Too Many Choices!

Mt. Vesuvius. Thar she blows!

I’m seeing The Last Days of Pompeii, based on the novel by Edward Bulwer-Lytton, this Friday (7:00 pm) at the Cleveland Museum of Art, for several reasons. First, I teach Latin and am interested in the subject. I have invited my students and hope to encounter some of them there. Second, Sebastian Birch, who teaches at Kent State, will provide reliably rousing live piano accompaniment to this 1926 Italian silent film. Finally, it looks like crazy fun. The Museum brochure describes it as “long, lavish, and racy.” The film relates to the Museum’s current exhibition, “The Last Days of Pompeii.” Here’s a peek. (Our version will have English intertitles.)

Across the street at the Cleveland Institute of Art Cinematheque, there are too many movies to choose from. Sean Penn stars as a spacy, aging rock star searching out a Nazi war criminal in This Must Be the Place. He should have won an Oscar. When I saw this movie a few weeks ago (and then wrote about it), we stood in the restroom and then in the hallway discussing it for a long time. You can’t necessarily figure it out, but it’s sure fun to watch. See it Friday at 7:15 or Sunday at 8:20.

The apocalyptic Melancholia is similarly mystifying. It’s stunningly beautiful and features a great performance by Kirsten Dunst. (Thursday at 8:25 pm and Saturday at 9:10 pm.)

Barbara, Germany’s official entry for the 2012 Academy Awards, explores life in East Germany in 1980 and a doctor’s plan to escape. I haven’t seen this, but it looks good. (Friday at 9:30, Saturday at 7:05, and Sunday at 4:00) Finally, there’s the classic 1959 French film Eyes Without a Face, showingSaturday at 5:15 and Sunday at 6:30). I’ve always avoided this nightmarish film–about a plastic surgeon who removes women’s faces in order to repair his daughter’s disfigured one–but am sure it’s good. If you like being horrified.

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Dr. Phil, Jinda, and Me

I diagnosed a woman with borderline personality on Dr. Phil last week.

First, let’s dispense with a mea culpa regarding Dr. Phil. During his first couple of seasons, I watched religiously, and, embarrassing as this admission is, I felt I was getting something important from watching him. After some time, though, I realized I needed to spend that crucial hour from 5:00 pm to 6:00 pm making dinner and eating with my family, and then, coincidentally and serendipitously, Dr. Phil turned more sensationalistic, at least to my perception, making it easier for me to swear him off. Also, my husband has always insisted his guests are actors, which kind of ruins the show. Now, I very rarely see Dr. Phil. So much for the confession.

Last week, I switched on the TV around 5:15, and there was Jinda talking to Dr. Phil. Jinda had become obsessed with her friend Traci, who had broken off their friendship. Jinda had been texting such things as, “I deserve you” and “I will love you the right way” and “I need you, baby.” Jinda described herself, merely, as “clingy” and “needy.”

My ears perked up, I recognized the symptoms, and I waited to see if Dr. Phil would identify the problem. He never used the word “borderline,” but he did tell Jinda about personality disorders and read off symptoms to her that sound like the histrionic and borderline varieties. The major issues were boundaries and drama–no awareness of the former and an abundance of the latter. On the order of 50 text messages a day.

A couple of things interest me. One is that Dr. Phil doesn’t refer to personality disorders very often, even though many guests, in my memory, displayed the symptoms. About 2% of the population suffers from BPD, making up about 10% of clients in outpatient settings, so you’d think he’d mention it more often.

Second is the lack of kindness in online comments. By the end of the show, Dr. Phil was very understanding with Jinda, telling her that her problems weren’t her fault. In contrast, many commenters on the Dr. Phil website were vitriolic. It’s as though, in 2013, people still don’t get what mental illness is.

I don’t minimize, of course, Traci’s problem with being stalked and harassed. I’m just saying that people do these things because they can’t help it. They need diagnoses, treatment, and sometimes even restraining orders, but not name-calling and contempt.

