This Ain’t Your Whistler’s Mother-Traipsing Through The National Gallery Of Art In Sunnier Pre-Shutdown Times-James McNeill  Whistler’s “The White Girl,” Symphony In White Whatever Hustle They Are Pulling Now With The Title 

By Laura Perkins      

Some people apparently, at least in the art world have a hard time moving on, letting things go. That is the case with one Arthur Gilmore Doyle (hereafter Doyle since I utterly refuse to buy into the late 19^th fashion among the bluebloods and their wannabes to set themselves apart from the plebian Tom, Dick and Harrys with the three-name moniker to prove I think that they were not illegitimate, foundlings or could trace their genealogy back to the “Mayflower”). Doyle has been my upscale upstart nemesis since I took on this assignment under duress (when my longtime companion Sam Lowell balked on the assignment to pursue other interests I was “ratted out” by Leslie Dumont for having taken a couple of art classes and gone to an art museum making me candidate number one against the rest of the field here).

First Doyle challenged my assertion that the famous, or infamous, Madame X (Madame Guiteau) of John Singer Sargent’s (ditto on the trifecta names) The Portrait of Madame X where she flouted her stuff was a tramp, originally, I said a whore, but we are being a little more high-toned now working against a blue-blooded scion. I replied, taking up way too much time away from my commentary on John White Alexander’ Isabella and the Pot of Basil at the Museum of Fine Arts in Boston (see, Archives, January 15, 2019) in my second foray, that all the documentation, all the memoirs and biographies not basically done by her press agents, then or now, pointed to her sleeping her way up the food chain into French high society. And with all regard to the #MeToo movement today what of it. History is replete with woman who have used their beauty to get ahead in the world, professional beauties who we hope don’t have to do so in the future. Doyle to the contrary argued showing his knowledge of the class as well as sex line, that if Sargent painted the woman, she must be as pure as the driven snow or he would not have truck with tramps, whores, professional beauties. We have gone over that so enough said except I still find it strange that neither he or anybody else wanted to spill their bile over my comment about Madame’s horrendous bird-like nose. Apparently that was a sign of beauty back then although today nothing by sorrow for her ghastly condition.                      

Now Mr. Doyle, seemingly with plenty of time on his hands indicative of the leisure class has after reading my screed on Alexander’s Isabella challenged my claims to be an art critic, that I am a disgrace to the profession for stating that this Isabella was some kind of doped up John the Baptist-initiated cultist for being sexually aroused by her murdered lover’s head (having been done in in by her fearful brothers) in that so-called pot of basil. Doyle apparently had not read the fine print or was so bilious about my take on Madame X that he “forgot” that I am not an art critic, not a member of the art museum curator, art gallery owner, high-end art collector, or art journal fraternity which runs the art world. I have already mentioned that I took this art assignment under duress when Greg Green approached me after hearing what Leslie Dumont has said about my art “resume.” I took this assignment with the understanding that I would following my muse, my art muse, and pepper my comments with ideas, with my take, which would not be found in the vocabularies of the curators, gallery owners, collectors and journal editors. And they have not.     

What has made Doyle’s temperature rise this time, why he felt the need to foul up cyberspace was my comments about dear Isabella’s drug problem and about her devotion to that bizarre “head in a pot” cult (or platter, bowl, in hand I have seen many variations on how the severed head was handled but they all shared that fetish to worship at the shrine with sensual, sexual desire hence bizarre). He challenged my assertion based on Sam Lowell’s expertise that the plants in the jar were not harmless if symbolic basil but poppies, the stuff of opium and heroin. Sam rechecked the plants at my request and asserted that definitely the plants were poppy. Here is where the class and sex issues totally go over Doyle’s head. Like with the purity of Madame X argument he believes that Alexander would never stoop, his word, to painting some twisted dope fiend hung up on a bizarre cult. That could be left to those Frenchman of the day who made their money by titillating the plebes. Doyle seems to have been oblivious to among other things in high Victorian times sniffing dope, snuff boxes, mixing up lanadum was an everyday occurrence to get through the day, especially but not exclusively by women. What about it though if it got them through the day, or through their sorrows. Beyond that I cannot educate the man, nor will I.

On to finally Whistler’s Woman in White, Symphony in White, Number 1, The White Girl or whatever name some curator or high-toned art critic wants to put on one of James McNeill Whistler’s great mood painting in order to argue that the model is either the Madonna, a whore, no, a tramp, somebody’s kept woman, a streetwalker or a nymphomaniac. I will stop there although I have not run out of names for the poor gal depending on the theory being presented. Some Earth mother thing connected with the Pre-Ralphelite Brotherhood being the most popular, although the most ludicrous since her lips are not nearly Angela Joie-full enough for Rosetti and the brethren, a sure tip off Whistler was in some deep opium funk when he created this piece and messed up the lips. Or ran out of ruby red paint. What it is not though is Whistler’s mother, oh, excuse me Symphony in Gray and Black if we want to humor the guy in his funk, and in his bogus “art for art’s sake” hustle like some preternatural colorist (meant to bring in big bucks from unknowing but rabid collectors looking for something for the wall above the fireplace mantle with cachet).

