Hurt Like I Do

Randy Newman

I get on a Randy Newman kick now and then. Today, playing a Newman cd while I was baking, I was struck by the song “Marie.” Lushly orchestrated, this version features a warm, romantic background, like so many Newman songs, belying the barbed lyrics.

“Marie” sounds like a love song, but it’s a love song sung by a jerk. The personae of Newman songs are complicated; “Marie’s” is drunk and prone to cliche and heedless of Marie’s feelings most of the time. And yet, he manages to sing a moving love song. Newman packs the complexity of an Alice Munro short story into the three-minute length of a pop song, or perhaps I should say “pop song.”

Anyway, there was no stopping me then. I looked up a YouTube video of “Marie,” and then checked out other Newman favorites, like “Jolly Coppers on Parade” and “Feels Like Home” from his Faust collection.

Finally I landed on “I Want You To Hurt Like I Do.” In this video, Newman’s introduction is imbued with his familiar blend of scalding sarcasm and good-humored self-deprecation. It’s a Randy Newman “We Are the World,” he says. Imagine, he says, good celebrities–Bruce, Sting, Kenny Rogers, and other Kenny’s–singing in chorus, swaying to the melody. (So I once again checked out, of course, “We Are the World,” which I still like.)  

But instead of the charitable sentiments of Michael Jackson’s anthem, Newman’s begins “I ran out on my children” and then repeats the refrain “I just want you to hurt like I do.” It’s about wanting others to feel your pain. It’s not about love and light and doing good. It’s about the dark human tendency to hurt when you’ve been hurt. 

I relied on this song when writing about my mom and the hurtful lashing out that’s characteristic of borderline personality disorder. Newman doesn’t let us off the hook—we all do it. But, if mental illness is an exaggeration of the normal, then people with people with BPD, because they hurt more, sometimes do it a little more than the rest of us. Here’s what I wrote in Missing:                    

           A typical exchange would go like this. We’re sitting in the kitchen, in tense silence. My mother has just told me that I’m breaking her heart by dating a divorced guy. She can’t sleep. She can’t understand what’s happened  to her perfect daughter. Why do I not care about her? She shakes her head, and cries, and looks more enraged at every response I offer. She’s glad, she says at last, that my father isn’t there to see my behavior. He was a puritan, she tells me. He was conservative about morals and marriage and divorce. He would be ashamed, she says, to know I was dating a divorced man.

I’m 21, and lost my dad only two years before. I still feel sad and guilty about my silence during his illness and write in my journal and pray and cry frequently about failing him. I miss him all the time and find my mother even more difficult to deal with, without him there as a buffer. Hearing that my dad would be ashamed of me is the harshest thing my mother could say to me.  

So, I try again with my mother. I explain how painful this particular argument is. I tell her, “I hear what you’re saying, and there’s no way I’m going to forget it. But you should understand how much it hurts me for you to say that Dad would be ashamed of me. I’ve heard you and will think about what you’ve said. Just never say that particular thing again.” 

A fleeting and enigmatic expression crosses her face. I can’t parse my mother’s discomfiting expression. She doesn’t look indignant or offended, still less compassionate and understanding. To say she looks pleased would be going too far, but perhaps I see a split second of satisfaction.

In any event, my plea has no effect. She repeats the remark about my dad often. Though I know her well, this always surprises me. Why would she not explain her concerns calmly and counsel me? Why does she deliberately say the most wounding thing she can?

Decades later, after a lot more  life experience, with soul searching and a little wisdom, I gain some insight. A suffering friend told me, “I don’t believe anyone can understand how I’m hurting unless they’re hurting, too.” It was as though my mother had returned to explain herself to me.

My sisters and I often remark that my mother believed she was powerless. She thought we didn’t listen. She had no idea how deeply her words wounded us. She thought she had to lash out just to have any effect at all.