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Two Movies to See

Denis Lavant in one of many guises

Holy Motors, a recent French film showing at the Cleveland Institute of Art Cinematheque this weekend (Thursday at 8:45 pm and Friday at 8:35 pm) is a very, very weird movie by director Leos Carax. It features a complicated, enigmatic, fascinating “story” and a truly remarkable performance by the protean Denis Lavant.

Lavant appears throughout in widely varied guises, enacting random-seeming scenarios all around Paris. After he finishes one, as, for example, a disabled old beggar, he changes his disguise in a limo and may become an actor in a porno film, or a woman, or a dignified executive. It all has to do with artifice, imagination, movie-making, and role-playing. It’s strange and very entertaining, as long as you don’t fuss about figuring everything out in a linear way.

Read this New Yorker review, after you see the movie.

Also, for Valentine’s Day, see When Harry Met Sally, the 1989 film written by Nora Ephron, who died last year (Thursday at 6:45 pm or Friday at 9:15 pm). You’ll be entertained, and you’ll understand everything that’s going on.

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Groundbreaking Film at Cinematheque

I have been a Bill Cosby fan from childhood and can date my affection to his first appearance on network TV. On the Tonight Show in 1963, he performed, not the Noah skit which helped make him famous, but a routine about Revolutionary War soldiers painstakingly reloading their muskets while the enemy was shooting at them. I thought he was funny and was startled, frankly, to see a black comic. And I remembered his name, partly because “Bill Cosby” sounded strange when you were accustomed to hearing “Bing Crosby.” Ever afterward, I tried to catch him whenever he was on TV, frequently performing “Noah” and all its permutations, and bought and memorized all of his record albums.

So, when the series “I Spy” began in 1965, I watched devotedly. I used to discuss the show every Wednesday with the guy who sat in front of me in my Latin class (white, like me and all my classmates). On one episode, Bill Cosby’s character fell in love. This was a notable departure, because we weren’t even used to seeing African Americans much on TV, let alone in romantic relationships. I remember my “I Spy” buddy saying, “My dad didn’t like that episode. He doesn’t like seeing them kiss.” Lots of white audience members were squeamish about seeing African Americans get physical, even in network TV’s tame context.

Ivan Dixon and Abbey Lincoln

Which brings us to one of the Cinematheque offerings this weekend. Nothing But a Man was breaking new ground in when it came out 1964. Abbey Lincoln and Ivan Dixon play a black couple trying to overcome their difference in class (she’s educated; he’s not), as well as the racism of the time.  Few movies, even now, explore normal, challenging relationships between African-Americans. Made by white filmmakers, it was the first dramatic film intended for integrated audiences that used a black cast.

An unusual opportunity, on Friday, 2/8, at 9:40 pm, or Saturday, 2/9, at 7:20 pm. When else can you see this film on the big screen? Never.

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A Little MLK Fix

I’m going to cheat today and crib from Dr. King, as a suitable way to begin Black History Month. This passage from his Christmas Sermon (as it’s known), delivered in 1967 at Ebenezer Baptist Church, was included in a sermon last night at my church.  Read King’s whole sermon here when you get a chance. In the meantime, enjoy the excerpt below.

King begins this section by offering different definitions of love. There’s romantic, or sexual love, which he calls “some of the most beautiful love in all the world.”  Then there’s philia, or love among friends, or among brothers and sisters. This kind usually comes easily, because you usually also like the person you love in this way. What we ought to strive for, King says, is agape. This is the love King and the Civil Rights Movement employed to change the hearts of the people with dogs and fire hoses. And also the hearts of complacent Northerners. I love his expression “redemptive good will.”

