arisen
One of the best ways to be woken up early is by a phone call from someone who missed hearing your voice.
atypical
An inflatable bouncing castle has been set up outside of a bar, where the happy hour crowd is deep in mixed drinks and beer. People jump around inside the castle while on the sidewalk two entertainers dressed up as Nemo the clownfish and Elmo throw down some dance moves to hip-hop.
lampyridae
My mind feels like a firefly in a jar this afternoon, glowing, tapping against the glass.
soliloquy
In a bricked-off courtyard with bare metal chairs and tables, a fountain gurgles, staving off the silence.
sonority
When the trolley groans to a halt it makes a noise like a desert horn unearthed from sand and sounded for the first time in centuries.
surveillance
The squirrel sits up on the deserted porch, a peanut sticking out of its mouth as it monitors the sidewalk.
uncorked
A timely phone call and conversation, where he reminds me not to keep things bottled up. A couple of days later he emails me a reminder that I can tape up to the wall above my desk.
Saturday, June 25, 2011
Thursday, June 23, 2011
Worth Watching: The Secret of Roan Inish (1994)
Title: The Secret of Roan Inish
Director: John Sayles
Language: English (and a bit of Irish Gaelic)
Rating: PG
Synopsis
Fiona Conneely (Jeni Courtney) goes to live with her grandparents near Roan Inish (Island of the Seals), which used to be her family's home. Several years ago during an evacuation of the island her baby brother, Jamie, was washed out to sea in his cradle and never seen since. As Fiona settles in with her grandparents she learns about a family story involving a selkie, a seal that can slough off its skin and become human. When she visits Roan Inish she spots signs of human life and finally comes across a young boy who runs from her approach. It's her younger brother, she's sure, but how will she convince her family that he's alive? And what will get him to stop running from her when she calls his name?
Characters
Fiona is a stalwart girl; she listens and observes, and she's not easily afraid. What drives the film is her curiosity about Roan Inish, and then her determination to bring her missing brother back and help heal her family.
Her grandparents, played warmly by Mick Lally and Eileen Colgan, give Fiona a healthy loving home, and she finds a friend in her older cousin, Eamon (Richard Sheridan), a straightforward and hard-working kid. She also encounters another relative in back of a shop, gutting and scaling fish; people say that he's not quite right in the head, but he's also the one who tells Fiona about a key part of her family's past: the story of the selkie.
The film's treatment of the selkie (Susan Lynch) is matter-of-fact. The film doesn't marvel over her appearance or add any special effects to her transformation. The focus is on the emotion of the story; the selkie is torn between her family on land and her compulsion to return to the ocean.
The ocean is a character too, murmuring on the surface, silent below, slapping the sand and rocks. The seals lounge on the rocks watching the passing boats with their dark uncanny eyes.
Relationships
The ocean's rhythm of give and take shapes the history of Fiona's family in complex ways. As Fiona seeks out her brother she finds herself contending with the ocean and with her family's past.
Her cousin, Eamon, comes to believe her claims that she's seen her missing brother. Eamon becomes an older brother figure to Fiona, and her confidant; at one point he helps her with the difficult task of preparing the abandoned cottages on Roan Inish for habitation.
At the heart of it the story is about understanding one's past and bringing family back together, in a struggle to deal with traumatic changes and a world that's quickly modernizing. Fiona's grandparents have a warm secure home but their way of life is in danger, and they may have to move inland. The cities offer jobs but also fracture families, and there's a struggle to stay rooted in one's heritage and not lose it all to modern forces. Fiona is drawn to Roan Inish in part because her family was whole when they lived there.
Memorable sights and sounds
Stars and water framed by a bedroom window, as Fiona peers through the darkness at Roan Inish. The film in some ways has the quality of a dream, though it treats magical creatures as a concrete reality - improbable but not impossible.
The visuals are beautiful throughout - fog and cloud, a grassy knoll overrun with wild flowers, the watchful eyes of the seals who stealthily change the course of boats. The selkie herself with her pensive face and wild dark hair is also a sight, stirring a stew at the hearth or letting her child's cradle float in the shallows by the beach.