But now, my friend had explained why. My mother was in pain. She was always in pain and was hurting even more because she feared I was abandoning her. No one could know how much she hurt. But if she passed on a little pain, if she struck out, if she flailed around and made a few barbs stick, maybe someone would share a tiny bit of the hurt and she wouldn’t feel so alone.

In Alice Sebold’s novel The Almost Moon, a frustrated adult daughter smothers her recalcitrant, critical mother in a moment of rage. “It was my mother’s disappointments that were enumerated in our household,” Sebold writes, “and that I saw before me every day as if they were posted on our fridge–a static list that my presence could not assuage.” I recognize the mother, and I recognize the rage.

 

 

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All Roads Lead to Rome

My Latin students never know what’s in store for them. Some days it’s a tedious review of demonstrative pronouns, and other days a fascinating account of my medical problems. Today they heard about my feet.

That’s because yesterday I received a diagnosis of plantar fasciitis. This common ailment (“All your neighbors and friends have already told you what you have, right?” the podiatrist said) afflicts hard-training athletes and also older people–guess which category I’m in–and causes a stinging pain in the sole of the foot, particularly the heel. It hurts like heck when your feet hit the floor in the morning. I walked too much in thin-soled sandals this summer, especially on our vacation, and inflicted this problem upon myself. “Fascia’s probably a Latin word, isn’t it?” the doctor mused, after chatting for a moment about my job, thereby providing me with an etymology lesson for my class today.

We began with planta, the Latin word for the sole of the foot. Some of the students had heard of plantar’s warts. I asked if they could see a connection between the sole of the foot and plants, as in green things growing in your garden. The verb to plant actually makes the connection clearer. The gardener digs a little and then covers the seeds using the sole of his or her foot. The planta  plants things.

What about an auto plant? Why do we sometimes call factories plants? Because, my students figured out, they produce things, like a plant growing in nature. That pretty much covers the plantar in plantar fasciitis.

Then, we moved on to –itis. Many students already knew this suffix means inflammation. These Greek-derived medical morphemes are useful to know. An –ema is a swelling (emphysema), a –pathy  is a disease (cardiopathy), and a ­–rrhea is a discharge, for which you presumably can provide your own example. It’s good for you to know what an –ectomy is before your surgeon picks up a knife.

In English, the fascia of fasciitis refers to the sheath of ligaments that connect the heel to the arch and toes of the foot. In Latin, fascia means a bundle or band (or even bandage). So plantar fasciitis means the sheath of ligaments in the sole of my foot are inflamed. (And a Spanish fajita sheathes the savory fillings inside.)

Fasces

This information provokes another question. What about the fasces, the symbol of Roman power? The emperor’s minions carried these bundles of sticks with an ax sticking out as they processed around town. Some say the sticks and ax represented tools for flogging and beheading, respectively; a more sanguine explanation makes the bundled sticks the unified Roman people and the ax their collective power. Either way, the fasces represents the absolute power of the state. As I’m sure you’ve already surmised, this emblem gave rise to the terms fascist and fascism.

So, are fascia and fasces related? They’re not the same word, but they are siblings, both describing bundled things. My foot’s fascia, and yours, are connected etymologically to the fearsome symbol of Roman imperial power. See the title of this post.

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Family, Fashion, and Freaks

Sarah Polley, a young actress and director, has created another one of those engrossing documentaries (like Still Bill or Searching for Sugar Man) that you want everyone to see because they’re so good. In carefully ordered sequences, she reveals secrets about her family. Or, more accurately, she gets her family members to reveal secrets about themselves. The stories they tell relate most directly to Sarah herself and her parentage. I don’t want to say more, due to the film’s exquisitely maintained suspense, except to tell you to see Stories We Tell at the Cleveland Cinematheque this weekend, Thursday at 9:05 pm or Sunday at 6:30 pm.

A different kind of exquisite is Miyazaki’s animated feature Castle in the Sky (Friday 7:00 pm; Saturday  5:00 pm). Get your kids and grandkids there, and get yourself there, too. All of Miyazaki’s films are charming and beautiful, but this one—about a spunky little girl and a magical floating island—is especially so.