Then the Greek language has another word for love, and that is the word “agape.” Agape is more than romantic love, it is more than friendship. Agape is understanding, creative, redemptive good will toward all men. Agape is an overflowing love which seeks nothing in return. Theologians would say that it is the love of God operating in the human heart. When you rise to love on this level, you love all men not because you like them, not because their ways appeal to you, but you love them because God loves them. This is what Jesus meant when he said, “Love your enemies.” And I’m happy that he didn’t say, “Like your enemies,” because there are some people that I find it pretty difficult to like. Liking is an affectionate emotion, and I can’t like anybody who would bomb my home. I can’t like anybody who would exploit me. I can’t like anybody who would trample over me with injustices. I can’t like them. I can’t like anybody who threatens to kill me day in and day out. But Jesus reminds us that love is greater than liking. Love is understanding, creative, redemptive good will toward all men. And I think this is where we are, as a people, in our struggle for racial justice. We can’t ever give up. We must work passionately and unrelentingly for first-class citizenship. We must never let up in our determination to remove every vestige of segregation and discrimination from our nation, but we shall not in the process relinquish our privilege to love.

I’ve seen too much hate to want to hate, myself, and I’ve seen hate on the faces of too many sheriffs, too many white citizens’ councilors, and too many Klansmen of the South to want to hate, myself; and every time I see it, I say to myself, hate is too great a burden to bear. Somehow we must be able to stand up before our most bitter opponents and say: “We shall match your capacity to inflict suffering by our capacity to endure suffering. We will meet your physical force with soul force. Do to us what you will and we will still love you. We cannot in all good conscience obey your unjust laws and abide by the unjust system, because non-cooperation with evil is as much a moral obligation as is cooperation with good, and so throw us in jail and we will still love you. Bomb our homes and threaten our children, and, as difficult as it is, we will still love you. Send your hooded perpetrators of violence into our communities at the midnight hour and drag us out on some wayside road and leave us half-dead as you beat us, and we will still love you. Send your propaganda agents around the country, and make it appear that we are not fit, culturally and otherwise, for integration, and we’ll still love you. But be assured that we’ll wear you down by our capacity to suffer, and one day we will win our freedom. We will not only win freedom for ourselves; we will so appeal to your heart and conscience that we will win you in the process, and our victory will be a double victory.

I’m always reminded, when going back to the source, that Dr. King’s non-violence was not passivity. It wasn’t doing nothing. It was employing an active force of love. King believed, on principle, that he had to love the demons who were threatening his children, for example, and that love could change those demons. Love is redemptive. It takes a long time, but in the long, long view, it works.

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Scary Cinematheque Movies

Sean Penn

My blog neglected the Cinematheque movies last week. I didn’t feel compelled to write about them, but last night I overcame some trepidations and saw and enjoyed This Must Be the Place, a 2001 film directed by Paolo Sorrentino, with a whacked out performance by Sean Penn. He’s an aging Ozzy Osbourne type, complete with teased black hair, pale makeup, ruby lips, and black eyeliner; he speaks in a spacey, high voice, in gnomic phrases. It’s an art film, to be sure, with a dreamlike plot that people stood around trying to figure out afterwards, an effort John and I continued later that night. The movie’s probably coming back to the Cinematheque, and I recommend it, if you don’t mind a certain degree of incoherence. Here’s another tip–the article about This Must Be the Place in Sight and Sound, April, 2012, is very helpful.

This movie affirmed two of my opinions. 1) Sean Penn is great. 2) I do not care for Frances McDormand.

On to this week’s offerings. I’ve never seen Solaris (Thursday at 7:00, Friday at 9:00), which John is very high on. Its director, the Russian Andrei Tarkovsky, is known for dense, philosophical films. He was Ingmar Bergman’s favorite director. Tarkovsky scares me a little, but I may screw up my courage for this one.

Zorn’s Lemma (Friday at 7:30), a 1970 experimental film by Hollis Frampton, is also a little scary. What is a Zorn’s lemma, you ask? Well, suppose a partially ordered set P has the property that every chain (i.e. totally ordered subset) has an upper bound in P. Then the set P contains at least one maximal element.

A lemma, it turns out, is a mathematical statement that serves as a stepping stone to further statements. Zorn was a mathematician. Maybe you already knew these facts. If you didn’t, like me, you might be intimidated, or you might think that this weekend at the Cinematheque is the only chance you’ll ever have to see this movie.

