has passed, in any case, makes a pact with the devil to insure Gaby’s future hold on her dreams. And while Bogart, perhaps, played more memorable roles later he certainly was believable as the primitive man gangster trying to claim his rightful place in the modern world. Naturally, in movie life he must pay, pay big-time, with his life because we all know, or should know, that crime does not pay.
Showing posts with label lumpenproletariat. Show all posts
Showing posts with label lumpenproletariat. Show all posts
Wednesday, December 7, 2011
Tuesday, December 6, 2011
Out In The Be-Bop 1940s Night- Free, Ya, Free- High Sierra- A Film Review
Click on the headline to link to a Wikipedia entry for the crime noir, High Sierra
DVD Review
High Sierra, starring Humphrey Bogart, Ida Lupino, and, of course, Pard, directed by Raoul Walsh, Warner Brothers, 1941
Funny how a character, or performer, in one film will lead you to remember about or to investigate another. Recently I viewed and reviewed a film in which Ida Lupino starred, a kind of off-beat sweet fluff working-class thing in its way from 1942 entitled, Moontide, where she played alongside French actor, Jean Gabon, as down-at-the-heels hash-slinger seeking a little white house with a picket fence. In that role there was no question of her being a femme fatale-type that guys get all, well, nervous over but just a reliable dame when the deal goes down, good or bad. A rare thing in crime noir world, especially with dames. Here in the noir classic, High Sierra, Ms Lupino picks up some of the down-at-the heels aspects of that role of hash-slinger as she plays along side Humphrey Bogart as that reliable shoe good guys and bad guys both use for their own purposes
Of course at this stage of his career Bogart was the king hell actor getting choice roles as the grizzled whatever from Sam Spade in Maltese Falcon to Captain Morgan in To Have Or Have Not so his presence is the driving force of the film. Ms. Lupino is just along for the ride, and to pick up the pieces when the deal goes south. Here Bogart plays the three-time loser, Roy Earle, just out of prison and heading west to get some fresh air, and maybe a new start. A new start in his old racket, armed robbery, big-time armed robbery. Along the way west he is befriended by an Okie-type family heading to California just like the Joads before them. But Roy gets hung up on the young daughter, some lame Janie, and helps fund her operation to fix her foot. Naturally Janie is nothing but ungrateful and spoils Roy’s rehabilitation program. Needless to say, also along the way, brought along by one of the confederates, Marie, the role Ms. Lupino plays, is the smitten dish- rag gangster’s girl who stands by her man, although why with Roy the way he treats her is not apparent on the face of it.
As always in these crime noir adventures, in the end, crime doesn’t pay. In this case the big-time resort heist is fouled up by the inside man and Roy his confederates have to go on the run. Moreover Roy and Marie are forced to split up. Law enforcement keeps crowding Roy. One thing a three-time loser knows, knows deep in his bones, if he goes back to prison he ain’t coming out. That knowledge drives the suspense of the last part of the film as Earle’s world becomes smaller and smaller. And, as they say, it’s a dog’s world that does him in at the end. Ya, but he was free, free like the starry nights that he had time to dream about in his prison nights. And Marie? Who knows but that some other heel may need a reliable shoe.
DVD Review
High Sierra, starring Humphrey Bogart, Ida Lupino, and, of course, Pard, directed by Raoul Walsh, Warner Brothers, 1941
Funny how a character, or performer, in one film will lead you to remember about or to investigate another. Recently I viewed and reviewed a film in which Ida Lupino starred, a kind of off-beat sweet fluff working-class thing in its way from 1942 entitled, Moontide, where she played alongside French actor, Jean Gabon, as down-at-the-heels hash-slinger seeking a little white house with a picket fence. In that role there was no question of her being a femme fatale-type that guys get all, well, nervous over but just a reliable dame when the deal goes down, good or bad. A rare thing in crime noir world, especially with dames. Here in the noir classic, High Sierra, Ms Lupino picks up some of the down-at-the heels aspects of that role of hash-slinger as she plays along side Humphrey Bogart as that reliable shoe good guys and bad guys both use for their own purposes
Of course at this stage of his career Bogart was the king hell actor getting choice roles as the grizzled whatever from Sam Spade in Maltese Falcon to Captain Morgan in To Have Or Have Not so his presence is the driving force of the film. Ms. Lupino is just along for the ride, and to pick up the pieces when the deal goes south. Here Bogart plays the three-time loser, Roy Earle, just out of prison and heading west to get some fresh air, and maybe a new start. A new start in his old racket, armed robbery, big-time armed robbery. Along the way west he is befriended by an Okie-type family heading to California just like the Joads before them. But Roy gets hung up on the young daughter, some lame Janie, and helps fund her operation to fix her foot. Naturally Janie is nothing but ungrateful and spoils Roy’s rehabilitation program. Needless to say, also along the way, brought along by one of the confederates, Marie, the role Ms. Lupino plays, is the smitten dish- rag gangster’s girl who stands by her man, although why with Roy the way he treats her is not apparent on the face of it.
As always in these crime noir adventures, in the end, crime doesn’t pay. In this case the big-time resort heist is fouled up by the inside man and Roy his confederates have to go on the run. Moreover Roy and Marie are forced to split up. Law enforcement keeps crowding Roy. One thing a three-time loser knows, knows deep in his bones, if he goes back to prison he ain’t coming out. That knowledge drives the suspense of the last part of the film as Earle’s world becomes smaller and smaller. And, as they say, it’s a dog’s world that does him in at the end. Ya, but he was free, free like the starry nights that he had time to dream about in his prison nights. And Marie? Who knows but that some other heel may need a reliable shoe.
Monday, December 5, 2011
From #Occupied Boston (#Tomemonos Boston)-No Mas- The Class-War Lines Are Being Drawn-There Is A Need To Unite And Fight-Random Sights From Life At Dewey Square #5
Click on the headline to link to updates from the Occupy Boston website. Occupy Boston started at 6:00 PM, September 30, 2011. I will post important updates as they appear on that site.
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An Injury To One Is An Injury To All!-Defend All The Occupation Sites And All The Occupiers! Drop All Charges Against All Protesters Everywhere!
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Fight-Don’t Starve-We Created The Wealth, Let's Take It Back! Labor And The Oppressed Must Rule!
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A Five-Point Program As Talking Points
*Jobs For All Now!-“30 For 40”- A historic demand of the labor movement. Thirty hours work for forty hours pay to spread the available work around. Organize the unorganized- Organize the South- Organize Wal-mart- Defend the right for public and private workers to unionize.
* Defend the working classes! No union dues for Democratic (or the stray Republican) candidates. Spent the dough on organizing the unorganized and other labor-specific causes (example, the November, 2011 anti-union recall referendum in Ohio).
*End the endless wars!- Immediate, Unconditional Withdrawal Of All U.S./Allied Troops (And Mercenaries) From Afghanistan! Hands Off Pakistan! Hands Off Iran! Hands Off The World!
*Fight for a social agenda for working people!. Quality Healthcare For All! Nationalize the colleges and universities under student-teacher-campus worker control! Forgive student debt! Stop housing foreclosures!
*We created the wealth, let’s take it back. Take the struggle for our daily bread off the historic agenda. Build a workers party that fights for a workers government to unite all the oppressed. Labor and the oppressed must rule!
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Markin comment November 18, 2011:
Josh Breslin didn’t know what to expect this time as the streamlined subway car that he was riding was approaching the South Station stop on the MBTA Red Line in Boston. He half-expected to see some multi-colored hand-made poster proclaiming this stop as “Occupy Boston,” something with stenciled and silhouetted clenched fist, or something like that, proclaiming this newly sacred ground, this fetid, dank subway stop, in the name of the people. Hell, just like back in the old days, the old 1960s times of blessed memory, when no wall, no public wall anyway, was safe from revolutionary pronouncements, or off-hand midnight-crafted graffiti. He had certainly seen stranger signs plastered around the Occupy encampment the last few times that he had previously come over from his home in Cambridge on the other side of the river. Stuff from Thoreau and Gandhi, naturally, but also odd-ball wisps of wisdom about being kind, not being greedy, corporate greedy or otherwise, not being sexist, racist, homophobic and the whole litany of politically acceptable Don’ts scripted out since those ‘60s that seemed self-almost explanatory and in not need of proclamation in this microscopic social experiment, this exemplar of the “new world order,” leftist-style.
Ya, these times definitely call for some outlandish statement in bright day-glo colors something, he mused amused, to confuse the touristas who were making the Occupy site a “must see” stop on their vacation itineraries. Something to throw them off the scent when they asked their infernal questions- “What are the kids up to, why all the tents, why all the black flags (really not many but that black flag of anarchy, like the red one of communism, spooked people, made their deepest fears surface, and in the old days rightly so),” and on and on. Like he, Joshua Breslin, known far and wide back in the day under the moniker, Prince of Love, a magical mystery tour merry prankster, music-and-drugs-are- the-revolution, west coast communal living madman knew what was on the kids minds today, except they were getting the short straw in the game of who gets what in the social game.
Just then he reflected, flash-back reflected, that a lot of what he had seen and heard on those other occasions when he had crossed the river of late, maybe four or five by now, echoed some long ago, half-forgotten signs and totems from the times when he was searching for the blue-pink great American West night back in the late 1960s and had wound up in People’s Park in Berkeley out in wayward California. And had been wounded and tear-gassed, Prince of Love renown notwithstanding, for his efforts when things got twisted and the deal went down. Yes, this was just exactly what it was like and now he had a “theme” for the notes that he was feeling pressed to take on this trip now that he had a “feel” for the situation. Although this time, unlike back then, he was not expecting, not expecting in his on-coming dotage, to be wounded or tear-gassed. He frankly admitted to himself after his last visit to the camp site a few days before that he was not up those rigors now, those shake-them-off-and-come-back-swinging-youth- spunks that he had in great quantity as he headed barrel-assing out west from his old hometown, Olde Saco up Maine way.
The train then stopped jarring him in mid-thought, opened its air-pressurized doors, and its sullen passengers decamped for seven winds places. No, Josh noticed, no sign at the subway level anyway that occupyitis had expanded to the cavernous underground. On surfacing in the Dewey Square sunlight though, another mercifully warm late October day starting to break through, his ears were immediately accosted by the ranting, there was no other name for it, of “Syllable Slim,” a name that he had coined for this vagabond prince standing kitty-corner in front of him when he first heard him holding forth on the perfidies of the Democrats, democrats, Republicans, republicans and anyone else who held the whiff of power, or wanted it, at Park Street Station years ago. Now Slim was the “king” of the Dewey Square day and night having moved either uptown or downtown, Josh was not quite sure of the geographic relationship between the two subway stops, with a new audience to ignore, or try to ignore, him. What was also perfectly clear was, uptown or downtown, Slim would be hard-pressed to describe what was going on at his Occupy kingdom. His spiel did not depend on such trivials The city, any city with size, produces its fair share of drifters, grifters, and midnight shifters and they, like lemmings to the sea, have heard of the glad tidings emitting from Dewey Square (read: food, shelter, and no hassles-the famous “three squares and a cot” from “on-the-road” jungle camp lore) and have come forth. And Slim is their king.
Josh, by the way, was here, here on assignment, not much pay but an assignment anyway, his first since he “officially” retired from his onerous editorial duties a couple of years back to be able to sit back, kick back, and write that great sex/drug/political/musical/ hail fellows well met/digger commune 1960s explosion novel he had been putting off since, well, since he “got off the bus” in 1971 and headed back first to Olde Saco and then drifted down to various Boston area spots. See the pay part was required, no, demanded by Josh, in order to give his employer a real “feel” for the flavor of what was going on at Dewey Square to the “soccer moms and dads” who might be wondering what they were missing while waiting, SUV-waiting, for their little Ashley or Samson to finish up their suburban kids soccer league workouts, or one or another of twelve other possible organized kid to do things for their resumes, the kid’s that is. A few random notes to titillate the rubes, and move on. No sweat. He, moreover, was going to parlay those skimpy notes into working order for his now great Tom Wolfe-ish sociological sex/drug/political/musical/ hail fellows well met/digger commune 1960s explosion novel. And in Josh Breslin’s mind Syllable Slim was already slated, with a big intro, to lead off this 21st century magical mystery tour, merry prankster gig, warts and all. We merely get his leavings.
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“Hey brother, can you help me put this tarp over my tent? It got cold as hell last night and the winds were blowing fierce,” yelled a cherub-faced male, almost too youthful to be here but such are the times, although it was later learned that he was now a few weeks-seasoned Occupy Boston grizzly veteran resident to a middle-aged man casually walking by. “Sure thing, let’s get to it” replied that passer-by. Was the passer-by some wayward tourist looking for the next thrill in the city night life, a career gawker, or just one many unnamed “volunteers” who have sprung from the woodwork (okay, okay suburbia) in response to the news that something more than nine-to-five and white picket fences might be in the air?
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“Can you bring this hot pot of soup to the kitchen? Some lady, a lady who would not give her name and would not acknowledge anything but thanks, drove up on the Atlantic Avenue side and asked me to unload some stuff for her,” said one young woman in shorts, short shorts thereby showing off her firm athletic legs for one and all to see to another young woman dressed in long pants, maybe jeans, getting ready for colder climates. Shortly thereafter the “laundry lady” tooted her horn looking for help in unloading a trunk-load of everything from towels to sleeping bags. And our two young women again “hit” the Atlantic Avenue curb for this “angel.” See the angel’s kindly thing, her matronly, middle-aged, unnamed kindly thing, was to come by on Tuesday for dirty laundry and return on Thursday with everything Seventh Generation bright and clean. Said “laundry lady” is also unnamed like our tent-fixing passer-by and soup lady, but clearly one who has come out of the woodwork on the news of the glad tidings.
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“If you want a meal, a nice hot meal, could you wash some dishes to help us out,” barked, barked above the din of the dozen assorted humans in line in front of him, a man who has daily volunteered to help out in the makeshift kitchen. A kitchen whose primitive dishwashing apparatus entailed the familiar rubber soul dish pan, some lukewarm water, a little oily from the leaving of some off-hand meal, joy detergent, and rinsing tub, dishcloth and done. Primitive like back in kid time doing after supper dishes before being released in the teenage be-bop dark streets night. And a couple of older guys, older guys who knew the streets and the lore of the streets backward and forward, stepped behind the tent and got to work on a stack while the third passed on the request. When the hot meals came on deck all three got a meal, no questions asked, but somewhere, somewhere deep inside his career vagabond heart that third man knew he was not built for this new world a-borning. Not for social solidarity dishes cleaned. Meanwhile our kitchen master chef, master of the artful tuna sandwich and of the slabbed peanut butter and jelly (grape just then) variety as well answers an older man’s inquiry about what was pressingly needed for the next day’s “menu.” That older man, a man who did not look like he had the means to do so, and could have very easily passed for a “resident” of this tent city, had been coming daily with perhaps one hundred dollars worth of whatever our master chef told him the kitchen needed. Angels, apparently, come in all sizes, shapes, and circumstances.
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Jesus, the logistics of this encampment is simplicity itself. A few rows of tents, sleeping tents, mostly good firm weather-conditioned tents in all colors, mainly blue or the feel of blue though. Unlike those watered-down Army olive drab pup tents that I made do with out in ‘Frisco when Butterfly Swirl and I were a thing traveling up and down the West Coast in the summer of love, 1967. Of course then love drove the be-bop great western night and we probably could have made due with some newspapers under our heads. But that’s a story for another time. Then several tents at each end of the encampment for special tasks like media, the library, and the “information desk.” A few odds and end here and there but mainly kept up nicely, city urban vagabond nicely. Fit for any well-fed college student out on an urban adventure to place his or her head on, and not have mother worry too much. And at the far end, the end away from the subway station a huge granite gray slab of a building, something to do with the ‘big dig” project that created this space, officially the Rose Kennedy Greenway, in its aftermath. The side wall of that big slab now serves as the main poster board for any political messages that people have the energy (and magic marker) to proclaim. And in front of that wall a few chairs, a mike, and various other equipment for those who want harangue, humor, or hum the crowd. That fleeting chance at fifteen minutes of fame for the soul-weary, for the voiceless, and for the voiced-over. Let’s listen in for bit and jot down a few of the things said.
“Karl Marx was right, this capitalist system has got to go and we need to make a new world,” sing-songed a middle-aged man, seemingly some kind of college professor out doing missionary work this day, who then proceeded to spend his fifteen minutes expanding on his scheme to have Congress vote to limit the amount of profit each corporation can make, using some sort of exotic formula that only he had the pass code to unravel. I missed that idea when I read Marx long ago but maybe I missed one of the footnotes the probable source. Our professor didn’t. This place, every time I come, at least during the day is loaded down with professors and others from the myriad local colleges and universities that dot the Boston skyline and each brings his or her own panacea with them, usually some third-rate variation off of Marx or some other 19th century thinker dressed up to wake up the texting-enchanted modern listener.
“This place is a Potemkin Village,” chanted another younger speaker a little later to a wandering, wavering crowd audience of about seven. “The people who run this thing go home at night to their nice warm beds while we stay here and keep the faith, the real faith,” he added. This inflamed black flannel-shirted youth finished up with this epistle, “Besides half the tents are empty and the tents that have people in them are just drifters and bums who don’t know anything about what we are trying to do here. They are just trying to keep warm and away from getting hassled by the cops.” I had heard that sentiment expressed before, more than once, from political types and kind of dismissed it out of hand but this guy seemed to be speaking from some truth experience. I reminded myself to come back in a few minutes and talk to him when he was done. However when I went back about ten minutes later he was gone. But his plaintive plea stuck with me and I will have to keep on the trail of that strand.
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Later that same day at the same wall-
“Man, play us a Hendrix tune on that thing, ‘cause you are smokin’, man” earnestly requested a young, red-bearded man, obviously a student, an ardent musical student from the look of him. “Okay man, if you play a little drum behind me,” came the reply from the reincarnation of Jimi, complete with tie-dyed headband to hold his head together. And for perhaps fifteen minutes they held it together like some aura out on the 1960s be-bop night, their fifteen minutes of fame on the Dewey Square main stage for their resumes. And the crowd that swelled to listen in knew they had heard some old phantom primordial from the womb sound, and liked it. Another group this time a guitar, harmonica, drum combination trying to bring a blues riff together sends most of the crowd wandering in all directions. Such are the hard facts of the fame game from Broadway to tent city. Hopefully some more harmonious society will have more room for the fringes of that game.
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“Say, can I have cigarette, man, I’m out?” said another older man weary, street weary, getting ready to enter a tent to catch a few winks. “I’m rolling Bull, okay?” answered a red-headed dread-locked young man. That cadging of cigarettes, factory-made or from the pouch, between and among the young is somewhat strange after the righteous lifetime drumbeats of foul smoking. Not all messages get through.
Such were, are, will be the random sights and sounds of the Occupy Boston encampment on any given day, or any given minute if you can be in seven places at one time, as the camp continues to organize itself in the tradition of the old westward pioneers seeking that great American west blue-pink night, and still are seeking it generations later.
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“Hey man, don’t be cheap give me a fucking cigarette, I’m all shaky,” shouted out a razor- edged guy, obviously working off some hang-over, although not necessarily an alcoholic or drug one. “I’m down to my last one, what the fuck do you want from me,” came the surly reply. The tension spiked then passed away in the midday air. In that same midday air came this from one of the tents, voiced by an unseen man, a gruff-voiced man, not young “Fuck, give me my space, my free space, don’t be all around me.” And that voice too went to ground, unresolved.