Two other Cinematheque offerings this weekend some might regard as guilty pleasures. The documentary Scatter My Ashes at Bergdorf’s profiles the pricey, plush New York store. It features commentary by bunches of celebrities, exhibits fashions and riches galore, and looks highly entertaining. It shows Saturday at 7:25 pm and Sunday at 4:00 pm. Sofia Coppola’s The Bling Ring (Saturday 9:20 pm; Sunday 8:40 pm) features fashions of the stolen variety. It’s based on the fascinating true story (watch the ABC story here) of seven young Californians who burgled the homes of rich Los Angelenos, including Paris Hilton, just because they wanted some glamour to rub off on them. This fictionalized version gives Emma Watson a chance to shed her Hogwarts uniform for some designer gear.

William Blake

Clevelander Jim Jarmusch’s quirky Dead Man also shows this weekend, combining two of my favorite male celebrities: Johnny Depp and William Blake. Depp plays a character with the poet’s name who takes a spiritual journey from Cleveland into the 19th century American West. Also featured are the always eccentric Iggy Pop, Crispin Glover, and (musically) Neil Young. I saw this film when it came out (1995) and found it mordantly funny. (Thursday, 6:45 pm; Friday, 9:30 pm ).

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More to Say about Violence, Women, and Hate Crimes

Our Cleveland newspaper’s website just published an opinion piece of mine about classifying some violent crimes against women as hate crimes. As you may know, Cleveland has recently been too much in the news regarding abuse of women. A couple of years ago, it was Anthony Sowell and his house of horrors on Imperial Avenue, which I cross every week on my way to GED tutoring. Then, recently, three women escaped ten years’ captivity under the control of Ariel Castro. Most recently, an Anthony Sowell copycat, Michael Madison, was arrested for killing three women in his neighborhood.

Weirdly, some people seem to believe that such men just happen to kill women. They’re crazy killers who pick the easiest target. If that were so, wouldn’t they kill even easier targets, like children or even babies? Others believe that such men are sexual deviants and get turned on by abusing women. That may well be true, but their expressed purpose–the motivation they actually verbalize, over and over again–is hatred. They hate women. That’s why they kill them.

I had limited space in the paper to make my case. With a few hundred more words, I would have pointed out that the “hate crime” label does not apply to every crime against women, just as every crime against any minority group doesn’t constitute a hate crime.  A criminal can murder a Jew without anti-Semitism. It may happen in the course of a robbery. Or a neighbor might be pissed off about a barking dog and shoot the owner, who happens to be Jewish. These are terrible crimes, but they’re not hate crimes.

Similarly, a husband can kill his wife in order to collect the insurance and run off with his girlfriend. A male robber can kill the female clerk at the convenience store. These crimes are not hate crimes.

The special category stigmatizes particular crimes regarding their motivation. This stigma sometimes makes the penalties harsher than they would otherwise be. I’m not especially interested in making the penalties harsher. The value of the “hate crime” designation, for me,  is its educational value. It makes us aware that racist vandals are still destroying temples and Jewish cemeteries and burning down black churches. It highlights the beating of a gay man on a dark city street. It makes these crimes not random or generic events, but targeted abusive outrages that we, as a society, need to recognize, keep a tally of, and work hard at eradicating. We need to express horror, special horror, when entire groups become targets of violent crime.

In 1938, the rioters who broke windows and raped and killed Jews on Kristallnacht in Germany weren’t drunk college kids on a spree. They were harbingers of horrors to come. It was important to recognize their motivation. They were harassing Jews because they hated Jews.

Similarly, certain men (blessedly few in number), because of faulty genes or an abusive childhood, develop a seething hatred of women that compels them to abuse and murder them. To me, a murder that involves kidnapping, rape and torture, strangling, calculated terrorizing and pain, is in a special category. It is worse than other killings. It is a crime of hate, and our society should recognize this.