Stand-out scenes
One of the best sequences is when Fiona and Eamon are rebuilding the old cottages together. They're young, determined and competent. I love when movies show children as skilled and able to work wonders without superpowers or magic (and without the movie having a patronizing attitude towards them). The soundtrack is especially lively and beautiful too in this part of the film.
Further thoughts
In a lesser film, the reunion with Jamie would have taken place with melodrama and fanfare, close-ups of teary faces. There's never a sense that the film is talking down to the audience or holding itself cheaply. The same is true for the story-tellers in the film, who weave folklore into family history and trust that the substance of their tales will compel your attention.
Director: John Sayles
Language: English (and a bit of Irish Gaelic)
Rating: PG
Synopsis
Fiona Conneely (Jeni Courtney) goes to live with her grandparents near Roan Inish (Island of the Seals), which used to be her family's home. Several years ago during an evacuation of the island her baby brother, Jamie, was washed out to sea in his cradle and never seen since. As Fiona settles in with her grandparents she learns about a family story involving a selkie, a seal that can slough off its skin and become human. When she visits Roan Inish she spots signs of human life and finally comes across a young boy who runs from her approach. It's her younger brother, she's sure, but how will she convince her family that he's alive? And what will get him to stop running from her when she calls his name?
Characters
Fiona is a stalwart girl; she listens and observes, and she's not easily afraid. What drives the film is her curiosity about Roan Inish, and then her determination to bring her missing brother back and help heal her family.
Her grandparents, played warmly by Mick Lally and Eileen Colgan, give Fiona a healthy loving home, and she finds a friend in her older cousin, Eamon (Richard Sheridan), a straightforward and hard-working kid. She also encounters another relative in back of a shop, gutting and scaling fish; people say that he's not quite right in the head, but he's also the one who tells Fiona about a key part of her family's past: the story of the selkie.
The film's treatment of the selkie (Susan Lynch) is matter-of-fact. The film doesn't marvel over her appearance or add any special effects to her transformation. The focus is on the emotion of the story; the selkie is torn between her family on land and her compulsion to return to the ocean.
The ocean is a character too, murmuring on the surface, silent below, slapping the sand and rocks. The seals lounge on the rocks watching the passing boats with their dark uncanny eyes.
Relationships
The ocean's rhythm of give and take shapes the history of Fiona's family in complex ways. As Fiona seeks out her brother she finds herself contending with the ocean and with her family's past.
Her cousin, Eamon, comes to believe her claims that she's seen her missing brother. Eamon becomes an older brother figure to Fiona, and her confidant; at one point he helps her with the difficult task of preparing the abandoned cottages on Roan Inish for habitation.
At the heart of it the story is about understanding one's past and bringing family back together, in a struggle to deal with traumatic changes and a world that's quickly modernizing. Fiona's grandparents have a warm secure home but their way of life is in danger, and they may have to move inland. The cities offer jobs but also fracture families, and there's a struggle to stay rooted in one's heritage and not lose it all to modern forces. Fiona is drawn to Roan Inish in part because her family was whole when they lived there.
Memorable sights and sounds
Stars and water framed by a bedroom window, as Fiona peers through the darkness at Roan Inish. The film in some ways has the quality of a dream, though it treats magical creatures as a concrete reality - improbable but not impossible.
The visuals are beautiful throughout - fog and cloud, a grassy knoll overrun with wild flowers, the watchful eyes of the seals who stealthily change the course of boats. The selkie herself with her pensive face and wild dark hair is also a sight, stirring a stew at the hearth or letting her child's cradle float in the shallows by the beach.
Stand-out scenes
One of the best sequences is when Fiona and Eamon are rebuilding the old cottages together. They're young, determined and competent. I love when movies show children as skilled and able to work wonders without superpowers or magic (and without the movie having a patronizing attitude towards them). The soundtrack is especially lively and beautiful too in this part of the film.