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“This place is neat, three squares and a cot, and nobody hassles you and you don’t have to work for your grub, or nothing,” murmured a street veteran, shabbily-dressed, rough edge- bearded but of sober expression to no one in particular in a crowd of suburban tourists who have made the site at Dewey Square a place on their “must see” map. A young man came up to a clot of that same crowd to discuss the Occupy theme. A question was asked about the shabbily-dressed man’s comment. “Oh, ya, most of the residents are street people, a few of us like me stay to keep the peace but most of the politicos go home, or back to the dorms when the General Assembly is over. We opened the space to anyone who followed the simple rules of the camp so here we are.” One tourista smirked the smirk of someone who “knew, just knew” this thing was not going to work, not with bums, hell no. We shall see.
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“Out of the tents, into the streets, Out of the tents, into the streets” yelled a tall dark-haired young man dressed in black, Black Bloc black, meaning black everything black, from boots to jacket, topped off with the de rigueur black bandana handkerchief covering the bottom part of his face as some kind of security blanket measure. This youth is known to me so that there is only a little affectation in his dress to be in touch with his anarchist heart. Others’ motives I am not as sure of as they flaunt their garb like wearing the “uniform” would cast away all sins and black purify their corrupted souls. Such act would guard against turning into a stinking bourgeois baddie like daddy.
This sight, the nightmare sight to every protective mother guarding her young against the travails of the world and the bane of every government seeing spook shadows behind the dress, is however here among the tents just another guy with a cause. He repeats himself several times as he tries to rouse the denizens of the new world tent city to come out and march on behalf of any number of causes, this one in solidarity with the shutting down of the Port of Oakland by Occupy Oakland on this early November day, the vanguard action city of the whole American movement and one that has been increasing under attack, under police attack almost nightly.
A few younger comrades also dressed in black, head-to-toe black as well, heeded his plea and stirred from their tents, stretching the stretch of the huddled or prone to ready themselves for the couple of mile walk on this cold but clear evening. Mostly the camp residents ignore the plea and go about their business of fixing tents, heading to the kitchen mess tent for supper or just pretend that our big-hearted black-attired anarcho-mad monk of an activist will gather his troops and leave. And here is where the funny part comes in as I think back to a guy I heard up on the “main stage” a few days back who kept yelling about this occupation site being a Potemkin Village. [Markin: For those not in the know about Russian history or are unfamiliar with the term it signifies all front, no substance. Allegedly one of Russian Empress Catherine the Great’s lovers back in the 18th century, Potemkin, ordered beautiful villages build with only the facades so his honey would have pleasant sights to see when they went riding by. Ya I know, lame but that is the story.] And today that seems true, at least to my eye, as the vast majority of the three hundred or so marchers were not resident “occupiers,” or had the now signature drawn-out slightly dazed sag look of occupiers. In any case we are off, as I have decided to express my solidarity with the sisters and brothers in Oakland (a place I know well from back in the day).
Naturally the black-suited sisters and brothers are up front leading this thing chanting solidarity slogans centered on the defense of Occupy Oakland ("From the East Bay to Back Bay-Defend Occupy Oakland"), the ubiquitous “Banks got bailed out, we got sold out” that is something of a national anthem for the movement now, and to show the tenor of militancy this night this little beauty, “What’s the solution?: Revolution, What’s the reaction?: Direct action." All in a day’s work out in the protest march world though. What makes this one a little unusual is the march route. See the line of march on this one, perhaps reflecting some super-black dream kick, is deliberately planned to go helter-skelter, one assumes to “throw off” the bicycle police and other law enforcement types who are “guarding” the march.
Of course the only ones who are confused by all this are the few marchers who are rare rookies to this scene, trampling on others' shoes we travel zigzag (and they, the rookies zigzag) up the wrong way on Winter Street or Congress Street stopping already stopped rush hour traffic with our pleas for solidarity and a whole range of other concerns. Eventually we get to the State House on Beacon Street then march down to Charles Street and move against the waiting traffic before heading back to Boylston Street and then to Downtown Crossing for the now obligatory “die in” (a momentary sit-in, if you are not familiar with that term) a few “mic check” shout-outs and then more chanting back to camp. Done, finis, chalk up some more march miles on my protest-o-meter. A spirited march, a necessary march, no question, but I hope that I was just being jittery when I got that feeling in my spine at the end of the march that something was out of joint, that those who wish to “lead” a revolution, a black-encrusted revolution, were heading up the wrong street with their antics.
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“You had better stay the fuck away from my woman, and stay way away,” threatened a young guy, a young white guy, not a street guy, not a student but just the kind of guy who drifts in and out of things. “Fuck you and your woman,” came the reply from a young Spanish-looking dude who had daggers in his eyes as the two nearly came to blows. Just then someone yelled “rainbow” and several people appeared to calm the situation down. Not too quickly calmed it down by the way.
This too is a part of the “new world a-borning” as not everybody is quite ready yet to shift gears, or just has too much, much too much, baggage from old bourgeois society to make the leap of faith just yet.
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Voices overheard while waiting for a rally or march against or for something to start, a Free School University lecture to begin, a this or that meeting to proceed, a just plain old ordinary passing through the camp or the thousand and one other things waits at the Occupy Boston site at Dewey Square.
“See, this is the way it works,” said a tall, red-headed curly-haired young man, dressed in an “approved” regulation Occupy resident garb, fatigue jacket, denim jeans, a rakish hat, and this warmish evening wearing shoes with no socks to a small, middle-aged, graying woman dressed in some outfit worthy of high hippie times in the summer of love, 1967 but who was having a hard time getting around the various concepts involved in participation in a General Assembly (GA) show-up, the central decision-making body of the Occupy movement, although she liked the idea in theory as she made plain to tell her “tour guide” at the start.
The red-headed youth, let’s call him Red for short although no inference should be drawn about his political allegiances from that, continued, “Somebody brings an idea they, or their group, want to have heard, discussed, and voted on by GA. Let’s say, for example, an action like having everybody turn in their saving and checking accounts at the big banks like Bank of America and transfer the money to credit unions or small neighborhood banks on a certain day. They come here, get their point put on the agenda and when their turn comes up they can motivate it. Then people can discuss it, discuss it from all angles, sometimes unto death practically, I’ve seen that at GA, and periodic “temperature checks” can be taken on the favorability of supporting such an action.”
“What’s a temperature check?” asked our somewhat bewildered ancient flower-child.
“That’s a sense of the meeting on some point and instead of the crowd yelling and screaming a response you just wiggle your fingers on one hand, or two, in the middle, or down. It doesn’t mean a thing about whether the thing, the idea being presented, will pass or not,” young Red answered, answered in the patient low-key monotone that he had either spent many moons perfecting in secret or came naturally to him. I suspect the latter from other times I have seen him give his spiels at GA. “After the proposal is presented then people can approach the facilitator, or the assigned “stack” person, and ask to speak on the matter, in turn.” Okay, so far?”
“After full discussion that can, like I say, take the whole evening there is a vote, a vote if there is a quorum left at GA by voting time. Sometimes there is not, more so recently. Then a bunch of procedures come into play that I don’t always understood about dissent blocks and mortal dissent blocks that can kill a proposal even before a vote if somebody thinks it is a small or big danger to what the Occupy movement is trying to do. And others agree after a vote, if it gets that far. Usually though that doesn’t happen because the stuff we deal with isn’t that weird. The quorum thing will more likely delay action on a vote and the thing is tabled until a later GA. If nothing gets in the way though it can be voted that night by consensus.
“What?” asked the starting to get glazed-eye woman, who seemingly no stranger to the in and outs of grassroots participatory democracy, is taken back by our Red’s use of the word.
“Okay, okay in the corporate world things get done by majority vote, right. So a lot of people can be losers even if the vote is close so to guard against that tyranny of the majority everything is done by consensus. Someone explained it to me this way and it made sense to me. You raise your hand in approval if you can live with the proposal. On the credit union thing that would be easy but on some other stuff maybe not.”
“So what if you don’t get consensus but have a majority? Our fair lady asks. “No go, go back and work on your proposal or give it up,” shot back Red, for the first time a little annoyed with a question like the idea of consensus was automatically the best way to do things in a democracy and how could anyone, especially an anyone who came from 1960s land, object. “Thanks, for your help” our hippie lady, our perplexed hippie lady on that last point, told Red as she meandered around the camp looking for the kitchen area, or maybe just to think over what had suddenly perplexed her.
***********
“How long have you been coming here?,” asked the white-haired old man, neatly although inexpensively dressed, a man who seemingly had seen many struggles in his time, not all of them political, but enough of them to know that he had some political thoughts hidden among those white hairs. “Oh, I started camping out here on Day 1 in September and stayed for a few weeks but then I had to go back to my dorm at Boston University because there was too much noise here at night for me to study and anyway I got kind of bored just hanging around a lot being gawked at by tourists and everybody else who wanted to see what was going on here at the beginning,” forthrightly answered a fetching young brunette who did not, frankly, look, strictly from appearances, like she belonged here for one day never mind weeks but that is the beauty of what has been churned up this fall by the tide of the Occupy movement in the face of overwhelmingly social discontent.
The wizened white-haired man moved slowly away to speak to others he had met, especially a couple of Veterans For Peace supporters whom he had come to know fairly well, at the site when the young woman reached out, tugged at his coat and said “Wait, I have more to tell you.” A little startled the old man stopped in his tracks and asked to hear more. She continued “I’ve seen you around camp before, talking to some people I know about the 1960s and about the funny stuff that went on then, and you look like you might have been a hippie or something so I think I can tell you stuff.” “What stuff?” answered the now red-faced old man waiting for the young damsel to pore out her heart about the indignities of life, boy-friend problems, some unknown addictions, or some such thing.
“I just didn’t leave because I couldn’t study or was bored although that was part of it. Mainly it was because I feel this movement has lost direction, lost direction in a big way, by spending all its time and energy here defending and winter fortifying the camp and getting isolated from trying to reach out to people. I’m studying about social movements in school and this one seems to be going away from what groups like the black civil rights movement and anti-war movements were trying to even if they made a lot of mistakes. My boy-friend and I almost broke up over it because he likes the camp life, he’s still here, and he doesn’t want any demands raised, period, and thinks that if we just show a good example people will gravitate to see things our way. He was furious when I said nobody was watching, or not enough were. We made up after I left and went back to my dorm room but I still think after over a month that the encampment has been here that I was right, although we avoid talking about it. What do you think?”
The white-haired man laughed, laughed good-naturedly explaining that he did not expect in his fairly frequent stops at Dewey Square that he would be performing Dear Occupy Abby services to the lovelorn. She gave half a smile to that notion. He continued, “We too made every mistake in the book back in the day, especially in going out of our way to alienate every possible person who disagreed with us until, like some light bulb going on, we finally got it that such things were self-defeating and changed tack. I too share your reservations about getting isolated out here in the middle of nowhere, even if it is the center of the Financial District, but an old radical, and old communist actually, told me back in the day that each generation must find its own ways to drive the struggle. And he was basically right. At least some of us did learn and I am living proof that not all mistakes are politically fatal. Things are still fresh yet so talk to your boy-friend, and keep talking about the need to break out of the camps. Okay?” She nodded the nod of the half-believer and walked away saying she hoped to run into our wizard again.
**********
Five minutes ago the sidewalk along the Atlantic Avenue side of the encampment was deserted, a lonely yellow-jacketed cop shifting back and forth on his heels to make his duty time pass more quickly. Now the first sign of the day, “Tax The Rich,” along with it human holder, here a well-dressed, well-preserved older woman, a woman who looked like she has seen many battles for social justice in her time hit the sidewalk. And her action acted as a catalyst because then came a couple of young students carrying a banner-“Banks got bailed out, we got sold out,” one of the anthems of the Occupy movement, to stand beside her. They smile, she smiles, nothing more is needed as they banner understand each other completely.
Then a convoy of about twelve middle-aged and older Universalist-Unitarians from out in some suburban town, who have rented a bus for the occasion, begin filling in the sidewalk a little farther up the street with their “peace, this,” “peace, that,” “good-will toward all” signs. Upon investigation this group had made a solemn decision, as only U-Uers can, to come weekly to Boston to stand in solidarity with the efforts in Dewey Square.
A few minutes later, from out of nowhere, came a nomadic resident of the “village” with a plateful of cookies, chocolate chip perhaps, and offers them to those “working the line” on Atlantic Avenue.
********
Later, an older model automobile, frankly a heap, driven by a menacing-looking man in lumberjack jacket with fierce flashing eyes like some crazed survivalist stopped just in front of the Atlantic Avenue entrance to the encampment and yells out, “Hey, when do I put these sleeping bags, tarps, shovels, and pots? I can’t stay but I am with you, with you all the way.” Of such acts by such desperate looking men, revolutions are made, big-time revolutions.
Toward late afternoon the Atlantic Avenue traffic gets heavier, bumper to bumper, as people try to leave the city, and city cares behind. A guy in a big dump truck, a flat-top hair cut showing yells out, “Get a job” at a group of street people standing on the avenue. Later a pedestrian muttered to that yellow-jacketed cop on duty, who was still rocking his heels, about how he paid taxes and isn’t it a shame what these people are up to. The call of the day though goes to a guy, a light-skinned Cuban-looking guy in a late model cherry red sports car driving on the far right lane away from the encampment, who yells out, “Commies, go back to where you came from.”
Ya, I know not everybody got the news about twenty years back, not everybody gets what is going on now, and not everybody, despite the sleek street slogan of ninety-nine percent, is with the Occupy movement. But just remember that guy, that lumberjack jacket guy in that old heap, who gave what he had, and gave all the way.
****
An Injury To One Is An Injury To All!-Defend All The Occupation Sites And All The Occupiers! Drop All Charges Against All Protesters Everywhere!
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Fight-Don’t Starve-We Created The Wealth, Let's Take It Back! Labor And The Oppressed Must Rule!
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A Five-Point Program As Talking Points
*Jobs For All Now!-“30 For 40”- A historic demand of the labor movement. Thirty hours work for forty hours pay to spread the available work around. Organize the unorganized- Organize the South- Organize Wal-mart- Defend the right for public and private workers to unionize.
* Defend the working classes! No union dues for Democratic (or the stray Republican) candidates. Spent the dough on organizing the unorganized and other labor-specific causes (example, the November, 2011 anti-union recall referendum in Ohio).
*End the endless wars!- Immediate, Unconditional Withdrawal Of All U.S./Allied Troops (And Mercenaries) From Afghanistan! Hands Off Pakistan! Hands Off Iran! Hands Off The World!
*Fight for a social agenda for working people!. Quality Healthcare For All! Nationalize the colleges and universities under student-teacher-campus worker control! Forgive student debt! Stop housing foreclosures!
*We created the wealth, let’s take it back. Take the struggle for our daily bread off the historic agenda. Build a workers party that fights for a workers government to unite all the oppressed. Labor and the oppressed must rule!
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Markin comment November 18, 2011:
Josh Breslin didn’t know what to expect this time as the streamlined subway car that he was riding was approaching the South Station stop on the MBTA Red Line in Boston. He half-expected to see some multi-colored hand-made poster proclaiming this stop as “Occupy Boston,” something with stenciled and silhouetted clenched fist, or something like that, proclaiming this newly sacred ground, this fetid, dank subway stop, in the name of the people. Hell, just like back in the old days, the old 1960s times of blessed memory, when no wall, no public wall anyway, was safe from revolutionary pronouncements, or off-hand midnight-crafted graffiti. He had certainly seen stranger signs plastered around the Occupy encampment the last few times that he had previously come over from his home in Cambridge on the other side of the river. Stuff from Thoreau and Gandhi, naturally, but also odd-ball wisps of wisdom about being kind, not being greedy, corporate greedy or otherwise, not being sexist, racist, homophobic and the whole litany of politically acceptable Don’ts scripted out since those ‘60s that seemed self-almost explanatory and in not need of proclamation in this microscopic social experiment, this exemplar of the “new world order,” leftist-style.
Ya, these times definitely call for some outlandish statement in bright day-glo colors something, he mused amused, to confuse the touristas who were making the Occupy site a “must see” stop on their vacation itineraries. Something to throw them off the scent when they asked their infernal questions- “What are the kids up to, why all the tents, why all the black flags (really not many but that black flag of anarchy, like the red one of communism, spooked people, made their deepest fears surface, and in the old days rightly so),” and on and on. Like he, Joshua Breslin, known far and wide back in the day under the moniker, Prince of Love, a magical mystery tour merry prankster, music-and-drugs-are- the-revolution, west coast communal living madman knew what was on the kids minds today, except they were getting the short straw in the game of who gets what in the social game.
Just then he reflected, flash-back reflected, that a lot of what he had seen and heard on those other occasions when he had crossed the river of late, maybe four or five by now, echoed some long ago, half-forgotten signs and totems from the times when he was searching for the blue-pink great American West night back in the late 1960s and had wound up in People’s Park in Berkeley out in wayward California. And had been wounded and tear-gassed, Prince of Love renown notwithstanding, for his efforts when things got twisted and the deal went down. Yes, this was just exactly what it was like and now he had a “theme” for the notes that he was feeling pressed to take on this trip now that he had a “feel” for the situation. Although this time, unlike back then, he was not expecting, not expecting in his on-coming dotage, to be wounded or tear-gassed. He frankly admitted to himself after his last visit to the camp site a few days before that he was not up those rigors now, those shake-them-off-and-come-back-swinging-youth- spunks that he had in great quantity as he headed barrel-assing out west from his old hometown, Olde Saco up Maine way.
The train then stopped jarring him in mid-thought, opened its air-pressurized doors, and its sullen passengers decamped for seven winds places. No, Josh noticed, no sign at the subway level anyway that occupyitis had expanded to the cavernous underground. On surfacing in the Dewey Square sunlight though, another mercifully warm late October day starting to break through, his ears were immediately accosted by the ranting, there was no other name for it, of “Syllable Slim,” a name that he had coined for this vagabond prince standing kitty-corner in front of him when he first heard him holding forth on the perfidies of the Democrats, democrats, Republicans, republicans and anyone else who held the whiff of power, or wanted it, at Park Street Station years ago. Now Slim was the “king” of the Dewey Square day and night having moved either uptown or downtown, Josh was not quite sure of the geographic relationship between the two subway stops, with a new audience to ignore, or try to ignore, him. What was also perfectly clear was, uptown or downtown, Slim would be hard-pressed to describe what was going on at his Occupy kingdom. His spiel did not depend on such trivials The city, any city with size, produces its fair share of drifters, grifters, and midnight shifters and they, like lemmings to the sea, have heard of the glad tidings emitting from Dewey Square (read: food, shelter, and no hassles-the famous “three squares and a cot” from “on-the-road” jungle camp lore) and have come forth. And Slim is their king.
Josh, by the way, was here, here on assignment, not much pay but an assignment anyway, his first since he “officially” retired from his onerous editorial duties a couple of years back to be able to sit back, kick back, and write that great sex/drug/political/musical/ hail fellows well met/digger commune 1960s explosion novel he had been putting off since, well, since he “got off the bus” in 1971 and headed back first to Olde Saco and then drifted down to various Boston area spots. See the pay part was required, no, demanded by Josh, in order to give his employer a real “feel” for the flavor of what was going on at Dewey Square to the “soccer moms and dads” who might be wondering what they were missing while waiting, SUV-waiting, for their little Ashley or Samson to finish up their suburban kids soccer league workouts, or one or another of twelve other possible organized kid to do things for their resumes, the kid’s that is. A few random notes to titillate the rubes, and move on. No sweat. He, moreover, was going to parlay those skimpy notes into working order for his now great Tom Wolfe-ish sociological sex/drug/political/musical/ hail fellows well met/digger commune 1960s explosion novel. And in Josh Breslin’s mind Syllable Slim was already slated, with a big intro, to lead off this 21st century magical mystery tour, merry prankster gig, warts and all. We merely get his leavings.