The noir option this week, part of the current film noir series, seems relatively accessible and appealing. Odds Against Tomorrow was made in 1959, directed by Robert Wise (director of The Sound of Music), and stars Harry Belafonte and Robert Ryan. I’m a fan of both actors. It shows Saturday at 5:15 and Sunday at 8:50. It’s billed as a thriller and is reputedly “hard-edged,” but it seems less scary than those other movies.

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The Bride Wore Black

 

Francois Truffaut

I’m looking forward to The Bride Wore Black this weekend at the Cinematheque, not because I’ve seen it before but because I haven’t. I consider myself a fan of the director Francois Truffaut, but this 1968 thriller represents a gap in my viewing repertoire. It stars Jeanne Moreau and features music by Bernard Herrmann, so you can hardly go wrong. Screens tonight, Thursday, at 9:00 pm, and Friday at 7:30.

John is pushing “Tabu,” a 2012 top-ten choice of  many critics. It takes off from F. W. Murnau’s 1931 silent film Tabu. The New York Film Festival  touted it as a “gloriously cinephilic fever dream.” Take that as encouragement or warning.

The Cleveland Museum pf Art offers a bunch of appealing music documentaries this weekend. The Zen of Bennett shows twice on Friday, at 5:30 and 7:15. I’ve always loved Tony Bennett. This film shows him recording a few of his famous duets, with Amy Winehouse, Lady Gaga, and others. Then on Sunday comes Orchestra of Exiles, which chronicles the origins of the Israeli Philharmonic. Violinist Branislaw Huberman helped rescue Jewish musicians from Europe to found the orchestra.

Finally, the Museum film program recognizes Martin Luther King, Jr., on Monday at 1:00 pm by showing Louder Than a Bomb, in which Chicago high-school kids compete in a poetry slam. It won Best Film at the Cleveland International Film Festival in 2010. It sounds exciting and inspiring.

So many movies (books, lectures, tv shows, etc.). So little time.

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Shopping with George H. W. Bush

You remember when the first President Bush seemed flummoxed by the scanner at the grocery-store checkout? You can Google “Bush scanner” and read all about it. (Turns out it’s an urban legend, but it made a good story at the time.) Shopping with my husband reminds me of this purported incident. He is stuck, shopping-wise, in about 1962, when his mother used to take him to the 30th Street Plaza in Canton, Ohio. Add his anachronistic attitudes to his personality quirks, especially a terminal indecisiveness, and you have yourself an interesting shopping trip.

“That’s a pretty sweater.”

John spends about 97% of his waking life in movie theaters. This leaves little time for shopping. Hence, he is always amazed by the bounty. In the grocery store, he says, “Look at all the olives! Why don’t you ever buy olives?’ Then we walk down another aisle. “Look! They have Oreos with pink stuffing! Why don’t you ever buy those?” In every aisle, John will find A. something to marvel at, and, B. something to reproach me for.

His childlike wonder would be endearing, except that he’s in his seventh decade of life.

Same thing at the mall. In the department store, he says, “So many clothes. Look at how many clothes they have.” This remark has infinite permutations. “So many nice shirts. I like these shirts.” Then he’ll finger a white shirt with dark stripes and tell me how much he likes it. I believe that he likes this particular shirt, because he owns about ten white shirts with dark stripes. If I point this out, he’ll say, yes, but the stripes aren’t this shade. He’s distinguishing, for example, these pewter gray stripes from those gun-metal gray stripes at home.

John owns over sixty shirts. I just counted them. Today at Richmond Mall he bought three more. How many shirts do other men have? I don’t know. I’ve never been married before. My dad had hardly any shirts, and I had no brothers. John’s supply seems excessive.

Same  with sweaters. At Macy’s he’ll say, “That’s a pretty sweater.” I don’t buy him sweaters any more because he has nearly as many sweaters as shirts. He has to get rid of some before I will buy him any more. When I tell him this, he always says, “I could get rid of some sweaters.” He says this to torment me.