Let’s get real though this is not a down at the heels shop girl who didn’t know the score, didn’t know a certain truth that would forever haunt her image, her reputation.   It took about my fifth time down at the National Gallery of Art in sunnier times when it was open, now closed by government shutdown to figure what was going on here. The deep symbolism which puts Brother Whistler right in vortex as the precursor of the Surrealist movement of the next century. Maybe as one art critic speculated this was a tip of the hat to the coming storm in Whistler’s America, the gathering storm when they had painter’s bloc.  Doyle is not going to like my comments on this one any more than my sexual suggestiveness regard three-name moniker Singer and Alexander and Madame X and Isabella respectively. This portrait has nothing to do with first communion-like virginity, bride of Christ or lost innocence after the Edenic fall, far from it.

What this painting is though is a homage to the Whole of Babylon, the queen bee of courtesans which is how Whistler saw his model, his girlfriend what did they call their relationship in polite society then, yes, consort. Don’t be fooled like all the high-brow Victorian art critics with their handy snuff boxes and be taken in by the white dress, the too skinny red lips, the white curtain, that very convenient white rose. That is all show. That is for the gullible art collectors and museum patrons. The key is the wolf’s head, and I am surprised nobody else has caught the naked symbolism. Although I don’t read or speak Aramaic there is a clear reference in the Book of the Dead according to the Babylonian history scholar James Cee about the wolf’s head and the Whore of Babylon. That the wolf’s head and fur were both an advertisement for a high-born courtesan and as an aphrodisiac for her clients. Nice work, James. For those who have me written down as some Freudian sexual reference cretin or frustrated post-menopausal matron well go to work. As for Doyle when he comes out of his dead faint after reading this give it your best shot. Give it your best shot.    

          

Traipsing Through The Ghost Of Tin Pan Alley Looking For The Muse Of Music-Looking For A Melody Too-With Drew Barrymore And Hugh Grant’s “Music And Lyrics” (2007)-A Film Review And More

DVD Review

By Leslie Dumont

Music and Lyrics, starring Drew Barrymore, Hugh Grant, 2007

Very seldom has a movie theme and moment in my life come together but that is the case with the theme of the film under review Music and Lyrics. In the film Alex, who I give more detail on in a moment, played by boyish Hugh Grant, is struggling to keep his head above water in the music business and needs to find a lyricist badly and Sophie, ditto on the details, is just struggling to be a writer but who is a natural born lyricist who is not looking at the start to do lyrics.

How does that dilemma apply to me. Well let me tell you in a few thousand words, just kidding. As the reader may know and if not, I will mention that I have relatively recently retired from the day to day grind of writing a by-line for Women Today a publication I was associated with for some thirty plus years. I am sure that the average reader does not know that I started out as a free-lance stringer at this publication as did many others. After a couple of years though my fellow writer and then companion (and we are friendly again now too and let’s leave it at that) advised me that I needed to move on, get myself a by-line at a publication which would value my skills more than as a long-term free-lancer here. Good advice. When a change of leadership came through a couple of years ago and to keep my hand in the business the current site manager Greg Green on Josh’s recommendation hired me to do a general assignment by-line. Meaning I could write on any subject that might interest me.               

That information gives you an idea about my career but does not give an understanding on what my youthful dreams had been. That is where the theme of this movie comes in and why I strongly related to it beyond the charming acting of the two principals. I grew up in New Jersey close to New York City, close enough to imbibe in the folk music revival on the weekends that swept the bohemian clots and campuses around the country in the early 1960s. I had a good voice and a fair knowledge of that folk part of the American Songbook. Moreover I could write songs, lyrics anyway and had something of an amateur’s success in the coffeehouses around the Village on “open mic” nights and when I went to college up in Saratoga Springs I grabbed some gigs at the famous and still going Caffe Lena’s. Here’s the rub though I like many other “folkies” had to make some kind of decision when that folk minute faded, or at least became something for aficionados meaning only a few could make a living out of their art. My big problem then, and now, which is the opposition problem Alex had was that I never was good at putting a fine finish on my lyrics, needed a never found melody maker to go up the next step.     