********
“Hey brother, can you help me put this tarp over my tent? It got cold as hell last night and the winds were blowing fierce,” yelled a cherub-faced male, almost too youthful to be here but such are the times, although it was later learned that he was now a few weeks-seasoned Occupy Boston grizzly veteran resident to a middle-aged man casually walking by. “Sure thing, let’s get to it” replied that passer-by. Was the passer-by some wayward tourist looking for the next thrill in the city night life, a career gawker, or just one many unnamed “volunteers” who have sprung from the woodwork (okay, okay suburbia) in response to the news that something more than nine-to-five and white picket fences might be in the air?
********
“Can you bring this hot pot of soup to the kitchen? Some lady, a lady who would not give her name and would not acknowledge anything but thanks, drove up on the Atlantic Avenue side and asked me to unload some stuff for her,” said one young woman in shorts, short shorts thereby showing off her firm athletic legs for one and all to see to another young woman dressed in long pants, maybe jeans, getting ready for colder climates. Shortly thereafter the “laundry lady” tooted her horn looking for help in unloading a trunk-load of everything from towels to sleeping bags. And our two young women again “hit” the Atlantic Avenue curb for this “angel.” See the angel’s kindly thing, her matronly, middle-aged, unnamed kindly thing, was to come by on Tuesday for dirty laundry and return on Thursday with everything Seventh Generation bright and clean. Said “laundry lady” is also unnamed like our tent-fixing passer-by and soup lady, but clearly one who has come out of the woodwork on the news of the glad tidings.
********
“If you want a meal, a nice hot meal, could you wash some dishes to help us out,” barked, barked above the din of the dozen assorted humans in line in front of him, a man who has daily volunteered to help out in the makeshift kitchen. A kitchen whose primitive dishwashing apparatus entailed the familiar rubber soul dish pan, some lukewarm water, a little oily from the leaving of some off-hand meal, joy detergent, and rinsing tub, dishcloth and done. Primitive like back in kid time doing after supper dishes before being released in the teenage be-bop dark streets night. And a couple of older guys, older guys who knew the streets and the lore of the streets backward and forward, stepped behind the tent and got to work on a stack while the third passed on the request. When the hot meals came on deck all three got a meal, no questions asked, but somewhere, somewhere deep inside his career vagabond heart that third man knew he was not built for this new world a-borning. Not for social solidarity dishes cleaned. Meanwhile our kitchen master chef, master of the artful tuna sandwich and of the slabbed peanut butter and jelly (grape just then) variety as well answers an older man’s inquiry about what was pressingly needed for the next day’s “menu.” That older man, a man who did not look like he had the means to do so, and could have very easily passed for a “resident” of this tent city, had been coming daily with perhaps one hundred dollars worth of whatever our master chef told him the kitchen needed. Angels, apparently, come in all sizes, shapes, and circumstances.
********
Jesus, the logistics of this encampment is simplicity itself. A few rows of tents, sleeping tents, mostly good firm weather-conditioned tents in all colors, mainly blue or the feel of blue though. Unlike those watered-down Army olive drab pup tents that I made do with out in ‘Frisco when Butterfly Swirl and I were a thing traveling up and down the West Coast in the summer of love, 1967. Of course then love drove the be-bop great western night and we probably could have made due with some newspapers under our heads. But that’s a story for another time. Then several tents at each end of the encampment for special tasks like media, the library, and the “information desk.” A few odds and end here and there but mainly kept up nicely, city urban vagabond nicely. Fit for any well-fed college student out on an urban adventure to place his or her head on, and not have mother worry too much. And at the far end, the end away from the subway station a huge granite gray slab of a building, something to do with the ‘big dig” project that created this space, officially the Rose Kennedy Greenway, in its aftermath. The side wall of that big slab now serves as the main poster board for any political messages that people have the energy (and magic marker) to proclaim. And in front of that wall a few chairs, a mike, and various other equipment for those who want harangue, humor, or hum the crowd. That fleeting chance at fifteen minutes of fame for the soul-weary, for the voiceless, and for the voiced-over. Let’s listen in for bit and jot down a few of the things said.
“Karl Marx was right, this capitalist system has got to go and we need to make a new world,” sing-songed a middle-aged man, seemingly some kind of college professor out doing missionary work this day, who then proceeded to spend his fifteen minutes expanding on his scheme to have Congress vote to limit the amount of profit each corporation can make, using some sort of exotic formula that only he had the pass code to unravel. I missed that idea when I read Marx long ago but maybe I missed one of the footnotes the probable source. Our professor didn’t. This place, every time I come, at least during the day is loaded down with professors and others from the myriad local colleges and universities that dot the Boston skyline and each brings his or her own panacea with them, usually some third-rate variation off of Marx or some other 19th century thinker dressed up to wake up the texting-enchanted modern listener.
“This place is a Potemkin Village,” chanted another younger speaker a little later to a wandering, wavering crowd audience of about seven. “The people who run this thing go home at night to their nice warm beds while we stay here and keep the faith, the real faith,” he added. This inflamed black flannel-shirted youth finished up with this epistle, “Besides half the tents are empty and the tents that have people in them are just drifters and bums who don’t know anything about what we are trying to do here. They are just trying to keep warm and away from getting hassled by the cops.” I had heard that sentiment expressed before, more than once, from political types and kind of dismissed it out of hand but this guy seemed to be speaking from some truth experience. I reminded myself to come back in a few minutes and talk to him when he was done. However when I went back about ten minutes later he was gone. But his plaintive plea stuck with me and I will have to keep on the trail of that strand.
********
Later that same day at the same wall-
“Man, play us a Hendrix tune on that thing, ‘cause you are smokin’, man” earnestly requested a young, red-bearded man, obviously a student, an ardent musical student from the look of him. “Okay man, if you play a little drum behind me,” came the reply from the reincarnation of Jimi, complete with tie-dyed headband to hold his head together. And for perhaps fifteen minutes they held it together like some aura out on the 1960s be-bop night, their fifteen minutes of fame on the Dewey Square main stage for their resumes. And the crowd that swelled to listen in knew they had heard some old phantom primordial from the womb sound, and liked it. Another group this time a guitar, harmonica, drum combination trying to bring a blues riff together sends most of the crowd wandering in all directions. Such are the hard facts of the fame game from Broadway to tent city. Hopefully some more harmonious society will have more room for the fringes of that game.
*********
“Say, can I have cigarette, man, I’m out?” said another older man weary, street weary, getting ready to enter a tent to catch a few winks. “I’m rolling Bull, okay?” answered a red-headed dread-locked young man. That cadging of cigarettes, factory-made or from the pouch, between and among the young is somewhat strange after the righteous lifetime drumbeats of foul smoking. Not all messages get through.
Such were, are, will be the random sights and sounds of the Occupy Boston encampment on any given day, or any given minute if you can be in seven places at one time, as the camp continues to organize itself in the tradition of the old westward pioneers seeking that great American west blue-pink night, and still are seeking it generations later.
********
“Hey man, don’t be cheap give me a fucking cigarette, I’m all shaky,” shouted out a razor- edged guy, obviously working off some hang-over, although not necessarily an alcoholic or drug one. “I’m down to my last one, what the fuck do you want from me,” came the surly reply. The tension spiked then passed away in the midday air. In that same midday air came this from one of the tents, voiced by an unseen man, a gruff-voiced man, not young “Fuck, give me my space, my free space, don’t be all around me.” And that voice too went to ground, unresolved.
*******
“This place is neat, three squares and a cot, and nobody hassles you and you don’t have to work for your grub, or nothing,” murmured a street veteran, shabbily-dressed, rough edge- bearded but of sober expression to no one in particular in a crowd of suburban tourists who have made the site at Dewey Square a place on their “must see” map. A young man came up to a clot of that same crowd to discuss the Occupy theme. A question was asked about the shabbily-dressed man’s comment. “Oh, ya, most of the residents are street people, a few of us like me stay to keep the peace but most of the politicos go home, or back to the dorms when the General Assembly is over. We opened the space to anyone who followed the simple rules of the camp so here we are.” One tourista smirked the smirk of someone who “knew, just knew” this thing was not going to work, not with bums, hell no. We shall see.
********
“Out of the tents, into the streets, Out of the tents, into the streets” yelled a tall dark-haired young man dressed in black, Black Bloc black, meaning black everything black, from boots to jacket, topped off with the de rigueur black bandana handkerchief covering the bottom part of his face as some kind of security blanket measure. This youth is known to me so that there is only a little affectation in his dress to be in touch with his anarchist heart. Others’ motives I am not as sure of as they flaunt their garb like wearing the “uniform” would cast away all sins and black purify their corrupted souls. Such act would guard against turning into a stinking bourgeois baddie like daddy.
This sight, the nightmare sight to every protective mother guarding her young against the travails of the world and the bane of every government seeing spook shadows behind the dress, is however here among the tents just another guy with a cause. He repeats himself several times as he tries to rouse the denizens of the new world tent city to come out and march on behalf of any number of causes, this one in solidarity with the shutting down of the Port of Oakland by Occupy Oakland on this early November day, the vanguard action city of the whole American movement and one that has been increasing under attack, under police attack almost nightly.
A few younger comrades also dressed in black, head-to-toe black as well, heeded his plea and stirred from their tents, stretching the stretch of the huddled or prone to ready themselves for the couple of mile walk on this cold but clear evening. Mostly the camp residents ignore the plea and go about their business of fixing tents, heading to the kitchen mess tent for supper or just pretend that our big-hearted black-attired anarcho-mad monk of an activist will gather his troops and leave. And here is where the funny part comes in as I think back to a guy I heard up on the “main stage” a few days back who kept yelling about this occupation site being a Potemkin Village. [Markin: For those not in the know about Russian history or are unfamiliar with the term it signifies all front, no substance. Allegedly one of Russian Empress Catherine the Great’s lovers back in the 18th century, Potemkin, ordered beautiful villages build with only the facades so his honey would have pleasant sights to see when they went riding by. Ya I know, lame but that is the story.] And today that seems true, at least to my eye, as the vast majority of the three hundred or so marchers were not resident “occupiers,” or had the now signature drawn-out slightly dazed sag look of occupiers. In any case we are off, as I have decided to express my solidarity with the sisters and brothers in Oakland (a place I know well from back in the day).
Naturally the black-suited sisters and brothers are up front leading this thing chanting solidarity slogans centered on the defense of Occupy Oakland ("From the East Bay to Back Bay-Defend Occupy Oakland"), the ubiquitous “Banks got bailed out, we got sold out” that is something of a national anthem for the movement now, and to show the tenor of militancy this night this little beauty, “What’s the solution?: Revolution, What’s the reaction?: Direct action." All in a day’s work out in the protest march world though. What makes this one a little unusual is the march route. See the line of march on this one, perhaps reflecting some super-black dream kick, is deliberately planned to go helter-skelter, one assumes to “throw off” the bicycle police and other law enforcement types who are “guarding” the march.
Of course the only ones who are confused by all this are the few marchers who are rare rookies to this scene, trampling on others' shoes we travel zigzag (and they, the rookies zigzag) up the wrong way on Winter Street or Congress Street stopping already stopped rush hour traffic with our pleas for solidarity and a whole range of other concerns. Eventually we get to the State House on Beacon Street then march down to Charles Street and move against the waiting traffic before heading back to Boylston Street and then to Downtown Crossing for the now obligatory “die in” (a momentary sit-in, if you are not familiar with that term) a few “mic check” shout-outs and then more chanting back to camp. Done, finis, chalk up some more march miles on my protest-o-meter. A spirited march, a necessary march, no question, but I hope that I was just being jittery when I got that feeling in my spine at the end of the march that something was out of joint, that those who wish to “lead” a revolution, a black-encrusted revolution, were heading up the wrong street with their antics.
********
“You had better stay the fuck away from my woman, and stay way away,” threatened a young guy, a young white guy, not a street guy, not a student but just the kind of guy who drifts in and out of things. “Fuck you and your woman,” came the reply from a young Spanish-looking dude who had daggers in his eyes as the two nearly came to blows. Just then someone yelled “rainbow” and several people appeared to calm the situation down. Not too quickly calmed it down by the way.
This too is a part of the “new world a-borning” as not everybody is quite ready yet to shift gears, or just has too much, much too much, baggage from old bourgeois society to make the leap of faith just yet.
********
Voices overheard while waiting for a rally or march against or for something to start, a Free School University lecture to begin, a this or that meeting to proceed, a just plain old ordinary passing through the camp or the thousand and one other things waits at the Occupy Boston site at Dewey Square.
“See, this is the way it works,” said a tall, red-headed curly-haired young man, dressed in an “approved” regulation Occupy resident garb, fatigue jacket, denim jeans, a rakish hat, and this warmish evening wearing shoes with no socks to a small, middle-aged, graying woman dressed in some outfit worthy of high hippie times in the summer of love, 1967 but who was having a hard time getting around the various concepts involved in participation in a General Assembly (GA) show-up, the central decision-making body of the Occupy movement, although she liked the idea in theory as she made plain to tell her “tour guide” at the start.
The red-headed youth, let’s call him Red for short although no inference should be drawn about his political allegiances from that, continued, “Somebody brings an idea they, or their group, want to have heard, discussed, and voted on by GA. Let’s say, for example, an action like having everybody turn in their saving and checking accounts at the big banks like Bank of America and transfer the money to credit unions or small neighborhood banks on a certain day. They come here, get their point put on the agenda and when their turn comes up they can motivate it. Then people can discuss it, discuss it from all angles, sometimes unto death practically, I’ve seen that at GA, and periodic “temperature checks” can be taken on the favorability of supporting such an action.”
“What’s a temperature check?” asked our somewhat bewildered ancient flower-child.
“That’s a sense of the meeting on some point and instead of the crowd yelling and screaming a response you just wiggle your fingers on one hand, or two, in the middle, or down. It doesn’t mean a thing about whether the thing, the idea being presented, will pass or not,” young Red answered, answered in the patient low-key monotone that he had either spent many moons perfecting in secret or came naturally to him. I suspect the latter from other times I have seen him give his spiels at GA. “After the proposal is presented then people can approach the facilitator, or the assigned “stack” person, and ask to speak on the matter, in turn.” Okay, so far?”
“After full discussion that can, like I say, take the whole evening there is a vote, a vote if there is a quorum left at GA by voting time. Sometimes there is not, more so recently. Then a bunch of procedures come into play that I don’t always understood about dissent blocks and mortal dissent blocks that can kill a proposal even before a vote if somebody thinks it is a small or big danger to what the Occupy movement is trying to do. And others agree after a vote, if it gets that far. Usually though that doesn’t happen because the stuff we deal with isn’t that weird. The quorum thing will more likely delay action on a vote and the thing is tabled until a later GA. If nothing gets in the way though it can be voted that night by consensus.
“What?” asked the starting to get glazed-eye woman, who seemingly no stranger to the in and outs of grassroots participatory democracy, is taken back by our Red’s use of the word.
“Okay, okay in the corporate world things get done by majority vote, right. So a lot of people can be losers even if the vote is close so to guard against that tyranny of the majority everything is done by consensus. Someone explained it to me this way and it made sense to me. You raise your hand in approval if you can live with the proposal. On the credit union thing that would be easy but on some other stuff maybe not.”
“So what if you don’t get consensus but have a majority? Our fair lady asks. “No go, go back and work on your proposal or give it up,” shot back Red, for the first time a little annoyed with a question like the idea of consensus was automatically the best way to do things in a democracy and how could anyone, especially an anyone who came from 1960s land, object. “Thanks, for your help” our hippie lady, our perplexed hippie lady on that last point, told Red as she meandered around the camp looking for the kitchen area, or maybe just to think over what had suddenly perplexed her.
***********
“How long have you been coming here?,” asked the white-haired old man, neatly although inexpensively dressed, a man who seemingly had seen many struggles in his time, not all of them political, but enough of them to know that he had some political thoughts hidden among those white hairs. “Oh, I started camping out here on Day 1 in September and stayed for a few weeks but then I had to go back to my dorm at Boston University because there was too much noise here at night for me to study and anyway I got kind of bored just hanging around a lot being gawked at by tourists and everybody else who wanted to see what was going on here at the beginning,” forthrightly answered a fetching young brunette who did not, frankly, look, strictly from appearances, like she belonged here for one day never mind weeks but that is the beauty of what has been churned up this fall by the tide of the Occupy movement in the face of overwhelmingly social discontent.
The wizened white-haired man moved slowly away to speak to others he had met, especially a couple of Veterans For Peace supporters whom he had come to know fairly well, at the site when the young woman reached out, tugged at his coat and said “Wait, I have more to tell you.” A little startled the old man stopped in his tracks and asked to hear more. She continued “I’ve seen you around camp before, talking to some people I know about the 1960s and about the funny stuff that went on then, and you look like you might have been a hippie or something so I think I can tell you stuff.” “What stuff?” answered the now red-faced old man waiting for the young damsel to pore out her heart about the indignities of life, boy-friend problems, some unknown addictions, or some such thing.
“I just didn’t leave because I couldn’t study or was bored although that was part of it. Mainly it was because I feel this movement has lost direction, lost direction in a big way, by spending all its time and energy here defending and winter fortifying the camp and getting isolated from trying to reach out to people. I’m studying about social movements in school and this one seems to be going away from what groups like the black civil rights movement and anti-war movements were trying to even if they made a lot of mistakes. My boy-friend and I almost broke up over it because he likes the camp life, he’s still here, and he doesn’t want any demands raised, period, and thinks that if we just show a good example people will gravitate to see things our way. He was furious when I said nobody was watching, or not enough were. We made up after I left and went back to my dorm room but I still think after over a month that the encampment has been here that I was right, although we avoid talking about it. What do you think?”
The white-haired man laughed, laughed good-naturedly explaining that he did not expect in his fairly frequent stops at Dewey Square that he would be performing Dear Occupy Abby services to the lovelorn. She gave half a smile to that notion. He continued, “We too made every mistake in the book back in the day, especially in going out of our way to alienate every possible person who disagreed with us until, like some light bulb going on, we finally got it that such things were self-defeating and changed tack. I too share your reservations about getting isolated out here in the middle of nowhere, even if it is the center of the Financial District, but an old radical, and old communist actually, told me back in the day that each generation must find its own ways to drive the struggle. And he was basically right. At least some of us did learn and I am living proof that not all mistakes are politically fatal. Things are still fresh yet so talk to your boy-friend, and keep talking about the need to break out of the camps. Okay?” She nodded the nod of the half-believer and walked away saying she hoped to run into our wizard again.
**********
Five minutes ago the sidewalk along the Atlantic Avenue side of the encampment was deserted, a lonely yellow-jacketed cop shifting back and forth on his heels to make his duty time pass more quickly. Now the first sign of the day, “Tax The Rich,” along with it human holder, here a well-dressed, well-preserved older woman, a woman who looked like she has seen many battles for social justice in her time hit the sidewalk. And her action acted as a catalyst because then came a couple of young students carrying a banner-“Banks got bailed out, we got sold out,” one of the anthems of the Occupy movement, to stand beside her. They smile, she smiles, nothing more is needed as they banner understand each other completely.