So, today he spent hours at the mall picking out a couple of shirts and sweaters. They’re on sale, of course, in January. “Everything’s so cheap!” he exclaims. “They should delay Christmas for about a month to take advantage of these sales!”

Once we have made a purchase, John worries about walking into another store carrying his bag. What will the Macy’s people say about his bringing a Penney’s bag into the store? I try for the umpteenth time to explain the meaning of “mall” to him. Does he imagine that the merchants expect him to trek to his car every time he buys something, a la the 30th Street Plaza, 1962? What would be the point of all these stores gathered under one roof, I ask, if you have to leave to stow your packages all the time?

He seems not to be listening, and on our next visit, about twelve months hence, he’ll exhibit the same awe, admiration, and questions. Are other men like this? I really want to know.

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His Girl on Friday

Cary and Roz

Howard Hawks’s His Girl Friday (1940) is not to be missed. It stars Cary Grant and Rosalind Russell, and it’s funny. How do they talk so fast? See it at the Cinematheque Friday at 7:30 pm.

On Saturday and Sunday, the Cinematheque brings back Federico Fellini’s classic 8 1/2, celebrating its 50th anniversary. When I was babysitting back in high school, I would catch parts of this movie late at night on TV and never knew what was going on. I did like the looks of Marcello Mastroianni, however. Another must-see, especially if you’ve never seen it.

I’m intrigued by the documentary (again), this time Diana Vreeland: The Eye Has to Travel. That’s Diana Vreeland, the fashion maven and feminist pioneer,  of Harper’s Bazaar and Vogue. This film, shown Saturday at 7:30 and Sunday at 6:30, was made by Ms. Vreeland’s granddaughter-in-law, Lisa Immordino Vreeland, who never met her.

In an embarrassment of riches, the Cleveland Museum of Art offers Tales of the Night, an animated film by Michel Ocelot, who directed the lovely Kirikou and the Sorceress. This movie takes place in a theater, where two children imagine fairy tales and “star” in the films their imaginations create. It sounds good, and it’s on Friday at 7:00 and Sunday at 1:30.

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Films, Belatedly

Rita as Gilda

This weekend, after a holiday hiatus, is so chockful of good programs at the Cleveland Museum of Art and the Cleveland Institute of Art Cinematheque, I’ll hardly be able to see all I want to see and am going to recommend a bunch to you. You already may have missed a good one: Gregory Crewdson: Brief Encounters, a remarkable documentary shown at the new Museum of Contemporary Art last night, the first movie ever shown there. See it somewhere else if you can.

It’s a Beatles weekend at the art museum. Scott Freiman is in town to deliver his obsessive, fascinating, enlightening lecture/music/video/ presentations on the Fab Four. Tonight (Friday) at 6:30 he’s “Deconstructing the Early Beatles”—tracing their early history and first singles. Saturday afternoon (1:30), he concentrates on one of my favorite albums, “Revolver,” and on Sunday (also 1:30), he takes a “Trip through Strawberry Fields,” with an in-depth look at that song and also “A Day in the Life.” Last year, I saw Freiman’s program on Sgt. Pepper and was fascinated and amazed. See ticket information here.

The Cinematheque offers more music with Searching for Sugar Man, a crazily intriguing account of an American ‘70s folk/rock singer named Rodriguez who abruptly disappeared from view and was thought dead. In South Africa, however, his music has become anthemic. Some investigators decide to hunt him down, and the result is amazing and inspiring. This is a must-see movie, showing on Saturday at 9:40 and Sunday at 6:30. Don’t read too much about it before you see it!

Then there’s the classic Gilda, with the  iconic Rita Hayworth. This begins “Noir Town,” a series of films noirs at the Cinematheque. I’ve never seen this classic and hope to make it on Saturday at 5:15 or Sunday at 8:15. See her put the blame on Mame.

Also, tonight you have another chance to see The Well-Digger’s Daughter at 9:40 pm, which I didn’t recommend the last time John showed it. Those who saw it, however, loved it, and prevailed upon John to bring it back. It shows again on Sunday at 7:25.

Happy viewing. And New Year!

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