Further thoughts
In a lesser film, the reunion with Jamie would have taken place with melodrama and fanfare, close-ups of teary faces. There's never a sense that the film is talking down to the audience or holding itself cheaply. The same is true for the story-tellers in the film, who weave folklore into family history and trust that the substance of their tales will compel your attention.
Tuesday, June 21, 2011
Extracts: Purpose and passion (or lack thereof) in life
From Middlemarch:
We are on a perilous margin when we begin to look passively at our future selves, and see our own figures led with dull consent into insipid misdoing and shabby achievement. - from Chapter 79, Sunset and Sunrise
But what we call our despair is often only the painful eagerness of unfed hope. - from Chapter 51, The Dead Hand
It is an uneasy lot at best, to be what we call highly taught and yet not to enjoy: to be present at this great spectacle of life and never to be liberated from a small hungry shivering self – never to be fully possessed by the glory we behold, never to have our consciousness rapturously transformed into the vividness of a thought, the ardor of a passion, the energy of an action, but always to be scholarly and uninspired, ambitious and timid, scrupulous and dim-sighted. - from Chapter 29, Waiting for Death
Saturday, June 18, 2011
Week in Seven Words #72
edulcoration
After it's rained, the clean smell of trees, earth, and evergreen shrubs.
moppet
Two smudgy handprints on the door at knee level. A child has pressed up against the glass to look out and to try to push the door open; the handle is still out of reach.
nitty-gritty
Over an hour's worth of conversations with an insurance rep, a bank rep, and a customer service rep for a huge labyrinthine company. Not the best way to start the morning, but to my joy each person I speak to seems lucid and willing to help, and it could have dragged on longer.
pealing
Laughter is a kind of escape, a beautiful cloud of noise to sink into several seconds here and there while forgetting dignity, worries, and mostly everything else.
readjustment
No epiphanies; instead a painstaking process of discovery that could very well lead to failure. At least I'm learning; nothing's wasted, not time or brain cells, if I've learned something.
tormented
A bumblebee dying just inside the doors of a grocery store, only several feet away from the flowers in cellophane and the crates of fruit.
vertiginous
In the library the shelves are long, the aisles between them are narrow, and the books come in so many different colors and sizes, that I have trouble focusing my eyes. If I don't look mostly at the floor I get dizzy.
After it's rained, the clean smell of trees, earth, and evergreen shrubs.
moppet
Two smudgy handprints on the door at knee level. A child has pressed up against the glass to look out and to try to push the door open; the handle is still out of reach.
nitty-gritty
Over an hour's worth of conversations with an insurance rep, a bank rep, and a customer service rep for a huge labyrinthine company. Not the best way to start the morning, but to my joy each person I speak to seems lucid and willing to help, and it could have dragged on longer.
pealing
Laughter is a kind of escape, a beautiful cloud of noise to sink into several seconds here and there while forgetting dignity, worries, and mostly everything else.
readjustment
No epiphanies; instead a painstaking process of discovery that could very well lead to failure. At least I'm learning; nothing's wasted, not time or brain cells, if I've learned something.
tormented
A bumblebee dying just inside the doors of a grocery store, only several feet away from the flowers in cellophane and the crates of fruit.
vertiginous
In the library the shelves are long, the aisles between them are narrow, and the books come in so many different colors and sizes, that I have trouble focusing my eyes. If I don't look mostly at the floor I get dizzy.
Friday, June 17, 2011
Worth Watching: Bringing Up Baby (1938)
Title: Bringing Up Baby
Director: Howard Hawks
Language: English
Rating: Unrated
Synopsis
David Huxley (Cary Grant) is a stodgy professor who's assembling a brontosaurus skeleton and hoping to secure a million dollar donation for his museum. Susan Vance (Katharine Hepburn) is a happy-go-lucky heiress who is convinced from the day they meet that she and David are meant to be. Through a series of plots and tricks that spiral out of her control, she contrives to keep him at her side for a while, away from his cold fiancée and his dinosaur bones.