Then a convoy of about twelve middle-aged and older Universalist-Unitarians from out in some suburban town, who have rented a bus for the occasion, begin filling in the sidewalk a little farther up the street with their “peace, this,” “peace, that,” “good-will toward all” signs. Upon investigation this group had made a solemn decision, as only U-Uers can, to come weekly to Boston to stand in solidarity with the efforts in Dewey Square.
A few minutes later, from out of nowhere, came a nomadic resident of the “village” with a plateful of cookies, chocolate chip perhaps, and offers them to those “working the line” on Atlantic Avenue.
********
Later, an older model automobile, frankly a heap, driven by a menacing-looking man in lumberjack jacket with fierce flashing eyes like some crazed survivalist stopped just in front of the Atlantic Avenue entrance to the encampment and yells out, “Hey, when do I put these sleeping bags, tarps, shovels, and pots? I can’t stay but I am with you, with you all the way.” Of such acts by such desperate looking men, revolutions are made, big-time revolutions.
Toward late afternoon the Atlantic Avenue traffic gets heavier, bumper to bumper, as people try to leave the city, and city cares behind. A guy in a big dump truck, a flat-top hair cut showing yells out, “Get a job” at a group of street people standing on the avenue. Later a pedestrian muttered to that yellow-jacketed cop on duty, who was still rocking his heels, about how he paid taxes and isn’t it a shame what these people are up to. The call of the day though goes to a guy, a light-skinned Cuban-looking guy in a late model cherry red sports car driving on the far right lane away from the encampment, who yells out, “Commies, go back to where you came from.”
Ya, I know not everybody got the news about twenty years back, not everybody gets what is going on now, and not everybody, despite the sleek street slogan of ninety-nine percent, is with the Occupy movement. But just remember that guy, that lumberjack jacket guy in that old heap, who gave what he had, and gave all the way.
Thursday, November 10, 2011
From #Occupied Boston (#TomemonosBoston)-Day Forty-Two- An Injury To One Is An Injury To All!-Defend All The Occupation Sites And All The Occupiers!–No Mas- The Class-War Lines Are Being Drawn-There Is A Need To Unite And Fight-Random Sights From Life At Dewey Square
Click on the headline to link to updates from the Occupy Boston website.Occupy Boston started at 6:00 PM, September 30, 2011. I will post important updates as they appear on that site.
********
Fight-Don’t Starve-We Created The Wealth, Let's Take It Back! Labor And The Oppressed Must Rule!
********
#TomemonosBoston
Somos la Sociedad conformando el 99% -Dewey Square, Cercerde South Station
#Tomemonos Boston se reuniarin en el Dewey Square en Downtown Boston a discutir cambios que la ciudadania puede hacer en el gobierno que afecte un cambio social positivo.
********
Markin comment November 9, 2011:
“Hey brother, can you help me put this tarp over my tent? It got cold as hell last night and the winds were blowing fierce,” yelled a youthfully-faced male, but now a few weeks-seasoned Occupy Boston grizzly veteran resident to a middle-aged man casually walking by. “Sure thing, let’s get to it” replied that passer-by.
“Can you bring this hot pot of soup to the kitchen? Some lady, a lady who would not give her name and would not acknowledge anything but thanks, drove up on the Atlantic Avenue side and asked me to unload some stuff for her,” said one young woman in shorts to another young woman dressed for colder climates.
“If you want a meal, a nice hot meal, could you wash some dishes to help us out,” barked, barked above the din in front of him, a man who had daily volunteered to help out in the makeshift kitchen. And a couple of older guys, older guys who knew the streets and the lore of the streets backward and forward, stepped behind the tent and got to work while another passed on the request.
“Man, play us a Hendrix tune on that thing, ‘cause you are smokin’, man” earnestly requested a young bearded man, obviously a student, an ardent musical student from the look of him. “Okay man, if you play a little drum behind me.” came the reply from the reincarnation of Jimi, complete with tie-dyed headband to hold his head together.
“Say, can I have cigarette, man, I’m out?” said another older man weary, street weary, getting ready to enter a tent to catch a few winks. “I’m rolling Bull, okay?,” answered a red-headed dread-locked young man.
Such were, are, the random sights and sounds of the Occupy Boston encampment on any given day, or any given minute if you can be in seven places at one time, as the camp continues to organize itself in the tradition of the old westward pioneers seeking that great American west night, and still are seeking it generations later.
“Hey man, don’t be cheap give me a fucking cigarette, I’m all shaky,” shouted out a razor- edged guy, obviously working off some hang-over, although not necessarily an alcoholic or drug one. “I’m down to my last one, what the fuck do you want from me,” came the surly reply. And the tension passed away in the midday air.
“This place is neat, three squares and a cot, and nobody hassles you and you don’t have to work for your grub, or nothing,” murmured a street veteran to no one in particular in a crowd of suburban tourists who have made the site at Dewey Square a place on their “must see” map.
“You had better stay the fuck away from my woman, and stay way away,” threatened a young guy, a young white guy, not a street guy, not a student but just the kind of guy who drifts in and out of things. “Fuck you and your woman,” came the reply from a young Spanish-looking dude who had daggers in his eyes as the two nearly came to blows. Just then someone yelled “rainbow” and several people appeared to calm the situation down.
This too is a part of the “new world a-borning” as not everybody is quite ready yet to shift gears, or just has too much, much too much, baggage from old bourgeois society to make the leap of faith just yet.
Five minutes ago the sidewalk along the Atlantic Avenue side of the encampment was deserted, a lonely yellow-jacketed cop shifting back and forth on his heels to make his duty time pass more quickly. Now the first sign of the day, “Tax The Rich,” along with it human holder, here a well-dressed, well-reserved older woman, a woman who looks like she has seen many battles for social justice in her time hits the sidewalk. And her action acts as a catalyst because now here come a couple of young students carrying a banner-“Banks got bailed out, we got sold out,” one of the anthems of the Occupy movement, to stand beside her. They smile, she smiles, nothing more is needed they understand each other completely.
Then a convoy of about twelve middle-aged and older Universalist-Unitarians from out in some suburban town, who have rented a bus for the occasion, begin filling in the sidewalk with their “peace, this,” “peace, that,” “good will toward all” signs. Upon investigation this group had made a solemn decision to come weekly to Boston to stand in solidarity with the efforts in Dewey Square.
A few minutes later, from out of nowhere, came a nomadic resident of the “village” with a plateful of cookies, chocolate chip perhaps, and offers them to those “working the line” on Atlantic Avenue.
An older model automobile, frankly a heap, driven by a menacing-looking man in lumberjack jacket with fierce eyes stopped just in front of the entrance to the encampment and yells out, “Hey, when do I put these sleeping bags, tarps, shovels, and pots? I can’t stay but I am with you, with you all the way.” Of such acts by such desperate looking men, revolutions are made, big-time revolutions.
Toward late afternoon the Atlantic Avenue traffic gets heavier, bumper to bumper, as people try to leave the city, and city cares behind. A guy in a big dump truck, a flat-top hair cut showing yells out, “Get a job” at a group of street people standing on the avenue. Later a pedestrian muttered to that cop on duty, who was still rocking his heel, about how he payed taxes and isn’t it a shame what these people are up to. The call of the day though goes to a guy, a light-skinned Cuban-looking guy in a late model sports car driving on the far right lane away from the encampment, who yells out, “Commies, go back to where you came from.” Ya, I know not everybody got the news, not everybody gets what is going on, and not everybody, despite the sleek street slogan of ninety-nine percent is with us. But just remember that guy, that lumberjack jacket guy who gave what he had, and gave all the way.
********
Fight-Don’t Starve-We Created The Wealth, Let's Take It Back! Labor And The Oppressed Must Rule!
********
#TomemonosBoston
Somos la Sociedad conformando el 99% -Dewey Square, Cercerde South Station
#Tomemonos Boston se reuniarin en el Dewey Square en Downtown Boston a discutir cambios que la ciudadania puede hacer en el gobierno que afecte un cambio social positivo.
********
Markin comment November 9, 2011:
“Hey brother, can you help me put this tarp over my tent? It got cold as hell last night and the winds were blowing fierce,” yelled a youthfully-faced male, but now a few weeks-seasoned Occupy Boston grizzly veteran resident to a middle-aged man casually walking by. “Sure thing, let’s get to it” replied that passer-by.
“Can you bring this hot pot of soup to the kitchen? Some lady, a lady who would not give her name and would not acknowledge anything but thanks, drove up on the Atlantic Avenue side and asked me to unload some stuff for her,” said one young woman in shorts to another young woman dressed for colder climates.
“If you want a meal, a nice hot meal, could you wash some dishes to help us out,” barked, barked above the din in front of him, a man who had daily volunteered to help out in the makeshift kitchen. And a couple of older guys, older guys who knew the streets and the lore of the streets backward and forward, stepped behind the tent and got to work while another passed on the request.
“Man, play us a Hendrix tune on that thing, ‘cause you are smokin’, man” earnestly requested a young bearded man, obviously a student, an ardent musical student from the look of him. “Okay man, if you play a little drum behind me.” came the reply from the reincarnation of Jimi, complete with tie-dyed headband to hold his head together.
“Say, can I have cigarette, man, I’m out?” said another older man weary, street weary, getting ready to enter a tent to catch a few winks. “I’m rolling Bull, okay?,” answered a red-headed dread-locked young man.
Such were, are, the random sights and sounds of the Occupy Boston encampment on any given day, or any given minute if you can be in seven places at one time, as the camp continues to organize itself in the tradition of the old westward pioneers seeking that great American west night, and still are seeking it generations later.
“Hey man, don’t be cheap give me a fucking cigarette, I’m all shaky,” shouted out a razor- edged guy, obviously working off some hang-over, although not necessarily an alcoholic or drug one. “I’m down to my last one, what the fuck do you want from me,” came the surly reply. And the tension passed away in the midday air.
“This place is neat, three squares and a cot, and nobody hassles you and you don’t have to work for your grub, or nothing,” murmured a street veteran to no one in particular in a crowd of suburban tourists who have made the site at Dewey Square a place on their “must see” map.
“You had better stay the fuck away from my woman, and stay way away,” threatened a young guy, a young white guy, not a street guy, not a student but just the kind of guy who drifts in and out of things. “Fuck you and your woman,” came the reply from a young Spanish-looking dude who had daggers in his eyes as the two nearly came to blows. Just then someone yelled “rainbow” and several people appeared to calm the situation down.
This too is a part of the “new world a-borning” as not everybody is quite ready yet to shift gears, or just has too much, much too much, baggage from old bourgeois society to make the leap of faith just yet.
Five minutes ago the sidewalk along the Atlantic Avenue side of the encampment was deserted, a lonely yellow-jacketed cop shifting back and forth on his heels to make his duty time pass more quickly. Now the first sign of the day, “Tax The Rich,” along with it human holder, here a well-dressed, well-reserved older woman, a woman who looks like she has seen many battles for social justice in her time hits the sidewalk. And her action acts as a catalyst because now here come a couple of young students carrying a banner-“Banks got bailed out, we got sold out,” one of the anthems of the Occupy movement, to stand beside her. They smile, she smiles, nothing more is needed they understand each other completely.
Then a convoy of about twelve middle-aged and older Universalist-Unitarians from out in some suburban town, who have rented a bus for the occasion, begin filling in the sidewalk with their “peace, this,” “peace, that,” “good will toward all” signs. Upon investigation this group had made a solemn decision to come weekly to Boston to stand in solidarity with the efforts in Dewey Square.
A few minutes later, from out of nowhere, came a nomadic resident of the “village” with a plateful of cookies, chocolate chip perhaps, and offers them to those “working the line” on Atlantic Avenue.
An older model automobile, frankly a heap, driven by a menacing-looking man in lumberjack jacket with fierce eyes stopped just in front of the entrance to the encampment and yells out, “Hey, when do I put these sleeping bags, tarps, shovels, and pots? I can’t stay but I am with you, with you all the way.” Of such acts by such desperate looking men, revolutions are made, big-time revolutions.
Toward late afternoon the Atlantic Avenue traffic gets heavier, bumper to bumper, as people try to leave the city, and city cares behind. A guy in a big dump truck, a flat-top hair cut showing yells out, “Get a job” at a group of street people standing on the avenue. Later a pedestrian muttered to that cop on duty, who was still rocking his heel, about how he payed taxes and isn’t it a shame what these people are up to. The call of the day though goes to a guy, a light-skinned Cuban-looking guy in a late model sports car driving on the far right lane away from the encampment, who yells out, “Commies, go back to where you came from.” Ya, I know not everybody got the news, not everybody gets what is going on, and not everybody, despite the sleek street slogan of ninety-nine percent is with us. But just remember that guy, that lumberjack jacket guy who gave what he had, and gave all the way.
Tuesday, November 8, 2011
Out In The 1950s Crime Noir Night, Kind Of- Beauty Is Only Skin Deep, Right, “Stolen Face” –A Film Review
Click on the headline to link to a Wikipedia entry for the film Stolen Face.
DVD Review
Stolen Face, starring Paul Henreid, Lizabeth Scott, Hammer Film Productions, 1952
Love, as almost everybody knows from personal experience, will make you do crazy thing sometimes. It will drive a seemingly rational calm and thoughtful man or woman over edge every once in while. Make “evil” in the world without missing a beat. That, my friends, is the premise behind the film under review, Stolen Face, one of a long line of films that portray the bad results of fooling around with Mother Nature too much, and with getting fogged up in that love embrace.
A British doctor, a plastic surgeon, (played Paul Henreid last seen leading the anti-fascist resistance as Victor Lazlo in early World War II in the film Casablanca) in post-World War II London working apparently for the National Health Service, and working very hard and diligently, thank you, takes a little vacation to the wilds of coastal England. He winds up in an inn along the way, an inn which also is hosting a beautiful American pianist ready to go on a European tour (played by smoky-voiced Lizabeth Scott) with a cold. Well, naturally, Doc comes to the rescue, and as part of the "cure" they fall head over heels in love. However, Lizabeth is already “spoken for,” leaving Doc very unhappy. So back to work he goes with a vengeance.
And that vengeance, as previously, entailed working on the faces of criminal types to give them a chance to change their ways (okay, Doc, if you say so). As part of that work he runs up against a disfigured dregs of the working-class young woman (okay, lumpenproletarian), Lily, whom he thinks that he can help by use of the surgeon’s scalpel. After much ado he gives her a new beautiful face, a face that is strangely very, very, very similar to his lost love’s. On top of that he goes off and marries her. But here is where things get dicey and the scriptwriter proves to be no Marxist or other believer in the ever upward rise of human progress. Lily, skin beautiful or not, goes back to her old ways “proving” that you cannot teach an old dog new tricks. Worst Lizabeth comes back; ready to get back into Doc’s arms. Fortunately Lily, drunk as a skunk riding on the train with hubby Doc, falls out of the train door (or was she pushed) just as Lizabeth shows up. Very convenient, very convenient indeed although no one is looking to make a court case out of it. Yes I guess beauty is really only skin deep, but no question love can drive you screwy. No question.
DVD Review
Stolen Face, starring Paul Henreid, Lizabeth Scott, Hammer Film Productions, 1952
Love, as almost everybody knows from personal experience, will make you do crazy thing sometimes. It will drive a seemingly rational calm and thoughtful man or woman over edge every once in while. Make “evil” in the world without missing a beat. That, my friends, is the premise behind the film under review, Stolen Face, one of a long line of films that portray the bad results of fooling around with Mother Nature too much, and with getting fogged up in that love embrace.
A British doctor, a plastic surgeon, (played Paul Henreid last seen leading the anti-fascist resistance as Victor Lazlo in early World War II in the film Casablanca) in post-World War II London working apparently for the National Health Service, and working very hard and diligently, thank you, takes a little vacation to the wilds of coastal England. He winds up in an inn along the way, an inn which also is hosting a beautiful American pianist ready to go on a European tour (played by smoky-voiced Lizabeth Scott) with a cold. Well, naturally, Doc comes to the rescue, and as part of the "cure" they fall head over heels in love. However, Lizabeth is already “spoken for,” leaving Doc very unhappy. So back to work he goes with a vengeance.
And that vengeance, as previously, entailed working on the faces of criminal types to give them a chance to change their ways (okay, Doc, if you say so). As part of that work he runs up against a disfigured dregs of the working-class young woman (okay, lumpenproletarian), Lily, whom he thinks that he can help by use of the surgeon’s scalpel. After much ado he gives her a new beautiful face, a face that is strangely very, very, very similar to his lost love’s. On top of that he goes off and marries her. But here is where things get dicey and the scriptwriter proves to be no Marxist or other believer in the ever upward rise of human progress. Lily, skin beautiful or not, goes back to her old ways “proving” that you cannot teach an old dog new tricks. Worst Lizabeth comes back; ready to get back into Doc’s arms. Fortunately Lily, drunk as a skunk riding on the train with hubby Doc, falls out of the train door (or was she pushed) just as Lizabeth shows up. Very convenient, very convenient indeed although no one is looking to make a court case out of it. Yes I guess beauty is really only skin deep, but no question love can drive you screwy. No question.
Sunday, October 16, 2011
Out In The Be-Bop 1950s Crime Noir Night- Stanley Kubrick Learns His Trade-“Killer’s Kiss”
Click on the headline to link to a Wikipedia entry for the early Stanley Kubrick crime noir, Killer’s Kiss.
DVD Review
Killer’s Kiss, directed by (and just about everything else except maybe janitor) Stanley Kubrick, United Artists, 1955
I have at this point run through many crime noir films, some good, some bad, some with sweet femme fatales, others with very dangerous, watch out femme fatales, and you really better take my advise on that. Some, as here in one of Stanley Kubrick’s early film, Killer’s Kiss, feature just an ordinary woman (although here with a somewhat exotic past). And the young woman (played by Irene Kane), a dime-a-dance worker in a shady Times Square seen better days walk-up dance hall run by a very, very shady gangster-ish older guy (played by Frank Silvera), is central to the plot line here. Seems said gangster is smitten, very smitten by this blonde fluff, although for my money I would just let her go. There are a million others around. Such though are the effects that some women have on guys, even tough gangster guys. But see she has turned cold on him, especially when one been-on-the-ring-floor-just-one-too-many-times boxer (and convenient next door neighbor in their walk-up cold water flat New York tenement world, played by Jamie Smith), pays some attention to her after a rough night of being pawed at by the gangster. Needless to say the world is not big enough for a small-time gangster, a small-time smitten very possessive gangster, and an ex-pug with eyes on the same woman. That “tension” drives the plot unto the final battles on the lonely warehouse back streets of black and white 1950s New York.
Ya, I know, not much of a plot, not something to throw in the crime noir classics archives. Agreed. Not like fall guy Robert Mitchum and gangster Kirk Douglas fighting it out over Jane Greer, who has them both looking over their shoulders, in the classic Out Of The Past. But hear me out. This is an early Stanley Kubrick film, almost a cinema school effort in fact, where he does all the heavy conceptual lifting (writer, director, editor, etc, and just maybe the janitor too). What is missing in plot line, dialogue, and that kind of thing that makes other films noir classics is made up for here by the feel of it. The feel of 1950s black and white New York with its all-night eateries, its trashy back alleys, and its seedy apartment buildings. This is not be-bop Greenwich Village/Soho New York, this is not Big Apple fixed-up, up-scale million/billion dollar New York, but the heart of corner boy New York, where things flare up just like that. And that is how Stanley Kubrick learned his craft, used to great effect later-on the mean streets of New York.