Maybe then we can grapple with it. Now, instead, people watch a video of an unconscious young woman in Steubenville (Ohio, again!) being abused and ridiculed by young men for entertainment. They see young men calling this young woman a bitch and a whore and worse. Maybe if we, through our laws, expressed moral outrage at such behavior, we could begin to address what makes our young men–in high schools, on sports teams, in the military–despise and disparage women.

What we’re doing now is not working.

Share your ideas here, or, even better, at the original piece on Cleveland.com.  Thanks.

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Good Choices This Weekend

I’ve never seen Richard Pryor’s Which Way Is Up? (1977) and expect to try it at the Cleveland Cinematheque tonight or tomorrow (5:15 and 9:45, respectively), forewarned that it’s raunchy. I don’t think I’ve seen any Richard Pryor movies, in fact, a gap I look forward to closing. The Cleveland Plain Dealer made it their movie pick this weekend.

A fan of Jean Renoir, I’m also eager to see The River (1951), a rare English-language, color film by this director. Many of my friends saw the gorgeous Renoir recently at the Cedar-Lee Theater here in Cleveland Heights. It was lush but a little vapid to me; still,  it showed the relationship between the painter father and the filmmaker (to-be) son, and also described the beginnings of Jean’s relationship with his first wife, one of his father’s models. If you check out Renoir, My Father from the library, you see lots of photos which demonstrate the film’s artful set and costume design. You can also read Jean’s own version of his relationship with Catherine Hessling, who became his muse and star.

While we’re talking about Renoirs, pere et fils,  let me tell you about my recent vacation. We visited Philadelphia for a few days and stopped in at the Barnes Foundation and exhausted ourselves looking at the densely packed walls of paintings there. Dr. Albert C. Barnes amassed the largest collection of paintings–181– by Auguste Renoir in the world. That’s not the largest collection outside France; it’s the largest collection anywhere. And, frankly, it’s too many Renoirs to take in in one day, or three days, or even four, especially when they hang amid dozens of other people’s paintings. Barnes was a collector extraordinaire. The newly built Foundation preserves the idiosyncratic arrangement he designed at the mansion where it used to be housed, and resting on tables under some of the Renoir paintings are earthenware dishes fashioned by Renoir fils. Pottery was Jean’s art prior to film.

The River shows tonight at 7:10 pm and tomorrow at 5:00 pm.

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Mother, Daughter, Me, and Katie Hafner

A couple weeks ago, the Cleveland Plain Dealer printed my review of Katie Hafner’s new memoir Mother, Daughter, Me. I pitched it to the PD because the mother-daughter angle interests me, and, as it turned out, Katie and I have more in common than I suspected. Her mother is tactless and frequently unkind and was blatantly neglectful during Katie’s childhood. With the editor’s encouragement, I began the review with a more personal comment than one usually does in a newspaper review, echoing my blog post about Mother’s Day this year.

After you read my review, copied below, tell me this: How do you manage the expectations raised by holidays, by media, by Facebook? How do you resist comparing your real, lived, imperfect life to the way it spozed to be?

MOTHER_DAUGHTER_ME_.JPGRandom House, 268 pp., $26

Mothers’ Day was tough for me this year, and the reason was Facebook. All those postings praising Mom as so understanding, so supportive, so loving! My mom was distant, acerbic, and possibly mentally ill, and I could never have written her such unabashed fan mail.

Many of us, in fact, have had challenging relationships with our mothers, some of whom suffered from addiction, mental illness, or other problems. New York Times writer Katie Hafner’s new memoir, “Mother Daughter Me,” describes managing an adult relationship with such a mother, while trying to be a good mom herself.

Hafner’s mother was more like Mommie Dearest than Marmee. “When she drank,” Hafner recalls, “she grew mean. She would emerge from her bedroom once or twice a day, looking bloated and terrible, to rail about something.”