Characters
David is anxious, earnest, stuffy and adorable. Buried deep inside him is a store of latent joy and fun that only Susan will be able to bring out, if she doesn't drive him insane first. David never sheds his stodginess over the course of the movie, but just the fact that he accepts Susan into his life (as if he has a choice) means that there will be a lot more love and playfulness (and chaos) in it. I love the way Cary Grant delivers his lines and throws his whole body into the comedy of David's frustrations.
Susan is the kind of woman who spends her time at a swanky hotel chatting with the bartender and having him teach her how to flip olives from the back of her hand to her mouth. She can hunt for leopards in the dark Connecticut wilds using only a rope and a butterfly net. Her screams are shrill, her laughter silly. She doesn't understand dignity very well; it's much more fun to giggle. She has a woman's longing for a man, and a child's love of mischief and play. Hepburn plays her with a kind of devilish sweetness and innocence, an underlying intelligence to her flightiness. She's a high-society imp.
The best supporting characters are Susan's aunt, Elizabeth Random (May Robson), a formidable, outspoken lady who for most of the movie believes that David is a big-game hunter who has lost his marbles; she advises Susan not to marry him: "I don't want another lunatic in the family, I've got lunatics enough already." There's also her dinner guest, Major Horace Applegate (Charlie Ruggles), an actual big game hunter who confuses the roar of a leopard with the cry of a loon.
Speaking of animals, the movie introduces you to Baby, a tame leopard, along with George, a yappy little terrier. They both bring a lot of grief to David.
Relationships
Baby and George become inseparable.
Then there's David and Susan's relationship, which is a joy and a catastrophe, as David puts it: "In moments of quiet I'm strangely drawn towards you... but, well, there haven't been any quiet moments."
But what choice does he have? He's the leading man, he has to wind up with someone by the end of the film, and from the very beginning we know that if he stays with his fiancée, Alice (Virginia Walker), he'll end up a desiccated husk of a man, imprisoned in a cold and dusty life.
Memorable sights and sounds
I Can't Give You Anything But Love, Baby is sung several times in the movie - in the middle of the woods, in front of a psychiatrist's house, etc. There's a logical reason for this.
There's also a logical reason for why David needs to stalk George. David tracks the dog on all fours sometimes, or keeps an eye on him at the dinner table, getting up with a spoon still in his hand and following George out of the room whenever necessary.
The look on David's face and the high terrified pitch to his voice are nearly identical when he first spots the leopard in Susan's bathroom and when, much later in the film, Susan professes her love for him.
Susan has some moments when she's frightened or upset too, but by and large she can handle difficult situations well and find the humor in them. Katharine Hepburn, unsurprisingly, was the only actor on the set who touched the leopard, if only in a couple of scenes; it's amazing to see it rub up against her legs as she's blithely chatting into the phone. ("Oh, David, don't be irrelevant... the point is I've got a leopard, the question is what am I going to do with it?")
Stand-out scenes
For me the film really takes off during the scene at the Ritz, with the olive tricks, a mix-up of purses, and David and Susan tearing each other's clothes off, in a manner of speaking. Their exit from the hotel is a gem of physical comedy. And in this scene their banter and David's sniping first reach a level of comic greatness. Throughout the film in general the actors' timing and rhythm is impeccable, with the rapid back-and-forth speech, interruptions and overlapping lines, wit and double entendres.
The culmination of the film takes place in the jail. Hepburn impersonating a gangster's moll and sweet-talking her way out of her cell is a highlight, as is the way in which she returns after her escape, endangering everyone.
Further thoughts
There's a lot of funniness and clever screwball silliness in this film, with one deranged scenario building on another and then another, and by the end I was both glad I watched it and tired out from watching it; I imagine that this is how David must feel about Susan.
*All images link back to their source (UCLA cinema; Flixster community).
Director: Howard Hawks
Language: English
Rating: Unrated
Synopsis
David Huxley (Cary Grant) is a stodgy professor who's assembling a brontosaurus skeleton and hoping to secure a million dollar donation for his museum. Susan Vance (Katharine Hepburn) is a happy-go-lucky heiress who is convinced from the day they meet that she and David are meant to be. Through a series of plots and tricks that spiral out of her control, she contrives to keep him at her side for a while, away from his cold fiancée and his dinosaur bones.