DVD Review
Killer’s Kiss, directed by (and just about everything else except maybe janitor) Stanley Kubrick, United Artists, 1955
I have at this point run through many crime noir films, some good, some bad, some with sweet femme fatales, others with very dangerous, watch out femme fatales, and you really better take my advise on that. Some, as here in one of Stanley Kubrick’s early film, Killer’s Kiss, feature just an ordinary woman (although here with a somewhat exotic past). And the young woman (played by Irene Kane), a dime-a-dance worker in a shady Times Square seen better days walk-up dance hall run by a very, very shady gangster-ish older guy (played by Frank Silvera), is central to the plot line here. Seems said gangster is smitten, very smitten by this blonde fluff, although for my money I would just let her go. There are a million others around. Such though are the effects that some women have on guys, even tough gangster guys. But see she has turned cold on him, especially when one been-on-the-ring-floor-just-one-too-many-times boxer (and convenient next door neighbor in their walk-up cold water flat New York tenement world, played by Jamie Smith), pays some attention to her after a rough night of being pawed at by the gangster. Needless to say the world is not big enough for a small-time gangster, a small-time smitten very possessive gangster, and an ex-pug with eyes on the same woman. That “tension” drives the plot unto the final battles on the lonely warehouse back streets of black and white 1950s New York.
Ya, I know, not much of a plot, not something to throw in the crime noir classics archives. Agreed. Not like fall guy Robert Mitchum and gangster Kirk Douglas fighting it out over Jane Greer, who has them both looking over their shoulders, in the classic Out Of The Past. But hear me out. This is an early Stanley Kubrick film, almost a cinema school effort in fact, where he does all the heavy conceptual lifting (writer, director, editor, etc, and just maybe the janitor too). What is missing in plot line, dialogue, and that kind of thing that makes other films noir classics is made up for here by the feel of it. The feel of 1950s black and white New York with its all-night eateries, its trashy back alleys, and its seedy apartment buildings. This is not be-bop Greenwich Village/Soho New York, this is not Big Apple fixed-up, up-scale million/billion dollar New York, but the heart of corner boy New York, where things flare up just like that. And that is how Stanley Kubrick learned his craft, used to great effect later-on the mean streets of New York.
Tuesday, September 27, 2011
The "Projects" Boys... And Girls-For Denny And All The Other Adamsville Housing Authority Survivors From The Class Of 1964-With Tom Waits In Mind
Click on the headline to link to a YouTube film clip of Tom Waits performing Jersey Girl
"Ain't Got No Time For The Corner Boys, Down In The Streets Making All That Noise"- The first line from Tom Waits classic working class love song, Jersey Girl. The best version of the song by Tom Waits is the one that you can link to on YouTube above.
***********
Peter Paul Markin, Adamsville Housing Authority Alumnus and North Adamsville, Class Of 1964, (although most AHA alumni graduated from cross-town rival, Adamsville High) comment:
Funny how some stories get their start. A few years back one of my old Adamsville South Elementary corner boys, Denny Romano, he of the squeaky burgeoning tenor in our impromptu 1950s back end of the school-yard summer nights doo wop group (and I of the squeaky bass, low, very low bass) “connected” with me again. He did so not through this site but through one of those looking for old high school graduate-based Internet sites that relentlessly track you down just as, in your dotage; you think you have finally gotten out from under that last remnant speck of fighting off the last forty years of your teen alienation and teen angst.
Denny asked me to speak of the old “corner boy” days down at “the projects,” the Adamsville Housing Authority low-rent housing where the desperately poor, temporarily so or not, were warehoused in our town in the post-World War II good night when some returning veteran fathers needed a helping hand to get them going back into civilian life. Corner boys, in case you were clueless (or too young to know of anything but mall rat-dom), were guys, mainly, who “hung out” together. Poor boy, no money, no other place to go, or with no transportation to get some place, hung out in front of a million mom and pop variety corner variety stores, corner pizza parlors, corner bowling alleys, corner fast food joints, hell, even corner gas stations in some real small towns from what some guys have told me when I asked them. Here is the odd part though. Ya, we were corner boys even that young, although we had no corner, no official corner like a corner mom and pop variety store, or a pizza parlor like I did later at Doc’s Drugstore in middle school and then as the king hell king’s scribe to Frankie Riley in front of Salducci’s Pizza Parlor but just the back end of the elementary school, as long as we were quiet and nobody cried murder and mayhem to the cops. The following, in any case, a little revised, represents my “homage” to Denny and the gang from those by-gone days and even the girls that ninety-three point four percent of the time I was scared to death of/ fascinated by. Well, some things haven’t changed anyway.
*******
Taffrail Road, Yardarm Lane, Captain's Walk, Quarterdeck Road, Sextant Circle, the Old Sailor’s Home, the Shipyard (abandoned now) and Sea Street. Yes, those streets and places from the old public housing project down in the Germantown section of Adamsville surely evoke imagines of the near-by sea that touched its edges, of long ago sailing ships, and of battles fought off some mist-driven coast by those hearty enough to seek fame and fortune. And with the wherewithal to hold on to their booty (no, not that booty, dough, prizes, stuff like that) But, of course, we know that anyone with even a passing attachment to Adamsville had to have an instinctual love of the sea, and fear of its furies when old Mother Nature turns her back on us. Yes, the endless sea, our homeland the sea, the mother we never knew, the sea... But, enough of those imaginings.
Today I look to the landward side of that troubled housing project peninsula, that isolated expanse of land jutting out of the water and filled with wreckage of another kind, the human kind . No, this will not be a sociological survey of working class pathologies made inevitable by the relentless struggle to scramble for life's necessities, the culture of poverty, or the like. Nor will it be a political screed about rising against the monsters that held us down, or the need for such a rising. Nor even about the poetic license necessary to cobble pretty words together to speak of the death of dreams, dreamless dreams or, maybe, just accepting small dreams to fit a small life. Rather, I am driven by the jumble of images that passed through the thoughts of a ragamuffin of a project boy as he tried to make sense out of a world that he did not create, and that he had no say in.
Ah, the scenes. Warm, sticky, humid summer nights, the air filled with the pungent, overpowering soapy fragrance from the Proctor & Gamble factory across the channel that never quite left one's nostrils. Waking up each morning to face the now vanished Fore River Shipyard superstructure; hearing the distant clang of metals being worked to shape; and, the sight of flickering welding torches binding metals together. The endless rust-encrusted, low-riding oil tankers coming through the channel guided to port by high whistle-blowing tugs.
The interminable wait for the lifeline, seemingly never on time, Eastern Mass bus that took one and all in and out through that single Palmer Street escape route to greater Adamsville. Or that then imposing central housing authority building where I was sent by my mother, too proud to go herself, with the monthly rent, usually short. Oh, did I mention Carter's Variety Store, the sole store for us all the way to Sea Street but police take notice off limits to corners boys young or old, another lifeline. Many a time I reached in Ma's pocketbook to steal money, or committed other small hoodlum wanna-be larcenies, in order to hike down that long road and get my sugar-drenched stash (candy bars, soda, a.k.a. tonic but that word is long gone, Twinkles, Moon Pies, and so on, sugar-drenched all)
And the kids. Well, the idea in those “golden” post-war days was that the projects were a way-station to better things, or at least that was the hope. So there was plenty of turn-over of friends but there was a core of kids, kids like me and my brothers, who stayed long enough to learn the ropes. Or get beaten down by guys just a little hungrier, a little stronger, or with just a little bigger chip on their shoulder. Every guy had to prove himself, tough or not, by hanging with guys that were "really" tough. That was the ethos, and "thems were the rules." Rules that seemed to come out of eternity’s time, and like eternity never challenged.
I took my fair share of nicks but also, for a moment, well for more than a moment as it turned out, I was swayed by the gangster lifestyle. Hell, it looked easy. With old elementary school classmate Rickie B., Denny knows who I am talking about, who, later, served twenty years, maybe more for all know, for a series of armed robberies, I worked my first "clip" in some downtown Adamsville Square jewelry store, Sid’s I think, the one with all the onyx rings on display in the front and the twelve signs about how you could have anything in the place on very easy terms, only a million installments (with interest piling up, of course). No, thanks. The clip, again for the clueless, is nothing but kids’ stuff, strictly for amateurs because no professional thief would risk his or her good name for such a low-rent payoff. The deal was one guy went in and got the salesperson’s attention while the other guy ripped off whatever was “hanging low on the tree.” In that arrangement I was usually the “tree” guy not because I had quick hands, although come to think of it I did (and big eyes, big greedy eyes for all the booty, and you know what booty means here now since I told you before), but because I didn’t have the knack of talking gibberish to adults. Hell, you probably did the clip yourself, maybe for kicks. And then forgot about it for some other less screwy kick. Not me.
Okay, so at that point maybe every kid, every curious kid ready in whatever manner to challenge authority and I (and most of my then corner boys, although not Denny if I recall correctly) are even. Here is the tie-breaker though. Moving on, I was the "holder" for more expansive enterprises with George H. (who, later, got killed when a drug deal he was promoting, a lonely gringo deal down in Mexico, went south on him). See George was a true artist, a true sneak thief who was able to get into any house by stealth and sheer determination. Mainly houses up in Adams Shore where people actually had stuff worth stealing unlike in the projects where the stuff was so much Bargain Center specials (the local Wal-Mart-like operation of its day). He needed me for two, no three, things. First, I was the “look-out” and even the clueless know what that means. Secondly, I actually held and carried some of the loot that he passed to me out of the window or door, and one time out a backyard bulkhead (the good stuff, televisions, silverware, a stamp collection, a coin collection, and some other stuff that I have forgotten about, was in the basement family room). Lastly, as George started to draw school and police attention I actually “held” the stuff in a safe location (which I will not disclose here just in case the various statutes of limitations have not run out). That went on for a while but George got busted for something else, some unruly child baloney rap thing, and that was that.
That was just a kid’s gangster moment, right? It was not all larcenies and kid dreams of some “big score” to get himself, and his family, out from under though. It couldn’t be for a kid, or the whole world, poor as it was, would have just collapsed over my head, and I would not be here to honor Denny’s request.
Oh, the different things that came up. Oddball things like Christmas tree bonfires on New Year’s Eve where we scurried like rats just as soon as neighbors put their trees out to be taken away in order to assemble them on the beach ready to be fired up and welcome in the new year. Or annual Halloween hooliganism where we, in a sugar frenzy, worked the neighborhood trick or treat racket hitting every house like the 82nd Airborne Division, or some such elite unit running amok in Baghdad or some Iraqi town ...
Hey, wait a minute, all this is so much eyewash because what, at least in my memory's eye, is the driving "projects" image is the "great awakening." Girls. Girls turning from sticks to shapes just around the time that I started to notice the difference, and being interested in that different if not always sure about what it meant. You don’t need a book to figure that out, although maybe it would have helped. And being fascinated and ill at ease at the same time around them, and being a moonstruck kid on every girl that gave me a passing glance, or what I thought was a passing glance, and the shoe leather-wearing out marathon walking, thinking about what to do about them, especially when the intelligence-gatherers told you about a girl who liked you. And the innocent, mostly dreaded, little petting parties, in dank little basements that served as 'family rooms' for each apartment, trying to be picked by the one you want to pick you and, well, you get the drift. Remind me to tell you some time, and here is where Denny comes in, how we put together, a bunch of corner-less corner boys, a ragtag doo wop group one summer for the express, the sole, the only purpose of, well, luring girls to the back of the school where we hung out. And it worked.
Now a lot of this is stuff any kid goes through, except just not in "the projects." And some of it is truly "projects" stuff - which way will he go, good or bad? But this next thing kind of ties it together. Just about the time when I was seriously committed to a petty criminal lifestyle, that “holding” stuff with my corner boy comrade George, I found the Thomas Crane Library branch that was then in the Adamsville South Elementary School (now further up the street toward Adamsville Square). And one summer I just started to read every biography or other interesting book they had in the Children's Section. While looking, longingly, over at the forbidden Adult Section on the other side of the room for the good stuff. And I dreamed. Yes, I am a "projects" boy, and I survived to tell the tale. Is that good enough for you, Denny?
Tom Waits Jersey Girl Lyrics
Got no time for the corner boys,
Down in the street makin' all that noise,
Don't want no whores on eighth avenue,
Cause tonight i'm gonna be with you.
'cause tonight i'm gonna take that ride,
Across the river to the jersey side,
Take my baby to the carnival,
And i'll take you all on the rides.
Down the shore everything's alright,
You're with your baby on a saturday night,
Don't you know that all my dreams come true,
When i'm walkin' down the street with you,
Sing sha la la la la la sha la la la.
You know she thrills me with all her charms,
When i'm wrapped up in my baby's arms,
My little angel gives me everything,
I know someday that she'll wear my ring.
So don't bother me cause i got no time,
I'm on my way to see that girl of mine,
Nothin' else matters in this whole wide world,
When you're in love with a jersey girl,
Sing sha la la la la la la.
And i call your name, i can't sleep at night,
Sha la la la la la la.
"Ain't Got No Time For The Corner Boys, Down In The Streets Making All That Noise"- The first line from Tom Waits classic working class love song, Jersey Girl. The best version of the song by Tom Waits is the one that you can link to on YouTube above.
***********
Peter Paul Markin, Adamsville Housing Authority Alumnus and North Adamsville, Class Of 1964, (although most AHA alumni graduated from cross-town rival, Adamsville High) comment:
Funny how some stories get their start. A few years back one of my old Adamsville South Elementary corner boys, Denny Romano, he of the squeaky burgeoning tenor in our impromptu 1950s back end of the school-yard summer nights doo wop group (and I of the squeaky bass, low, very low bass) “connected” with me again. He did so not through this site but through one of those looking for old high school graduate-based Internet sites that relentlessly track you down just as, in your dotage; you think you have finally gotten out from under that last remnant speck of fighting off the last forty years of your teen alienation and teen angst.
Denny asked me to speak of the old “corner boy” days down at “the projects,” the Adamsville Housing Authority low-rent housing where the desperately poor, temporarily so or not, were warehoused in our town in the post-World War II good night when some returning veteran fathers needed a helping hand to get them going back into civilian life. Corner boys, in case you were clueless (or too young to know of anything but mall rat-dom), were guys, mainly, who “hung out” together. Poor boy, no money, no other place to go, or with no transportation to get some place, hung out in front of a million mom and pop variety corner variety stores, corner pizza parlors, corner bowling alleys, corner fast food joints, hell, even corner gas stations in some real small towns from what some guys have told me when I asked them. Here is the odd part though. Ya, we were corner boys even that young, although we had no corner, no official corner like a corner mom and pop variety store, or a pizza parlor like I did later at Doc’s Drugstore in middle school and then as the king hell king’s scribe to Frankie Riley in front of Salducci’s Pizza Parlor but just the back end of the elementary school, as long as we were quiet and nobody cried murder and mayhem to the cops. The following, in any case, a little revised, represents my “homage” to Denny and the gang from those by-gone days and even the girls that ninety-three point four percent of the time I was scared to death of/ fascinated by. Well, some things haven’t changed anyway.
*******
Taffrail Road, Yardarm Lane, Captain's Walk, Quarterdeck Road, Sextant Circle, the Old Sailor’s Home, the Shipyard (abandoned now) and Sea Street. Yes, those streets and places from the old public housing project down in the Germantown section of Adamsville surely evoke imagines of the near-by sea that touched its edges, of long ago sailing ships, and of battles fought off some mist-driven coast by those hearty enough to seek fame and fortune. And with the wherewithal to hold on to their booty (no, not that booty, dough, prizes, stuff like that) But, of course, we know that anyone with even a passing attachment to Adamsville had to have an instinctual love of the sea, and fear of its furies when old Mother Nature turns her back on us. Yes, the endless sea, our homeland the sea, the mother we never knew, the sea... But, enough of those imaginings.
Today I look to the landward side of that troubled housing project peninsula, that isolated expanse of land jutting out of the water and filled with wreckage of another kind, the human kind . No, this will not be a sociological survey of working class pathologies made inevitable by the relentless struggle to scramble for life's necessities, the culture of poverty, or the like. Nor will it be a political screed about rising against the monsters that held us down, or the need for such a rising. Nor even about the poetic license necessary to cobble pretty words together to speak of the death of dreams, dreamless dreams or, maybe, just accepting small dreams to fit a small life. Rather, I am driven by the jumble of images that passed through the thoughts of a ragamuffin of a project boy as he tried to make sense out of a world that he did not create, and that he had no say in.
Ah, the scenes. Warm, sticky, humid summer nights, the air filled with the pungent, overpowering soapy fragrance from the Proctor & Gamble factory across the channel that never quite left one's nostrils. Waking up each morning to face the now vanished Fore River Shipyard superstructure; hearing the distant clang of metals being worked to shape; and, the sight of flickering welding torches binding metals together. The endless rust-encrusted, low-riding oil tankers coming through the channel guided to port by high whistle-blowing tugs.
The interminable wait for the lifeline, seemingly never on time, Eastern Mass bus that took one and all in and out through that single Palmer Street escape route to greater Adamsville. Or that then imposing central housing authority building where I was sent by my mother, too proud to go herself, with the monthly rent, usually short. Oh, did I mention Carter's Variety Store, the sole store for us all the way to Sea Street but police take notice off limits to corners boys young or old, another lifeline. Many a time I reached in Ma's pocketbook to steal money, or committed other small hoodlum wanna-be larcenies, in order to hike down that long road and get my sugar-drenched stash (candy bars, soda, a.k.a. tonic but that word is long gone, Twinkles, Moon Pies, and so on, sugar-drenched all)
And the kids. Well, the idea in those “golden” post-war days was that the projects were a way-station to better things, or at least that was the hope. So there was plenty of turn-over of friends but there was a core of kids, kids like me and my brothers, who stayed long enough to learn the ropes. Or get beaten down by guys just a little hungrier, a little stronger, or with just a little bigger chip on their shoulder. Every guy had to prove himself, tough or not, by hanging with guys that were "really" tough. That was the ethos, and "thems were the rules." Rules that seemed to come out of eternity’s time, and like eternity never challenged.
I took my fair share of nicks but also, for a moment, well for more than a moment as it turned out, I was swayed by the gangster lifestyle. Hell, it looked easy. With old elementary school classmate Rickie B., Denny knows who I am talking about, who, later, served twenty years, maybe more for all know, for a series of armed robberies, I worked my first "clip" in some downtown Adamsville Square jewelry store, Sid’s I think, the one with all the onyx rings on display in the front and the twelve signs about how you could have anything in the place on very easy terms, only a million installments (with interest piling up, of course). No, thanks. The clip, again for the clueless, is nothing but kids’ stuff, strictly for amateurs because no professional thief would risk his or her good name for such a low-rent payoff. The deal was one guy went in and got the salesperson’s attention while the other guy ripped off whatever was “hanging low on the tree.” In that arrangement I was usually the “tree” guy not because I had quick hands, although come to think of it I did (and big eyes, big greedy eyes for all the booty, and you know what booty means here now since I told you before), but because I didn’t have the knack of talking gibberish to adults. Hell, you probably did the clip yourself, maybe for kicks. And then forgot about it for some other less screwy kick. Not me.
Okay, so at that point maybe every kid, every curious kid ready in whatever manner to challenge authority and I (and most of my then corner boys, although not Denny if I recall correctly) are even. Here is the tie-breaker though. Moving on, I was the "holder" for more expansive enterprises with George H. (who, later, got killed when a drug deal he was promoting, a lonely gringo deal down in Mexico, went south on him). See George was a true artist, a true sneak thief who was able to get into any house by stealth and sheer determination. Mainly houses up in Adams Shore where people actually had stuff worth stealing unlike in the projects where the stuff was so much Bargain Center specials (the local Wal-Mart-like operation of its day). He needed me for two, no three, things. First, I was the “look-out” and even the clueless know what that means. Secondly, I actually held and carried some of the loot that he passed to me out of the window or door, and one time out a backyard bulkhead (the good stuff, televisions, silverware, a stamp collection, a coin collection, and some other stuff that I have forgotten about, was in the basement family room). Lastly, as George started to draw school and police attention I actually “held” the stuff in a safe location (which I will not disclose here just in case the various statutes of limitations have not run out). That went on for a while but George got busted for something else, some unruly child baloney rap thing, and that was that.