After overdosing on pills and booze, Helen (as Hafner calls her here) lost custody of her two daughters.

So you might wonder why Hafner invited Helen, then 77, to move in with her and her teenage daughter, Zoe, in 2009. Blithely confident that she’s forgiven her mother, Hafner writes, “I believed we were as close to the mother-daughter ideal as two women could be. We often spoke several times a day. I confided everything to her. I told myself I had long since put any lingering anger about my childhood behind me, that I had taken the ultimate high road.”

Moving into their new house, however, Hafner finds herself raging over whose kitchen utensils, hers or her mother’s, should go into the drawer. Turns out she’s still a tiny bit angry after all.

Moving gracefully back and forth in time, Hafner describes her mother’s difficult childhood and marriage. She covers her own misfortunes as well, including her husband’s fatal heart attack at the age of 45, which helped forge a tight bond between Hafner and her daughter, making grandmother Helen a third wheel. Helen’s tactlessness doesn’t help. Soon after the move, her blunt criticism of Zoe’s cello playing causes Zoe to quit the cello and harbor a resentful teenage grudge thereafter.

Hafner’s stuck between them, like so many middle-aged folks today — navigating Zoe’s stormy adolescence and Helen’s blustering, while contending with her own turbulent emotions. As tensions grow, Hafner wisely seeks therapy for herself and her mom, discovering that Helen has no memory of the traumas she caused.

Even after apologizing for past mistakes, Helen continues to drop bombshells, accusing Hafner, for example, of coveting her money. In the course of the book, Helen sells off her treasured Steinway piano, instead of leaving it to her daughter and granddaughter as she had promised. Hafner’s tolerance for her mom’s invective often seems unhealthy, and subjecting her daughter to Helen’s vitriol is even more mystifying.

In the end, thankfully, they decide to separate. Once more, Hafner feels forgiving: “[My mother] can look her past mistakes square in the eye and express contrition in a way that also makes her daughter feel something approaching unburdened love, even pride.”

I have my doubts. Hafner was fooled before, by those intimate phone conversations, and she could well be thinking wishfully now.

Hafner’s unrealistic expectations may derive from early childhood, when, she writes, “My longing for her was always there. What I wanted more than anything was my mother’s attention.” Such unmet needs haunt many mothers and daughters, and Hafner is brave to confront her mom’s failures as well as her own. The idealized moms of Mother’s Day are more often fiction than fact.


 

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Two Sweet Movies

I’ll limit my Cinematheque recommendations this week to the one film I’ve already seen–Kolya, a Czech Academy-Award winner from 1996.

Frequently, it seems, the foreign-film Oscar goes to the most sentimental and accessible of the candidates, i.e., the “heartwarming” one. Kolya fits that description, but transcends its predictability with humor and charm. It has appealing performances by the Russian five-year-old boy adopted unexpectedly by the grumpy, womanizing bachelor musician with the unforgettable face, played by Zdenek Sverak, the director’s father.  Tonight at 7:35 pm; Saturday at 5:15 pm.

The Cleveland Museum of Art shows a Miyazaki animated film tonight, From Up on Poppy Hill, directed not by Hayao Miyazaki, though, but by his son Goro.  It looks to be a gentle, beautiful family drama. Tonight at 7:00 pm and Sunday at 1:30 pm.

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My Parents’ Bookcase

 

James Agee

I’m reading a book called Chaplin and Agee: The Untold Story of the Tramp, the Writer, and the Lost Screenplay by John Wranovics. I have some interest in film and in Charlie Chaplin that’s rubbed off from my film-buff husband.  James Agee–film critic, novelist, and poet– is in my pantheon. Putting these two together makes for a book that interests me.