Characters
David is anxious, earnest, stuffy and adorable. Buried deep inside him is a store of latent joy and fun that only Susan will be able to bring out, if she doesn't drive him insane first. David never sheds his stodginess over the course of the movie, but just the fact that he accepts Susan into his life (as if he has a choice) means that there will be a lot more love and playfulness (and chaos) in it. I love the way Cary Grant delivers his lines and throws his whole body into the comedy of David's frustrations.
Susan is the kind of woman who spends her time at a swanky hotel chatting with the bartender and having him teach her how to flip olives from the back of her hand to her mouth. She can hunt for leopards in the dark Connecticut wilds using only a rope and a butterfly net. Her screams are shrill, her laughter silly. She doesn't understand dignity very well; it's much more fun to giggle. She has a woman's longing for a man, and a child's love of mischief and play. Hepburn plays her with a kind of devilish sweetness and innocence, an underlying intelligence to her flightiness. She's a high-society imp.
The best supporting characters are Susan's aunt, Elizabeth Random (May Robson), a formidable, outspoken lady who for most of the movie believes that David is a big-game hunter who has lost his marbles; she advises Susan not to marry him: "I don't want another lunatic in the family, I've got lunatics enough already." There's also her dinner guest, Major Horace Applegate (Charlie Ruggles), an actual big game hunter who confuses the roar of a leopard with the cry of a loon.
Speaking of animals, the movie introduces you to Baby, a tame leopard, along with George, a yappy little terrier. They both bring a lot of grief to David.
Relationships
Baby and George become inseparable.
Then there's David and Susan's relationship, which is a joy and a catastrophe, as David puts it: "In moments of quiet I'm strangely drawn towards you... but, well, there haven't been any quiet moments."
But what choice does he have? He's the leading man, he has to wind up with someone by the end of the film, and from the very beginning we know that if he stays with his fiancée, Alice (Virginia Walker), he'll end up a desiccated husk of a man, imprisoned in a cold and dusty life.
Memorable sights and sounds
I Can't Give You Anything But Love, Baby is sung several times in the movie - in the middle of the woods, in front of a psychiatrist's house, etc. There's a logical reason for this.
There's also a logical reason for why David needs to stalk George. David tracks the dog on all fours sometimes, or keeps an eye on him at the dinner table, getting up with a spoon still in his hand and following George out of the room whenever necessary.
The look on David's face and the high terrified pitch to his voice are nearly identical when he first spots the leopard in Susan's bathroom and when, much later in the film, Susan professes her love for him.
Susan has some moments when she's frightened or upset too, but by and large she can handle difficult situations well and find the humor in them. Katharine Hepburn, unsurprisingly, was the only actor on the set who touched the leopard, if only in a couple of scenes; it's amazing to see it rub up against her legs as she's blithely chatting into the phone. ("Oh, David, don't be irrelevant... the point is I've got a leopard, the question is what am I going to do with it?")
Stand-out scenes
For me the film really takes off during the scene at the Ritz, with the olive tricks, a mix-up of purses, and David and Susan tearing each other's clothes off, in a manner of speaking. Their exit from the hotel is a gem of physical comedy. And in this scene their banter and David's sniping first reach a level of comic greatness. Throughout the film in general the actors' timing and rhythm is impeccable, with the rapid back-and-forth speech, interruptions and overlapping lines, wit and double entendres.
The culmination of the film takes place in the jail. Hepburn impersonating a gangster's moll and sweet-talking her way out of her cell is a highlight, as is the way in which she returns after her escape, endangering everyone.
Further thoughts
There's a lot of funniness and clever screwball silliness in this film, with one deranged scenario building on another and then another, and by the end I was both glad I watched it and tired out from watching it; I imagine that this is how David must feel about Susan.
*All images link back to their source (UCLA cinema; Flixster community).
In the mood for an 80s music video
Though I rarely listen to Cyndi Lauper's music, I've always liked this video - it's sweet, wistful, and very 80s; the first time I heard this song, it made my heart ache.
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