That was just a kid’s gangster moment, right? It was not all larcenies and kid dreams of some “big score” to get himself, and his family, out from under though. It couldn’t be for a kid, or the whole world, poor as it was, would have just collapsed over my head, and I would not be here to honor Denny’s request.
Oh, the different things that came up. Oddball things like Christmas tree bonfires on New Year’s Eve where we scurried like rats just as soon as neighbors put their trees out to be taken away in order to assemble them on the beach ready to be fired up and welcome in the new year. Or annual Halloween hooliganism where we, in a sugar frenzy, worked the neighborhood trick or treat racket hitting every house like the 82nd Airborne Division, or some such elite unit running amok in Baghdad or some Iraqi town ...
Hey, wait a minute, all this is so much eyewash because what, at least in my memory's eye, is the driving "projects" image is the "great awakening." Girls. Girls turning from sticks to shapes just around the time that I started to notice the difference, and being interested in that different if not always sure about what it meant. You don’t need a book to figure that out, although maybe it would have helped. And being fascinated and ill at ease at the same time around them, and being a moonstruck kid on every girl that gave me a passing glance, or what I thought was a passing glance, and the shoe leather-wearing out marathon walking, thinking about what to do about them, especially when the intelligence-gatherers told you about a girl who liked you. And the innocent, mostly dreaded, little petting parties, in dank little basements that served as 'family rooms' for each apartment, trying to be picked by the one you want to pick you and, well, you get the drift. Remind me to tell you some time, and here is where Denny comes in, how we put together, a bunch of corner-less corner boys, a ragtag doo wop group one summer for the express, the sole, the only purpose of, well, luring girls to the back of the school where we hung out. And it worked.
Now a lot of this is stuff any kid goes through, except just not in "the projects." And some of it is truly "projects" stuff - which way will he go, good or bad? But this next thing kind of ties it together. Just about the time when I was seriously committed to a petty criminal lifestyle, that “holding” stuff with my corner boy comrade George, I found the Thomas Crane Library branch that was then in the Adamsville South Elementary School (now further up the street toward Adamsville Square). And one summer I just started to read every biography or other interesting book they had in the Children's Section. While looking, longingly, over at the forbidden Adult Section on the other side of the room for the good stuff. And I dreamed. Yes, I am a "projects" boy, and I survived to tell the tale. Is that good enough for you, Denny?
Tom Waits Jersey Girl Lyrics
Got no time for the corner boys,
Down in the street makin' all that noise,
Don't want no whores on eighth avenue,
Cause tonight i'm gonna be with you.
'cause tonight i'm gonna take that ride,
Across the river to the jersey side,
Take my baby to the carnival,
And i'll take you all on the rides.
Down the shore everything's alright,
You're with your baby on a saturday night,
Don't you know that all my dreams come true,
When i'm walkin' down the street with you,
Sing sha la la la la la sha la la la.
You know she thrills me with all her charms,
When i'm wrapped up in my baby's arms,
My little angel gives me everything,
I know someday that she'll wear my ring.
So don't bother me cause i got no time,
I'm on my way to see that girl of mine,
Nothin' else matters in this whole wide world,
When you're in love with a jersey girl,
Sing sha la la la la la la.
And i call your name, i can't sleep at night,
Sha la la la la la la.
Tuesday, August 23, 2011
The Road To…., The Corner Boys Of The 1930s-Tom Hanks’ “Road to Perdition”- A Film Review
Click on the headline to link to a Wikipedia entry for the film The Road To Perdition.
DVD Review
The Road To Perdition, starring Tom Hanks, Paul Newman, Jude Law, based on the graphic novel by Max Allan Collins, Dreamworks, 2002
I have spent a lot of time in this space writing about my corner boy experiences growing up in my old Irish and Italian working class neighborhood in the late 1950s and early 1960s. I have also spent some time talking about the corner boys who just immediately preceded us in the early 1950s. Pretty tame really although if you were on the receiving end of a vicious beating, got your money stolen in some back alley, or had your personal household possessions ransacked or stolen by some midnight shifter your perspective might not be so romantic. The “corner boys,” Irish and Italian mainly, of 1930s Great Depression Chicago though, as portrayed in the film under review, The Road to Perdition, make all that other stuff seem “punk” by comparison.
Of course the motives to join a gang of lumpenproletarians in all cases were the same then, and today. That is “where the money was” to paraphrase the old-time famous bank robber, Willy Sutton. No question all those guys in the 1930s and later were (and are) from hunger. But also looking for the quick dollar and the “no heavy lifting” life not associated with steady working class factory every day values. Equally true is the fact that there are always more “hungry” guys than the market can bear which leads to two things-external “turf wars” between gangs and internal turf wars over who controls what within gangs. And that is the heart of this story.
The problem for Tom Hanks, a trusted, very trusted, enforcer (read: “hit man”) for Irish mob boss Paul Newman (he of many such corner boy roles going back to Cool Hand Luke and before) is that Newman's psychotic son wants his share of the goodies as befits a son and heir apparent. Needless to say that things get dicey, very dicey as they maneuver to the top, including the gangland-style execution of Hanks’ family that was suppose to include a son, the narrator of the film, who is forced to help Hanks’ seek the inevitable revenge required by the situation. In the end though Tom Waits is right in the opening line from Jersey Girl- “Ain’t got no time for the corner boys, down in the streets making all that noise.” A nice cinematically-pleasing 1930s period piece and what turned out to be a great farewell performance by the late Paul Newman.
DVD Review
The Road To Perdition, starring Tom Hanks, Paul Newman, Jude Law, based on the graphic novel by Max Allan Collins, Dreamworks, 2002
I have spent a lot of time in this space writing about my corner boy experiences growing up in my old Irish and Italian working class neighborhood in the late 1950s and early 1960s. I have also spent some time talking about the corner boys who just immediately preceded us in the early 1950s. Pretty tame really although if you were on the receiving end of a vicious beating, got your money stolen in some back alley, or had your personal household possessions ransacked or stolen by some midnight shifter your perspective might not be so romantic. The “corner boys,” Irish and Italian mainly, of 1930s Great Depression Chicago though, as portrayed in the film under review, The Road to Perdition, make all that other stuff seem “punk” by comparison.
Of course the motives to join a gang of lumpenproletarians in all cases were the same then, and today. That is “where the money was” to paraphrase the old-time famous bank robber, Willy Sutton. No question all those guys in the 1930s and later were (and are) from hunger. But also looking for the quick dollar and the “no heavy lifting” life not associated with steady working class factory every day values. Equally true is the fact that there are always more “hungry” guys than the market can bear which leads to two things-external “turf wars” between gangs and internal turf wars over who controls what within gangs. And that is the heart of this story.
The problem for Tom Hanks, a trusted, very trusted, enforcer (read: “hit man”) for Irish mob boss Paul Newman (he of many such corner boy roles going back to Cool Hand Luke and before) is that Newman's psychotic son wants his share of the goodies as befits a son and heir apparent. Needless to say that things get dicey, very dicey as they maneuver to the top, including the gangland-style execution of Hanks’ family that was suppose to include a son, the narrator of the film, who is forced to help Hanks’ seek the inevitable revenge required by the situation. In the end though Tom Waits is right in the opening line from Jersey Girl- “Ain’t got no time for the corner boys, down in the streets making all that noise.” A nice cinematically-pleasing 1930s period piece and what turned out to be a great farewell performance by the late Paul Newman.
Saturday, August 13, 2011
The Stuff Of Dreams- Harry Madden, “The Grifter,” R.I.P.
“Hey, Peter Paul, long time no see,” yelled Harry Madden, seemingly forever known as “The Grifter” in North Adamsville childhood lore, from across Commonwealth Avenue near Kenmore Square, or better for those who do not know Boston, near Fenway Park, the home of the Red Sox, on a hot summer’s day in 1967. Peter Paul Markin, a little high and in a funk thinking about his latest also seemingly endless problems with Joyell, took a couple flashes to recognized the Grifter, not having seen him in a couple of years. A couple of youth-changing 1960s years so that the Grifter’s eternal sharkskin suit, white shirt, thin, really almost stringy brown tie, and pattern leather black shoes, shined to a mirror look see, short 1950s style hair, short, with no facial hair showing anywhere, seemed strange in the new faded blue jeans, ratty tee-shirt, long-haired, bearded, scraggly or not, hard rock night.
What was not strange was the Grifter’s request, or rather demand, as he crossed the street and met up with Peter Paul, “Markin, lend me a hundred dollars, I’ve got a hot deal, a hot grass (marijuana, for the innocent, or unworldly) deal going down coming in straight from Mexico where I can make a score, a big score, and be on easy street, finally on easy street just like I said I would be back in those North Adamsville days when we dreamed our dreams. I‘ll pay you back double, hey, why don’t you give me two hundred and we can be partners and split down the right down the middle.”
Markin, warily and wearily in equal parts, replied quickly that he did not have two hundred dollars but that he could see his way clear to lending the hundred, for old times sake, and because, frankly, although not every word of their conversation is being restated here, the Grifter held a spell over the usually rational Markin, and everybody else whom he had ever encountered for more than two minutes. That was the Grifter’s charm, and his claim to North Adamsville fame. So the pair made their way a few blocks over to Markin’s tiny student ghetto apartment on Westland Avenue to get the money, share a little something for the head(that aforementioned grass, okay) from Markin’s stash, and talk over old times. That was the last time Markin saw Harry Madden, blessed childhood Harry Madden, alive.
Who knows when Harry became the Grifter. Maybe it was when they, along with a couple of other Adamsville South Elementary School classmates, decided that they would sell Kool-Aid one hot summer’s day in the early 1950s, Markin was not exactly sure of the year but it was when they were very young, in order to raise enough of a stake to go down to Carter’s Variety Store and load up on penny candy. Penny candy being the po’ boy’s (and girl’s too) way of satisfying their sweet tooth by buying it by the piece. Things like tootsie rolls, necco wafers, mary janes (no, not dope), chunkies, and so on. Stuff that dear mothers would not throw by the bagful into shopping carts on shopping days.
Well, the boys set up the Kool-Aid stand without much of a problem, using an old wooden crate for a stand, placing cups, and pitchers of Orange and Grape Kool-Aid on display for thirsty customers to dare to walk by at two cents a glass. And that day was a very hot one, and the neighborhood kids had a great thirst, a great thirst for those pitchers of Kool-Aid coming off the playing fields behind the old school. Harry, and he was just Harry then, came up with the bright idea that they could increase their profits and make enough money to get ice cream cones rather than just cheapjack penny candy if they added water, and, well, really just diluted the product a little. And that night, as they licked their chocolate, strawberry or vanilla cones amid satisfied chuckles, Harry had a band of brother that would follow him through hell.
Maybe it was when the band of brothers was twelve, perhaps thirteen, Markin again was not sure, when Harry, now already called the Grifter, came up with the idea that they should pool their lunch money together and buy a lottery ticket. And to hear the Grifter give his spiel they would thereafter all be on easy street, and maybe have so much money that they could leave dreary old school for the has-beens (the Grifter’s term for anybody who did not get in on one his schemes, without questions). Sold, idea sold as usual, when the Grifter put on the press for one of his “hot” ideas.
And the idea was sold solidly when they “hit,” for twenty dollars a few days later. What the others, Markin included, did not know was that the Grifter had just said they had made that hit, what after all did they know of lotteries except as the road to easy street. The Grifter had used his own money as the first prize, and all the later funds collected from his boys that whole school year went into his pocket for his real scheme- working some shell game that he lost the money on when a couple of rough customers stole his dough after telling him the facts of life. The facts of life being in this case that Lefty Looney held the exclusive rights to who and who did not promote shell games in Adamsville. It was only by accident that one of the band, Bizarre Benny not Markin, found out from a cousin the details of the Grifter’s game, having lost a few bucks at it.
Or maybe it was just from the womb that the Grifter had some gene, some grifter X or Y or G gene, embedded in his life system that made him an such an easy mark for the lure of easy street, for the bright lights of “being somebody,” some easy way somebody. In any case, in the end it was not pretty, as Markin heard the story a couple of years after that Kenmore Square chance meeting (or was it), while the Grifter’s friends and family were standing around the funeral home talking about his various schemes over the years, and about how he could have been somebody, somebody no question, if he had spent just a little less time worrying about easy street.
Apparently Harry, Markin says let’s call him Harry now at least to show a little respect for what he could have been and to kind of wash the grifter thing away from his memory, actually did use Markin’s hundred dollars to finance a wholesale drug purchase (marijuana, ganja, herb, weed, whatever you may have called it then, or call it now), sold the stuff on the street, making enough of a profit to make a bigger purchase, and more profit. Things looked very much like easy street just then. And in those early days selling dope to students, young working class kids, and even adults who hated their day jobs was as easy as hanging around the Boston Common, whispering a few words, and having people flock to you like lemmings to the sea. Especially if you had the good stuff, stuff like Acapulco Gold and Columbian Red, and Harry had it.
Then, as usual, Harry had to go one step beyond, although if you follow a certain logic Harry’s idea was not that crazy, starting out anyway. See the streets were okay for a while, but the legal questions, the surfeit of dealers and the decline of quality was killing the street market, or driving it indoors. Harry, sensing this, decided that he would take his tidy profits and buy into distributorship, a free lance distributorship. In short, sell to the street dealers and go indoors himself. And for a while he was again successful but the two things happened. The drug cartels at the higher levels were squeezing the Harrys out and putting their own people in the distribution system, and were moreover beginning to push high profit cocaine more than weed, and the profit margins at Harry’s level for the good stuff (that Gold and Red) were declining. Harry could daily see himself sinking, sinking back into Adamsville oblivion.
Harry though was never short of ideas, especially ideas on the fly. Harry came up with an idea, actually two inter-related ideas. First, to raise more capital he would cut his dope, cut it with oregano, twigs, whatever, to his street dealers. Second, he would, cut through the system and bring his own dope out of Mexico. Now cutting dope was generally something street punks did, did for the weekend “hippies” who were glad, glad as hell, to even have the idea, the essence of dope. However for a distributor this was poison. Now a lot of people have the image that your average street dealer, dealing out of his or her pocket, is just a mellow head spreading the good news.
But see Harry was dealing with street dealers from the ghetto and barrio then and cutting product on them was well, death. And before long Harry was forced to leave town or face the unknown wrath of several important street dealers who would just as soon cut up a skinny white hustler like Harry as look at him. According to one report, one unconfirmed report but with the ring of truth about it, Harry was within a day or two of “as look at him.”
And, of course, by then Harry had, straight-out had, to flee to Mexico to get right. Of course as well in Mexico, Sonora, Mexico as it turned out, Harry found out to his regret, while one could have all the money in the drug world if one was not connected, and more importantly as the structure of the cartels was getting in order, not part of the distribution system you were out of luck. Harry, naturally, believed he was born under a lucky star, he was still alive wasn’t he, and tried to arrange a large purchase to take out of Mexico, to make things right in Boston. But see in Sonora every drug deal went through Pablo Sanchez, or it didn’t go down.
When Senor Sanchez, or one of his agents, heard about it (through a guy who worked for the guy Harry was putting the deal together with from what was gathered) Harry was a marked man. The rest of the story is plain as day to see coming and, moreover, Markin got pretty shaky telling the rest of it but they found Harry looking very much like Swiss cheese in a back-alley Sonora street, face down. Yes, Harry, R.I.P.
Note: Markin wants one and all to know that Harry Madden was a grifter not a grafter. Harry was no ten-percent man taking some small piece of some other guy’s action, and practically on bended knees praying for that cut. No Harry, like a true grifter, small or large, made his own deals, big or small, good or bad, and he was the guy who gave the cuts, if that was his pleasure. Got it.
What was not strange was the Grifter’s request, or rather demand, as he crossed the street and met up with Peter Paul, “Markin, lend me a hundred dollars, I’ve got a hot deal, a hot grass (marijuana, for the innocent, or unworldly) deal going down coming in straight from Mexico where I can make a score, a big score, and be on easy street, finally on easy street just like I said I would be back in those North Adamsville days when we dreamed our dreams. I‘ll pay you back double, hey, why don’t you give me two hundred and we can be partners and split down the right down the middle.”
Markin, warily and wearily in equal parts, replied quickly that he did not have two hundred dollars but that he could see his way clear to lending the hundred, for old times sake, and because, frankly, although not every word of their conversation is being restated here, the Grifter held a spell over the usually rational Markin, and everybody else whom he had ever encountered for more than two minutes. That was the Grifter’s charm, and his claim to North Adamsville fame. So the pair made their way a few blocks over to Markin’s tiny student ghetto apartment on Westland Avenue to get the money, share a little something for the head(that aforementioned grass, okay) from Markin’s stash, and talk over old times. That was the last time Markin saw Harry Madden, blessed childhood Harry Madden, alive.
Who knows when Harry became the Grifter. Maybe it was when they, along with a couple of other Adamsville South Elementary School classmates, decided that they would sell Kool-Aid one hot summer’s day in the early 1950s, Markin was not exactly sure of the year but it was when they were very young, in order to raise enough of a stake to go down to Carter’s Variety Store and load up on penny candy. Penny candy being the po’ boy’s (and girl’s too) way of satisfying their sweet tooth by buying it by the piece. Things like tootsie rolls, necco wafers, mary janes (no, not dope), chunkies, and so on. Stuff that dear mothers would not throw by the bagful into shopping carts on shopping days.
Well, the boys set up the Kool-Aid stand without much of a problem, using an old wooden crate for a stand, placing cups, and pitchers of Orange and Grape Kool-Aid on display for thirsty customers to dare to walk by at two cents a glass. And that day was a very hot one, and the neighborhood kids had a great thirst, a great thirst for those pitchers of Kool-Aid coming off the playing fields behind the old school. Harry, and he was just Harry then, came up with the bright idea that they could increase their profits and make enough money to get ice cream cones rather than just cheapjack penny candy if they added water, and, well, really just diluted the product a little. And that night, as they licked their chocolate, strawberry or vanilla cones amid satisfied chuckles, Harry had a band of brother that would follow him through hell.
Maybe it was when the band of brothers was twelve, perhaps thirteen, Markin again was not sure, when Harry, now already called the Grifter, came up with the idea that they should pool their lunch money together and buy a lottery ticket. And to hear the Grifter give his spiel they would thereafter all be on easy street, and maybe have so much money that they could leave dreary old school for the has-beens (the Grifter’s term for anybody who did not get in on one his schemes, without questions). Sold, idea sold as usual, when the Grifter put on the press for one of his “hot” ideas.
And the idea was sold solidly when they “hit,” for twenty dollars a few days later. What the others, Markin included, did not know was that the Grifter had just said they had made that hit, what after all did they know of lotteries except as the road to easy street. The Grifter had used his own money as the first prize, and all the later funds collected from his boys that whole school year went into his pocket for his real scheme- working some shell game that he lost the money on when a couple of rough customers stole his dough after telling him the facts of life. The facts of life being in this case that Lefty Looney held the exclusive rights to who and who did not promote shell games in Adamsville. It was only by accident that one of the band, Bizarre Benny not Markin, found out from a cousin the details of the Grifter’s game, having lost a few bucks at it.