Near the end of his life, Agee saw a dream come true when, in 1947, he met and soon became friends with Chaplin, one of his heroes. He called Chaplin the greatest living artist in any medium, which, when you consider the time in which they were living, is awesome praise. Chaplin, to Agee, was a greater artist than James Joyce, Virginia Woolf, Pablo Picasso, or Ernest Hemingway. Agee, himself a highly regarded film critic for Time and The Nation, had already published his great eccentric journalistic study of poor cotton farmers, Let Us Now Praise Famous Men, but, in getting to know Chaplin, began rubbing shoulders with more luminous luminaries, such as Gene Kelly, Dorothy Parker and a young Norman Mailer.

All this has little to do with what I want to write about. It’s still going to take me a while to get there.

In order to move to California, with the hope of someday working with Chaplin, Agee contracted with Life magazine to write two Hollywood-oriented articles. One became Comedy’s Greatest Era, a seminal essay on the silent comedians, paying tribute to Chaplin, Buster Keaton, Harold Lloyd, and Harry Langdon. The other was a profile of the director John Huston, with whom he also became friends. Agee ended up writing much of the screenplay of Huston’s movie The African Queen.

Agee had his first heart attack (the second would kill him two years later, at the age of 44) while working with Huston. While he was recovering, Peter Viertel took over The African Queen script and later wrote a novel based on working with John Huston, the unflattering White Hunter, Black Heart.

Now we’re there.

That title took me back, all at once, to my parents’ bookcase, circa 1965. I can picture the spine of that book through the glass door, wrapped in a jungle-y green paper cover. ($155 now on Amazon.) Sadly, though, I can’t picture the books on either side of it. I can’t identify them unless by some unlikely turn of events I run across those forgotten titles in some other book or article about the last century.

I wish I’d taken a snapshot of those book shelves. They spoke to me of my parents’ lives, their educations, the eras which formed them, and their friends. Most of the books, I think, were gifts, and others, old books, dated from when they were in school. I can recall some titles, of course. Mark Schorer’s biography of Sinclair Lewis, An American Life. Betty MacDonald’s The Egg and I. Lincoln Steffins’ autobiography.  It All Started with Columbus and its sequels by Richard Armour, whose humor my dad was fond of. All of these I too read at some point. The Readers Encyclopedia, a reference book by William Rose Benet (brother of the poet Stephen Vincent Benet) , sat in a place of honor and convenience on the mantle, referred to frequently as my parents pored over the Double-Crostic in the Saturday Review which arrived in our mailbox every week.

My dad earned a journalism degree from Ohio State in about 1934. He liked to read, and he read interesting books, but he disliked high-falutin’ things and suspected eggheads, as he would have called them. My mom had a Masters degree in French history. The two of them watched College Bowl (hosted by Allen Ludden, Betty White’s husband) every week and enjoyed competing with the nerdy college kids who appeared there.  They read lots of magazines. They weren’t intellectuals, because they didn’t regard themselves as intellectuals. But they represent to me the way lots of college-educated people were back then. They read, and they assumed a certain body of knowledge about literature and history. They could recite lines from Longfellow from memory and could name English monarchs. They smoked. They ordered cocktails when they went to restaurants—a martini for my dad and a Manhattan for my mom.

I used to gaze at that bookcase a lot. I don’t wish I’d kept all the books, exactly, but I do wish I had a picture, so that I could occasionally pick out a title and request it from the library. I want to preserve that mid-20th-century sensibility, which I have so much trouble putting into words. The bookcase and its contents are gone; they remain only fragmentarily in my memory, and my sisters’, many steps removed from my kids’ experience. They’re gone, like the Cold War and the blacklist, the ash trays around our living room, our old dog Abbie, and my parents Martin and Eleanore.

 

 

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Your Weekend Plans

This weekend you can have your mornings and afternoons to yourself. Your evenings belong to me. The Cleveland Institute of Art Cinematheque offers stellar movies for your enjoyment.