Or maybe it was just from the womb that the Grifter had some gene, some grifter X or Y or G gene, embedded in his life system that made him an such an easy mark for the lure of easy street, for the bright lights of “being somebody,” some easy way somebody. In any case, in the end it was not pretty, as Markin heard the story a couple of years after that Kenmore Square chance meeting (or was it), while the Grifter’s friends and family were standing around the funeral home talking about his various schemes over the years, and about how he could have been somebody, somebody no question, if he had spent just a little less time worrying about easy street.
Apparently Harry, Markin says let’s call him Harry now at least to show a little respect for what he could have been and to kind of wash the grifter thing away from his memory, actually did use Markin’s hundred dollars to finance a wholesale drug purchase (marijuana, ganja, herb, weed, whatever you may have called it then, or call it now), sold the stuff on the street, making enough of a profit to make a bigger purchase, and more profit. Things looked very much like easy street just then. And in those early days selling dope to students, young working class kids, and even adults who hated their day jobs was as easy as hanging around the Boston Common, whispering a few words, and having people flock to you like lemmings to the sea. Especially if you had the good stuff, stuff like Acapulco Gold and Columbian Red, and Harry had it.
Then, as usual, Harry had to go one step beyond, although if you follow a certain logic Harry’s idea was not that crazy, starting out anyway. See the streets were okay for a while, but the legal questions, the surfeit of dealers and the decline of quality was killing the street market, or driving it indoors. Harry, sensing this, decided that he would take his tidy profits and buy into distributorship, a free lance distributorship. In short, sell to the street dealers and go indoors himself. And for a while he was again successful but the two things happened. The drug cartels at the higher levels were squeezing the Harrys out and putting their own people in the distribution system, and were moreover beginning to push high profit cocaine more than weed, and the profit margins at Harry’s level for the good stuff (that Gold and Red) were declining. Harry could daily see himself sinking, sinking back into Adamsville oblivion.
Harry though was never short of ideas, especially ideas on the fly. Harry came up with an idea, actually two inter-related ideas. First, to raise more capital he would cut his dope, cut it with oregano, twigs, whatever, to his street dealers. Second, he would, cut through the system and bring his own dope out of Mexico. Now cutting dope was generally something street punks did, did for the weekend “hippies” who were glad, glad as hell, to even have the idea, the essence of dope. However for a distributor this was poison. Now a lot of people have the image that your average street dealer, dealing out of his or her pocket, is just a mellow head spreading the good news.
But see Harry was dealing with street dealers from the ghetto and barrio then and cutting product on them was well, death. And before long Harry was forced to leave town or face the unknown wrath of several important street dealers who would just as soon cut up a skinny white hustler like Harry as look at him. According to one report, one unconfirmed report but with the ring of truth about it, Harry was within a day or two of “as look at him.”
And, of course, by then Harry had, straight-out had, to flee to Mexico to get right. Of course as well in Mexico, Sonora, Mexico as it turned out, Harry found out to his regret, while one could have all the money in the drug world if one was not connected, and more importantly as the structure of the cartels was getting in order, not part of the distribution system you were out of luck. Harry, naturally, believed he was born under a lucky star, he was still alive wasn’t he, and tried to arrange a large purchase to take out of Mexico, to make things right in Boston. But see in Sonora every drug deal went through Pablo Sanchez, or it didn’t go down.
When Senor Sanchez, or one of his agents, heard about it (through a guy who worked for the guy Harry was putting the deal together with from what was gathered) Harry was a marked man. The rest of the story is plain as day to see coming and, moreover, Markin got pretty shaky telling the rest of it but they found Harry looking very much like Swiss cheese in a back-alley Sonora street, face down. Yes, Harry, R.I.P.
Note: Markin wants one and all to know that Harry Madden was a grifter not a grafter. Harry was no ten-percent man taking some small piece of some other guy’s action, and practically on bended knees praying for that cut. No Harry, like a true grifter, small or large, made his own deals, big or small, good or bad, and he was the guy who gave the cuts, if that was his pleasure. Got it.
Saturday, July 9, 2011
Out In The 1950s Crime Noir Night-The Doctor Is Out- Robert Mitchum’s“Where Danger Lives”-A Film Review
Click on the headline to link to a Wikipedia entry for Where Danger Lives.
DVD Review
Where Danger Lives, starring Robert Mitchum, Faith Domergue, Claude Rains, Paramount Pictures, 1950
No question I am a film noir, especially a crime film noir, aficionado. Recently I have been on a tear reviewing various crime noir efforts and drawing comparisons between the ones that “speak” to me and those that, perhaps, should have been left on the cutting room floor. The classics are easy: films like Out Of the Past, Gilda, The Lady From Shang-hai, and The Big Sleep need no additional comment from me as their plot lines stand on their own merits. Others, because they have a fetching, or wicked, for that matter, femme fatale to muddy the waters also get a pass, or as in Gilda a double nod for the plot and for the femme fatale. (Be still my heart, at the thought of Rita Hayworth, ah, dancing and singing, okay lip synching, and looking, well, fetching while doing those difficult tasks.). Having just mentioned the classic Out Of The Past allows me to segue into this 1950 crime noir vehicle, Where Danger Lives, another film starring Robert Mitchum.
No question jut-jawed, slightly hazy lazy-eyed, made for heavy-lifting, Robert Mitchum would make the top of any crime noir aficionados idea of guy that fits the bill in this genre. And he proved it out of box in Out Of The Past where he was “smitten” by classic bad girl, no, rotten, low-down femme fatale, Jane Greer, who, unfortunately, unfortunately for Mitchum was “owned” by a mobster (Kirk Douglas) a little further up the food chain. And paid the price for that indiscretion, paid big time. So we know two things about Robert Mitchum. He likes the lively ladies, the ones that come with bells and whistles and plenty of baggage, usually distressful baggage, and he can take care of himself in the clinches. Well almost. Actually we know three things about Brother Mitchum. He does not have enough sense to come in out of the rain, or any place else where danger lurks for that matter. Why? Well in this film he is at it again, back up against a two-timing femme fatale, although as they come in all sizes and shapes a dark-haired one this time (Faith Domegue).
A quick run through the plot line will bring us up to date on Brother Mitchum’s problem. Seems that in this one Mitchum plays a young doctor, a very good young doctor as such doctors go, but he makes the number one cardinal mistake in medical practice (he must have skipped that class in med school, the one about proper bedside manner, minus the bed)- don’t get involved personally with the patients. Especially drop-dead beautiful, alluring, capricious (yes, capricious), calculating ones who show up in the emergency room after attempted suicides. Yes, a big red flag should have been flying in Doc’s head
But see he is young, and she is drop-dead beautiful. Put those two together, and well, what is a man to do. Only problem is said drop-dead beauty is one, married, very married, to a wealthy, older, hell, ancient man, and maybe, tad bit jealous and protective (Claude Rains) and, two, is under some mental distress, hell, she is cuckoo, bonkers, crazy, okay, murderously crazy, if you really want to know. Well for me that would take a certain edge off that drop-dead beauty part but for Doc, no way, no way at all as he is well, let’s just call it smitten.
Of course the price of smitten, smitten to a crazy (sorry), married, very married woman can be very high and here is no exception. After a little bout/confrontation with hubby in which Doc got the worst of it, it seems that when Doc came to said hubby was dead, very dead. See here is where smitten gets you in trouble though. Doc is not going to be the fall guy, and he is not letting his paramour take the fall either. So they decide to high-tail it to Mexico, and freedom, or so they think like a million other people in a tight spot, although not all that crowd decide to high-tail it to Mexico. The trials and tribulations of this now on-the-run couple is what drives the rest of the film, even though Doc is pretty hazy about why he is running (except she is running), given his own medical condition. The rest you can figure out for yourself, just like, in the end Doc, had to figure things out. The hard way.
So you can see that I was not kidding about Brother Mitchum’s little femme fatale problem. But I blame the whole thing on Claude Rains. See there is no way an old guy, a wealthy old guy, or poor for that matter, is suppose to be hanging out with young, drop-dead beautiful women, crazy or not. And see worldly Claude Rains should know such stuff from back in the days when he was running around grabbing dough at Rick’s Place in Casablanca. So the next time you see a crime noir film like this one you will know what’s what.
DVD Review
Where Danger Lives, starring Robert Mitchum, Faith Domergue, Claude Rains, Paramount Pictures, 1950
No question I am a film noir, especially a crime film noir, aficionado. Recently I have been on a tear reviewing various crime noir efforts and drawing comparisons between the ones that “speak” to me and those that, perhaps, should have been left on the cutting room floor. The classics are easy: films like Out Of the Past, Gilda, The Lady From Shang-hai, and The Big Sleep need no additional comment from me as their plot lines stand on their own merits. Others, because they have a fetching, or wicked, for that matter, femme fatale to muddy the waters also get a pass, or as in Gilda a double nod for the plot and for the femme fatale. (Be still my heart, at the thought of Rita Hayworth, ah, dancing and singing, okay lip synching, and looking, well, fetching while doing those difficult tasks.). Having just mentioned the classic Out Of The Past allows me to segue into this 1950 crime noir vehicle, Where Danger Lives, another film starring Robert Mitchum.
No question jut-jawed, slightly hazy lazy-eyed, made for heavy-lifting, Robert Mitchum would make the top of any crime noir aficionados idea of guy that fits the bill in this genre. And he proved it out of box in Out Of The Past where he was “smitten” by classic bad girl, no, rotten, low-down femme fatale, Jane Greer, who, unfortunately, unfortunately for Mitchum was “owned” by a mobster (Kirk Douglas) a little further up the food chain. And paid the price for that indiscretion, paid big time. So we know two things about Robert Mitchum. He likes the lively ladies, the ones that come with bells and whistles and plenty of baggage, usually distressful baggage, and he can take care of himself in the clinches. Well almost. Actually we know three things about Brother Mitchum. He does not have enough sense to come in out of the rain, or any place else where danger lurks for that matter. Why? Well in this film he is at it again, back up against a two-timing femme fatale, although as they come in all sizes and shapes a dark-haired one this time (Faith Domegue).
A quick run through the plot line will bring us up to date on Brother Mitchum’s problem. Seems that in this one Mitchum plays a young doctor, a very good young doctor as such doctors go, but he makes the number one cardinal mistake in medical practice (he must have skipped that class in med school, the one about proper bedside manner, minus the bed)- don’t get involved personally with the patients. Especially drop-dead beautiful, alluring, capricious (yes, capricious), calculating ones who show up in the emergency room after attempted suicides. Yes, a big red flag should have been flying in Doc’s head
But see he is young, and she is drop-dead beautiful. Put those two together, and well, what is a man to do. Only problem is said drop-dead beauty is one, married, very married, to a wealthy, older, hell, ancient man, and maybe, tad bit jealous and protective (Claude Rains) and, two, is under some mental distress, hell, she is cuckoo, bonkers, crazy, okay, murderously crazy, if you really want to know. Well for me that would take a certain edge off that drop-dead beauty part but for Doc, no way, no way at all as he is well, let’s just call it smitten.
Of course the price of smitten, smitten to a crazy (sorry), married, very married woman can be very high and here is no exception. After a little bout/confrontation with hubby in which Doc got the worst of it, it seems that when Doc came to said hubby was dead, very dead. See here is where smitten gets you in trouble though. Doc is not going to be the fall guy, and he is not letting his paramour take the fall either. So they decide to high-tail it to Mexico, and freedom, or so they think like a million other people in a tight spot, although not all that crowd decide to high-tail it to Mexico. The trials and tribulations of this now on-the-run couple is what drives the rest of the film, even though Doc is pretty hazy about why he is running (except she is running), given his own medical condition. The rest you can figure out for yourself, just like, in the end Doc, had to figure things out. The hard way.
So you can see that I was not kidding about Brother Mitchum’s little femme fatale problem. But I blame the whole thing on Claude Rains. See there is no way an old guy, a wealthy old guy, or poor for that matter, is suppose to be hanging out with young, drop-dead beautiful women, crazy or not. And see worldly Claude Rains should know such stuff from back in the days when he was running around grabbing dough at Rick’s Place in Casablanca. So the next time you see a crime noir film like this one you will know what’s what.
Friday, June 10, 2011
On The Centenary Of Tennessee Williams' Birth-Homage To The Outsider- Some Of The Work Of Playwright Tennessee Williams
Friday, June 10, 2011
On The Centenary Of Tennessee Williams' Birthday-Homage To The Outsider- Some Of The Work Of Playwright Tennessee Williams
Thursday, January 15, 2009
Homage To The Outsider- The Work Of Playwright Tennessee Williams
Play/DVD Reviews
Enough Mendacity To Sink A Ship
Cat On A Hot Tin Roof, The Theater of Tennessee Williams, Volume Three, New Directions Books, New York, 1955
The first couple of paragraphs here have been used as introduction to other plays written by Tennessee Williams and reviewed in this space. This review applies to both the stage play and the film versions with differences noted as part of the review
Perhaps, as is the case with this reviewer, if you have come to the works of the excellent American playwright Tennessee Williams through adaptations of his plays to commercially distributed film you too will have missed some of the more controversial and intriguing aspects of his plays that had placed him at that time along with Eugene O’Neill and Arthur Miller as America’s finest serious playwrights. Although some of the films have their own charms I want to address the written plays in this entry first (along with, when appropriate, commentary about Williams’ extensive and detailed directing instructions).
That said, there are certain limitations for a political commentator like this reviewer on the works of Williams. Although his plays, at least his best and most well-known ones, take place in the steamy South or its environs, there is virtually no acknowledgement of the race question that dominated Southern life during the period of the plays; and, for that matter was beginning to dominate national life. Thus, although it is possible to pay homage to his work on its artistic merits, I am very, very tentative about giving fulsome praise to that work on its political merits. With that proviso Williams nevertheless has created a very modern stage on which to address social questions at the personal level, like homosexuality, incest and the dysfunctional family that only began to get addressed widely well after his ground-breaking work hit the stage.
“Cat On A Hot Tin Roof” is a prime example of the contradiction that a radical commentator is placed in. The themes of duplicity, latent homosexuality, adultery and dysfunctional families topped off by more than enough mendacity to sink a ship are the stuff of social drama that NEED to be addressed as outcomes in the modern capitalist cultural sphere. However, in the end nothing really gets resolved truthfully here. Old 1950’s-style All-American boy Brick, the ‘great white hope’ of the family, may or may not sober up after the ‘lost’ of his dear friend and fellow football player, Skipper. Saucy and sexy wife Maggie (the cat) may or may not really get pregnant by Brick and save the family heritage for him, or die trying. The only certainty, despite all that above-mentioned mendacity, is that Big Daddy is going to die and that 28,000 acres of the finest land in the Delta is going to need new management, either Brick, brother Goober (along with his scheming wife and their ‘lovely brood’ of children) or some upstart. Off of these possible outcomes, however, I would not get too worked up about the final outcome.
In the movie version, done in the 1950’s as well, which starred the recently departed excellent actor Paul Newman as Brick and a fetching Elizabeth Taylor as Maggie the question of Brick’s possible homosexual relationship with Skipper is far more muted than in the play. The implicit question seems to concern Brick’s fading youth, his search for perfect meaning to life in Mississippi and that one’s existential crisis can be eliminated by reliance on the bottle. The relationship between the dying Big Daddy and his ever suffering wife, Big Mama, is less dastardly than in the play as well. The scheming Goober and wife and family and those ‘lovely’ children, however, run true to form. My sense of the movie, unlike the deeper issues of the play, is that a few therapy sessions would put old Brick back on the right track. The play was far less hopeful in that regard.
The Fickle Bird Of Youth
The Sweet Bird Of Youth, Three Plays of Tennessee Williams, New Directions Books, New York, 1959
“Sweet Bird Of Youth” is a case in point. Not for the first time, a seemingly 1950’s style All- American boy Chance who has left his hometown, his home town girl and his roots behind to drift in that endless spiral toward fame- Hollywood and the movies, naturally- comes back to claim what is his by right. On this little hometown reunion Chance is in the service of one aging and fretful actress who has her own issues with that elusive ‘bird of youth’. On return to town it appears that Chance has stirred up a hornet’s nest with the local political establishment in the person of one red-neck preacher turned politician in order to better do “god’s work”, old Tom Findley. The object of this dispute is one Heavenly Findley, old Ton’s daughter and Chance’s left behind paramour who is now the subject of some scandal (due to the amorphously stated need for female-related medical treatment due to Chance’s irresponsibility). Along the way we get to see how political power is distributed in a small Southern town as well as the inevitable tempting of the fates by Chance in order to win the ‘brass ring’ before it is too late (apparently somewhere over thirty, by my reckoning). At play’s end though, where he is between a rock and a hard place, Chance may not get the chance to be Chance at thirty. Oh, that fickle bird of youth. Still, Chance, go for it.
In the movie version the recently departed excellent actor Paul Newman, a classic example of a 1950’s All-American boy type (among his other acting talents), as the movie star ‘wannabe’ and Geraldine Page as the aging actress recreated their stage performances although with a greater screen presence for Ms. Page. Moreover, Chance’s strivings to reconnect with Heavenly are more central to the plot. More importantly, the endings differ in that, despite some mauling by Tom Findley’s boys Chance takes my advice from the play version and runs, with Heavenly, just as far and as fast as his now aging legs can carry him.
Waiting For A Sign
The Rose Tattoo, Three Plays of Tennessee Williams, New Directions Books, New York, 1959
“The Rose Tattoo” is a little different look at the family. Although the geography of the play is still the American South this play is not peopled with Williams’ usually WASPy characters but rather a little conclave of immigrant Italians who have somehow made a beachhead in the Gulf Coast area. The central character is a previously abandoned but now widowed Italian seamstress trying to survive, mainly through her hopes for her daughter, on her wits, her memories of youth, her integrity and her fierce instinct to survive in alien territory. A philandering husband the obsessive subject of her adoration, a daughter trying to learn to fly on her own in the love game, and an incidental encounter with a fellow, younger Italian truck driver come together to give her the sign she needs to start over. Maybe. This play, more than most of Williams’ efforts, depends on the strength of the dialogue and not the plot line. That is what gives its dramatic edge as Williams explores yet another tangled up dream gone awry story.
In the movie version, the role of the young Italian truck driver as played by Burt Lancaster and the seamstress as played by the fabulous Anna Magnini is more central to the unfolding story from the beginning. The dramatic tensions between this pair and the ‘waiting for a sign’ by the seamstress are still fairly similar. It is however Lancaster’s enhanced role that really makes this a visual treat and gives one hope that this new family ‘aborning’ can survive.
Take A Walk On The Wild Side
Orpheus Descending, The Theater of Tennessee Williams, Volume Three, New Directions Books, New York, 1955
On reading “Orpheus Descending”, Williams’ take on the old Greek legend in modern grab I was struck by the similarity in the character of the Orpheus figure, Val ,and Nelson Algren’s Dove Linkhorn in “ A Walk On The Wild Side. Both are loners, outsiders, have checkered pasts and are ready for anything from deep romantic love to murder and mayhem. And because they are capacity of that range of emotions and reactions they are also as capable of getting burned by a complacent society that does not take kindly to those that it cannot control. Val drifts into town, gets a job at a store by the enigmatic Lady and then the wheels begin to turn and to deal out his fate. Could he have stopped and turned away? Although that is a question that drives many dramatic efforts it is not always resolvable in a play- or in life. Lady’s terminally ill husband lurks in the background with nothing to lose, once the romantic sparks start to fly. I do not understand why this play was not more successful in its earlier manifestations as was pointed out in the introduction, especially as this is a culture that has made space, if only grudgingly, to for the outsider to tempt the fates if only symbolically.
The Sweet Bird Of Youth Gone Awry
Suddenly Last Summer, The Theater of Tennessee Williams, Volume Three, New Directions Books, New York, 1955
“Suddenly Last Summer is an odd little beauty of a play. Odd in that the appetites of the main (unseen in the play) character Sebastian seem to be both beyond the pale and obsessive. Odd, also that his protective monster of a mother is determined to keep the truth about her “genius” son from the world even after his ‘untimely’ death ……last summer. As if to add fuel to the fire of an already bizarre tale of exploitation, sexual and otherwise, Sebastian’s beautiful lure of a cousin used as bait for Sebastian’s appetites is to be permanently taken out of the picture in order to keep this world beautiful. Nobody believes the sordid tale she has to tell about dear cousin Sebastian. The play ends with the ‘hope’ that there may actually be someone to believe the girl’s story before she becomes one more sacrifice to ‘beauty’ in the world. Frankly, old Sebastian got what was coming to him over in the islands.
In the movie version, the stories that have to be told verbally in the play get told as flashbacks as well. Katherine Hepburn is in high dudgeon as Sebastian’s mother and ‘keeper of the flame’. Montgomery Clift is a more sober, somber and searcher for the truth psychiatrist than the one in the play and Elizabeth Taylor is the beautiful lure cousin is a mass of confusions whose memories of last summer have to be erased ….some way. Old Sebastian and his twisted sense of life and his place in history is still a guy who had it coming to him. Well, he did, didn’t he?
Labels: adultery, Deep South, dysfunctional families, homosexuality, incest, lumpenproletariat, outsiders, playwrights, Tennessee Williams
On The Centenary Of Tennessee Williams' Birthday-Homage To The Outsider- Some Of The Work Of Playwright Tennessee Williams
Thursday, January 15, 2009
Homage To The Outsider- The Work Of Playwright Tennessee Williams
Play/DVD Reviews
Enough Mendacity To Sink A Ship
Cat On A Hot Tin Roof, The Theater of Tennessee Williams, Volume Three, New Directions Books, New York, 1955
The first couple of paragraphs here have been used as introduction to other plays written by Tennessee Williams and reviewed in this space. This review applies to both the stage play and the film versions with differences noted as part of the review
Perhaps, as is the case with this reviewer, if you have come to the works of the excellent American playwright Tennessee Williams through adaptations of his plays to commercially distributed film you too will have missed some of the more controversial and intriguing aspects of his plays that had placed him at that time along with Eugene O’Neill and Arthur Miller as America’s finest serious playwrights. Although some of the films have their own charms I want to address the written plays in this entry first (along with, when appropriate, commentary about Williams’ extensive and detailed directing instructions).
That said, there are certain limitations for a political commentator like this reviewer on the works of Williams. Although his plays, at least his best and most well-known ones, take place in the steamy South or its environs, there is virtually no acknowledgement of the race question that dominated Southern life during the period of the plays; and, for that matter was beginning to dominate national life. Thus, although it is possible to pay homage to his work on its artistic merits, I am very, very tentative about giving fulsome praise to that work on its political merits. With that proviso Williams nevertheless has created a very modern stage on which to address social questions at the personal level, like homosexuality, incest and the dysfunctional family that only began to get addressed widely well after his ground-breaking work hit the stage.
“Cat On A Hot Tin Roof” is a prime example of the contradiction that a radical commentator is placed in. The themes of duplicity, latent homosexuality, adultery and dysfunctional families topped off by more than enough mendacity to sink a ship are the stuff of social drama that NEED to be addressed as outcomes in the modern capitalist cultural sphere. However, in the end nothing really gets resolved truthfully here. Old 1950’s-style All-American boy Brick, the ‘great white hope’ of the family, may or may not sober up after the ‘lost’ of his dear friend and fellow football player, Skipper. Saucy and sexy wife Maggie (the cat) may or may not really get pregnant by Brick and save the family heritage for him, or die trying. The only certainty, despite all that above-mentioned mendacity, is that Big Daddy is going to die and that 28,000 acres of the finest land in the Delta is going to need new management, either Brick, brother Goober (along with his scheming wife and their ‘lovely brood’ of children) or some upstart. Off of these possible outcomes, however, I would not get too worked up about the final outcome.
In the movie version, done in the 1950’s as well, which starred the recently departed excellent actor Paul Newman as Brick and a fetching Elizabeth Taylor as Maggie the question of Brick’s possible homosexual relationship with Skipper is far more muted than in the play. The implicit question seems to concern Brick’s fading youth, his search for perfect meaning to life in Mississippi and that one’s existential crisis can be eliminated by reliance on the bottle. The relationship between the dying Big Daddy and his ever suffering wife, Big Mama, is less dastardly than in the play as well. The scheming Goober and wife and family and those ‘lovely’ children, however, run true to form. My sense of the movie, unlike the deeper issues of the play, is that a few therapy sessions would put old Brick back on the right track. The play was far less hopeful in that regard.
The Fickle Bird Of Youth
The Sweet Bird Of Youth, Three Plays of Tennessee Williams, New Directions Books, New York, 1959
“Sweet Bird Of Youth” is a case in point. Not for the first time, a seemingly 1950’s style All- American boy Chance who has left his hometown, his home town girl and his roots behind to drift in that endless spiral toward fame- Hollywood and the movies, naturally- comes back to claim what is his by right. On this little hometown reunion Chance is in the service of one aging and fretful actress who has her own issues with that elusive ‘bird of youth’. On return to town it appears that Chance has stirred up a hornet’s nest with the local political establishment in the person of one red-neck preacher turned politician in order to better do “god’s work”, old Tom Findley. The object of this dispute is one Heavenly Findley, old Ton’s daughter and Chance’s left behind paramour who is now the subject of some scandal (due to the amorphously stated need for female-related medical treatment due to Chance’s irresponsibility). Along the way we get to see how political power is distributed in a small Southern town as well as the inevitable tempting of the fates by Chance in order to win the ‘brass ring’ before it is too late (apparently somewhere over thirty, by my reckoning). At play’s end though, where he is between a rock and a hard place, Chance may not get the chance to be Chance at thirty. Oh, that fickle bird of youth. Still, Chance, go for it.
In the movie version the recently departed excellent actor Paul Newman, a classic example of a 1950’s All-American boy type (among his other acting talents), as the movie star ‘wannabe’ and Geraldine Page as the aging actress recreated their stage performances although with a greater screen presence for Ms. Page. Moreover, Chance’s strivings to reconnect with Heavenly are more central to the plot. More importantly, the endings differ in that, despite some mauling by Tom Findley’s boys Chance takes my advice from the play version and runs, with Heavenly, just as far and as fast as his now aging legs can carry him.
Waiting For A Sign
The Rose Tattoo, Three Plays of Tennessee Williams, New Directions Books, New York, 1959
“The Rose Tattoo” is a little different look at the family. Although the geography of the play is still the American South this play is not peopled with Williams’ usually WASPy characters but rather a little conclave of immigrant Italians who have somehow made a beachhead in the Gulf Coast area. The central character is a previously abandoned but now widowed Italian seamstress trying to survive, mainly through her hopes for her daughter, on her wits, her memories of youth, her integrity and her fierce instinct to survive in alien territory. A philandering husband the obsessive subject of her adoration, a daughter trying to learn to fly on her own in the love game, and an incidental encounter with a fellow, younger Italian truck driver come together to give her the sign she needs to start over. Maybe. This play, more than most of Williams’ efforts, depends on the strength of the dialogue and not the plot line. That is what gives its dramatic edge as Williams explores yet another tangled up dream gone awry story.
In the movie version, the role of the young Italian truck driver as played by Burt Lancaster and the seamstress as played by the fabulous Anna Magnini is more central to the unfolding story from the beginning. The dramatic tensions between this pair and the ‘waiting for a sign’ by the seamstress are still fairly similar. It is however Lancaster’s enhanced role that really makes this a visual treat and gives one hope that this new family ‘aborning’ can survive.
Take A Walk On The Wild Side
Orpheus Descending, The Theater of Tennessee Williams, Volume Three, New Directions Books, New York, 1955
On reading “Orpheus Descending”, Williams’ take on the old Greek legend in modern grab I was struck by the similarity in the character of the Orpheus figure, Val ,and Nelson Algren’s Dove Linkhorn in “ A Walk On The Wild Side. Both are loners, outsiders, have checkered pasts and are ready for anything from deep romantic love to murder and mayhem. And because they are capacity of that range of emotions and reactions they are also as capable of getting burned by a complacent society that does not take kindly to those that it cannot control. Val drifts into town, gets a job at a store by the enigmatic Lady and then the wheels begin to turn and to deal out his fate. Could he have stopped and turned away? Although that is a question that drives many dramatic efforts it is not always resolvable in a play- or in life. Lady’s terminally ill husband lurks in the background with nothing to lose, once the romantic sparks start to fly. I do not understand why this play was not more successful in its earlier manifestations as was pointed out in the introduction, especially as this is a culture that has made space, if only grudgingly, to for the outsider to tempt the fates if only symbolically.
The Sweet Bird Of Youth Gone Awry
Suddenly Last Summer, The Theater of Tennessee Williams, Volume Three, New Directions Books, New York, 1955
“Suddenly Last Summer is an odd little beauty of a play. Odd in that the appetites of the main (unseen in the play) character Sebastian seem to be both beyond the pale and obsessive. Odd, also that his protective monster of a mother is determined to keep the truth about her “genius” son from the world even after his ‘untimely’ death ……last summer. As if to add fuel to the fire of an already bizarre tale of exploitation, sexual and otherwise, Sebastian’s beautiful lure of a cousin used as bait for Sebastian’s appetites is to be permanently taken out of the picture in order to keep this world beautiful. Nobody believes the sordid tale she has to tell about dear cousin Sebastian. The play ends with the ‘hope’ that there may actually be someone to believe the girl’s story before she becomes one more sacrifice to ‘beauty’ in the world. Frankly, old Sebastian got what was coming to him over in the islands.
In the movie version, the stories that have to be told verbally in the play get told as flashbacks as well. Katherine Hepburn is in high dudgeon as Sebastian’s mother and ‘keeper of the flame’. Montgomery Clift is a more sober, somber and searcher for the truth psychiatrist than the one in the play and Elizabeth Taylor is the beautiful lure cousin is a mass of confusions whose memories of last summer have to be erased ….some way. Old Sebastian and his twisted sense of life and his place in history is still a guy who had it coming to him. Well, he did, didn’t he?
Labels: adultery, Deep South, dysfunctional families, homosexuality, incest, lumpenproletariat, outsiders, playwrights, Tennessee Williams
Wednesday, May 11, 2011
Out In The 1950s Crime Noir Night- Stanley Kubrick’s “The Killing”- A Film Review
Click on the headline to link to a Wikipedia entry for Stanley Kubrick's crime noir, The Killing.
DVD Review
The Killing, starring Sterling Hayden, Coleen Grey, directed by Stanley Kubrick, United Artists, 1956
As I have mentioned to start other reviews in this crime noir genre sure I am an aficionado, especially those 1940s detective epics like the film adaptations of Dashiell Hammet’s Sam Spade in The Maltese Falcon and Raymond Chandler’s Phillip Marlowe in The Big Sleep. Nothing like that gritty black and white film, ominous musical background and shadowy moments to stir the imagination. Others in the genre like Gilda, The Lady From Shang-hai, and Out Of The Past rate a nod because in addition to those attributes mentioned above they have classic femme fatales to add a little off-hand spice to the plot line, and, oh ya, they look nice too. Beyond those classics this period (say, roughly from the mid-1940s to mid-1950s produced many black and white film noir set pieces, some good some not so good. For plot line, and plot interest, the film under review, The Killing, is under that latter category.
Okay, okay we know crimes, crimes, large and small do not pay. We get our noses rubbed in that hard fact from almost infancy by parents, churches, and schools. Okay we get it, kind of. But in this little grade B crime film noir from the hills of Hollywood we are going to get our noses rubbed in it just one more time, although the way that the plot line sets up it looks like a sure thing that this time the thing will succeed. At least it had me rooting for the “bad” guys for a minute. And every kid from every misbegotten housing project, from every no dough neighborhood has secretly (or not so secretly) had to have been rooting for the caper to be pulled off too.
See here is the lay of land on the caper. Johnny (if it is not Joe in these crime noirs it's Johnny but we will let that lie, okay), fresh from stir (prison) Johnny (played by Sterling Hayden) wants to go straight, well, wants to live on easy street is more like it. And live on that easy street with neighborhood childhood sweetheart Coleen Grey. And, of course, Johnny had a little time to thing about it up in stir (prison, for those who forgot). So, naturally with that easy street goal in mind (and all that time on his hands) he plans to rob the local race track on the day of the big race for a cool couple of million. Now that might seem like pocket change today but back in those days, that was dough. Hey, I’ll take a cut of that, no problem.
But also see such a caper requires all kind of help, inside and outside, to pull it off and that is where, even if you are hoping against hope that Johnny scores big, you can see that things might get a little dicey. The cast of characters, black and white-etched film characters, is like a rogue’s gallery of every soft “hard” guy character actor that populated the be-bop 1950s television and movie screen (and at least one from the 1940s, Elisha Cook, Jr. as the insider ticket cashier, going back to Hammett’s Maltese Falcon film days, starring Humphrey Bogart as Sam Spade). But we will let that go for now, as well. What is important once the motley crew is gathered is that the thing works like clockwork. And, from Johnny’s end, it does. The idea (a little loony in retrospect, if you thought about it) was to create a diversion to get into the track cash room where all the dough is (Johnny got that part right anyway), said diversion being the shooting of a famous race horse during the race to create the momentary confusion necessary so smart guy Johnny can get in and get all the dough. And, guess what it actually gets pulled off, and fairly easily.
But weren’t you paying attention- crime does not pay, get it. So, just as easily as the caper gets pulled off it starts to unravel. And all, or almost all, because of a two-timing dame. Figures right, figure right in a crime noir anyway. And the dame is no femme fatale like Gilda, no way, but some bar stool blonde wife that insider ticket cashier(Cook)is crazy about and blabbed the whole scene to. And said bar stool blonde tells the guy she is two-timing with and there you have it. See boyfriend is going to knock off the heist (a theme that has been done before, by the way, plenty, too plenty of times) and Ms. Two-timer and he are going to live on easy street. All this does is set up the inevitable all points police manhunt as Johnny (who still has the dough) and his honey try for easy street via the local airport. No dice, not even after such a fool-proof plan. Ya, now that I think about it though I wish Johnny had pulled it off.
Note: I mentioned above that Coleen Grey had a small role here as Johnny’s old neighborhood honey (and future easy street resident). I have now seen her in several of these film noir things starting with Kiss of Death. What I notice is that she is almost always type-cast as the angelic (yes, angelic) working class stick-with-her-guy-through-thick-and-thin-even-if he-is-a-wrong-gee gal, eternally waiting, it seems, for her guy to get out of stir (you know now what that is, right?). Ms. Grey didn’t your mother ever give to the word about wrong guys, wrong corner boy guys. Ya, I know, when you got it bad you’ve got it bad, wrong gee or not.
DVD Review
The Killing, starring Sterling Hayden, Coleen Grey, directed by Stanley Kubrick, United Artists, 1956
As I have mentioned to start other reviews in this crime noir genre sure I am an aficionado, especially those 1940s detective epics like the film adaptations of Dashiell Hammet’s Sam Spade in The Maltese Falcon and Raymond Chandler’s Phillip Marlowe in The Big Sleep. Nothing like that gritty black and white film, ominous musical background and shadowy moments to stir the imagination. Others in the genre like Gilda, The Lady From Shang-hai, and Out Of The Past rate a nod because in addition to those attributes mentioned above they have classic femme fatales to add a little off-hand spice to the plot line, and, oh ya, they look nice too. Beyond those classics this period (say, roughly from the mid-1940s to mid-1950s produced many black and white film noir set pieces, some good some not so good. For plot line, and plot interest, the film under review, The Killing, is under that latter category.
Okay, okay we know crimes, crimes, large and small do not pay. We get our noses rubbed in that hard fact from almost infancy by parents, churches, and schools. Okay we get it, kind of. But in this little grade B crime film noir from the hills of Hollywood we are going to get our noses rubbed in it just one more time, although the way that the plot line sets up it looks like a sure thing that this time the thing will succeed. At least it had me rooting for the “bad” guys for a minute. And every kid from every misbegotten housing project, from every no dough neighborhood has secretly (or not so secretly) had to have been rooting for the caper to be pulled off too.
See here is the lay of land on the caper. Johnny (if it is not Joe in these crime noirs it's Johnny but we will let that lie, okay), fresh from stir (prison) Johnny (played by Sterling Hayden) wants to go straight, well, wants to live on easy street is more like it. And live on that easy street with neighborhood childhood sweetheart Coleen Grey. And, of course, Johnny had a little time to thing about it up in stir (prison, for those who forgot). So, naturally with that easy street goal in mind (and all that time on his hands) he plans to rob the local race track on the day of the big race for a cool couple of million. Now that might seem like pocket change today but back in those days, that was dough. Hey, I’ll take a cut of that, no problem.
But also see such a caper requires all kind of help, inside and outside, to pull it off and that is where, even if you are hoping against hope that Johnny scores big, you can see that things might get a little dicey. The cast of characters, black and white-etched film characters, is like a rogue’s gallery of every soft “hard” guy character actor that populated the be-bop 1950s television and movie screen (and at least one from the 1940s, Elisha Cook, Jr. as the insider ticket cashier, going back to Hammett’s Maltese Falcon film days, starring Humphrey Bogart as Sam Spade). But we will let that go for now, as well. What is important once the motley crew is gathered is that the thing works like clockwork. And, from Johnny’s end, it does. The idea (a little loony in retrospect, if you thought about it) was to create a diversion to get into the track cash room where all the dough is (Johnny got that part right anyway), said diversion being the shooting of a famous race horse during the race to create the momentary confusion necessary so smart guy Johnny can get in and get all the dough. And, guess what it actually gets pulled off, and fairly easily.
But weren’t you paying attention- crime does not pay, get it. So, just as easily as the caper gets pulled off it starts to unravel. And all, or almost all, because of a two-timing dame. Figures right, figure right in a crime noir anyway. And the dame is no femme fatale like Gilda, no way, but some bar stool blonde wife that insider ticket cashier(Cook)is crazy about and blabbed the whole scene to. And said bar stool blonde tells the guy she is two-timing with and there you have it. See boyfriend is going to knock off the heist (a theme that has been done before, by the way, plenty, too plenty of times) and Ms. Two-timer and he are going to live on easy street. All this does is set up the inevitable all points police manhunt as Johnny (who still has the dough) and his honey try for easy street via the local airport. No dice, not even after such a fool-proof plan. Ya, now that I think about it though I wish Johnny had pulled it off.
Note: I mentioned above that Coleen Grey had a small role here as Johnny’s old neighborhood honey (and future easy street resident). I have now seen her in several of these film noir things starting with Kiss of Death. What I notice is that she is almost always type-cast as the angelic (yes, angelic) working class stick-with-her-guy-through-thick-and-thin-even-if he-is-a-wrong-gee gal, eternally waiting, it seems, for her guy to get out of stir (you know now what that is, right?). Ms. Grey didn’t your mother ever give to the word about wrong guys, wrong corner boy guys. Ya, I know, when you got it bad you’ve got it bad, wrong gee or not.
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