Day-Lewis as Christy Brown

I thought My Left Foot (1989) might have been the first film where I saw, and was dazzled by Daniel Day-Lewis, but I was mistaken. Before that film, for which he won the first (of three, so far) Oscars for Best Actor, I saw him in My Beautiful Laundrette and A Room with a View (both in 1985) and the unforgettable The Unbearable Lightness of Being (1988), all of which you should try to see right now, today, if you haven’t already. He had also appeared in other films and TV shows, too, which you might remember if you’re more on top of things than I am.

Christy Brown (1932-1981)

In My Left Foot, Day-Lewis plays Christy Brown, the Irish author and hero of the book by the same name. The author’s left foot merits the title, because it’s the only part of the body he can control, due to cerebral palsy. With that foot, Brown wrote his autobiography and also painted pictures, more than most of us accomplish with four working appendages. I read the book around the same time as my dad, a paraplegic with a special interest in the subject matter. I remember feeling it was a pretty adult book with some scandalous parts, and I felt grown up reading it along with my dad. My memory is that the inspiration is leavened with a little Celtic bawdiness, but that was a long-ago, innocent time.

It’s a great story, with an Oscar-winning performance, too, by Brenda Fricker. One should not pass up chances to see Daniel Day-Lewis. (July 11 at 6:00 pm; July 13 at 7:25)

Your second movie of the weekend is Ginger and Rosa, a lovely, recent coming-of-age story set in 1962, starring Elle Fanning in a very impressive performance (nailing an English accent), directed by Sally Potter. Annette Bening and Oliver Platt also star. Two devoted teenage friends become estranged, as one grows concerned with nuclear disarmament and the other  with boys, and then with a particular, particularly inappropriate, man. Loved this when I saw it at the Cedar-Lee. (July 11 at 8:05 pm; July 12 at 9:40 pm)

Jason fighting skeletons

Last but absolutely not least is Jason and the Argonauts, the eminently enjoyable 1963 epic with dazzlingly wonderful special effects by the legendary Ray Harryhausen, who died in May. He appeared at the Cinematheque 20 years ago and was charming and disarming and gracious. See this movie and hear Bernard Hermann’s fine music where they belong, in a theater. Bring the kids. (July 12 at 5:15; July 13 at 5:15)

I can’t give a personal testimonial about the weekend’s other offering, but it sounds good. Something in the Air  (a weird translation of the French title, Apres Mai) takes place after the student uprisings in Paris in 1968 and depicts young people finding their places in that highly charged, radically changing world. This recent offering by director Olivier Assayas was well received at last year’s New York Film Festival. (July 12 at 7:20 pm; July 13 at 9:30)

There you go. Weekend plans made, and you have Sunday free to relax, or post here about how you liked the movies.

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Lunatics and Laughs

Federico Fellini’s last film, The Voice of the Moon  (1990), shows this Saturday at 5:15 pm at the Cleveland Institute of Art Cinematheque. Crazily, this movie was never released in the U.S. It’s so odd that Americans had no way to see this film by one of the great directors till now, even though it got superlative reviews and won tons of awards. It looks to be a surreal, Fellini-esque (go figure), comic exploration of modern society and metaphysics, in which three lunatics (literally) capture the moon. Roberto Benigni stars.

James Franco, unrecognizable

Other offerings this weekend are similarly intriguing. No, starring the always appealing Gael Garcia Bernal, is the only film I’ve already seen. It depicts the real-life ad campaign to oust Chilean dictator Augusto Pinochet in 1988. It’s fascinating,  disturbing, and often funny. Those adjectives probably also apply to Spring Breakers, starring Selena Gomez and a creepy James Franco, complete with cornrows and gold teeth. All the film’s performances have been praised. No screens Friday (tonight) at 7:30 pm; Spring Breakers is tonight and tomorrow at 9:50 pm.

A Serbian comedy called The Parade rounds out the weekend. Macho veteran soldiers from Yugoslavia’s former republics are compelled, despite their homophobia, to provide security for a gay pride parade. It sounds like it will provide some politically incorrect laughs, tonight at 5:15 pm and Saturday at 7:35 pm.

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