I always, as Josh could testify back when we were an item, kept that musical interest up, kept writing lyrics even while working as a stringer and with my by-line when I had spare time. I was always dissatisfied with the melodies, with meshing the two together as Josh could tell you then, and now too that I have time to work some on those lyrics that had piled up in drawers. I need a melody maker, a person who could hone my lyrics into something good. Josh, did I say we are now friends again and let’s leave it at that, offered to help me. Problem, big problem is that Josh doesn’t have a musical bone in his body. No, that is not true, he knows more of the American Songbook than I do, has written more about music than any other subject in his own long career as a free-lancer and then here. But that take is more about the place of different kinds of music in the American experience or about the stuff that he and his corner boys up in Olde Saco, Maine listened to growing up, stuff like that. What I need is a melody maker, end of story.

Well not quite end of story since I have been very frustrated not being able to find somebody to work with, someone like in the old days of the mythical Tin Pan Alley when one person wrote lyrics and the other did the melody, common practice and for the times a good one before the superstar kids who could write and make music all in one fell swoop, in one person like say Bob Dylan, guys like that came on the scene. I brought the issue of my frustrations to my chiropractor who has helped me with stress management and other troubles who recommended this film which I was totally unaware of. So, I, well, Josh and I watched, and while it didn’t solve my own musical problems it was as Josh said, “just what the doctor ordered.”

Of course from minute one when Sophie comes to water “has been” rock star Alex’s plants as a substitute for a friend you know that this is going to be the inevitable “boy meets girl” or vici versa story that has saved many a lame Hollywood plot (this one in the “so-so” category saved by the main characters’ performances more than anything else). And they will get under the inevitable silky sheets.  With a twist-“has been” Alex is looking via the next generation superstar Cora (although how and why was beyond me except I plead guilty to not understanding what thirteen-year olds, my grandkids, listen to currently) to “get well” to make something of a comeback, since this Cora is the conduit to that return. Problem, big problem again, Alex hasn’t written anything but trash for a long time, since he was king of the hill in the famous 1980s rock group Pops-you may remember them if you are from Generation X. He needs, maybe not as desperately as I need a melody maker, a lyricist.                         

Turns out that Sophie is not just a spaceshot plant-tender but a spaceshot writer with a few credentials who beyond that seems to have a grasp for writing appropriately endearing lyrics.

Naturally there have to be some ups and downs like Alex even getting spaceshot serious writer Sophie to write bubble gum lyrics for this teen idol Cora. They do, do a good job too as the romantic attraction builds. Then it all comes crashing down-almost. Seems Cora has a very different take on how to present this well-crafted song to her audience. Alex desperate to move back up the music food chain (Seth Garth’s forever term) is willing to let Cora do whatever butchery she wants to the song as long he gets back into the limelight or at least moves up from playing for his once youthful now aging audiences at state fairs and conventions. Split issue. Well almost since they are smitten, and all is well once Alex realizes he can’t sellout and keep his dear Sophie. And they compose and write happily ever after. Well I have had my say-except if any melody maker is out there you know where to find me.

[I was not sure where to put this but Josh and I had a conversation recently, really going back to the 1970s and just revisited by this film about “has-beens” like Alex, like me at a more amateur level and what you do when the flame burns out, when the music that made you goes out of fashion and you wind up playing conventions and coffeehouses. I decided, a right decision to move on to a professional career. Alex decided to stick it out no matter how far down in the mud he went. Josh reminded of a series he did covering two folk icons-Bob Dylan and Joan Baez, the media-anointed king and queen of the folk minute. His take was what happened to those who had maybe not as much fame as that pair but who were famous for the moment but who decided to move on when it looked like they were not going to be able to make a career out of their youthful dreams. Or did not want to trek the awful miles in some rundown car staying on the road at some broken down motel in order to play to twenty people in Kingstown, Pennsylvania or someplace like that. Josh is thinking of asking Greg to okay an encore performance of that series in light of this film-L.D.]   

      

The Jar Of Isabella X- A Journey Through The Arts-The Boston School, Ah, At The Museum Of Fine Arts-Thwarted Love With A Bizarre Twist- Alexander’s Keats’ Inspired Isabella And The Pot Of Basil

By Laura Perkins    

I will get to the subject in hand, a take on the marvelous and mesmerizing Isabella, Or A Jar Of Basil seen at the Museum of Fine Arts in Boston a while back while on assignment for this upstart series which site manager has given to me under circumstances not of my own making. However the reaction I received to my first foray into this new review area for when in discussing John Singer Sargent’s The Portrait of Madame X has forced my hand to reply if that is the right word to all kinds charges of pandering to what is essentially soft-core pornography, or taking such a view of the painting. I might repeat for what it is worth that when I took this assignment, I told Greg Green that I would decide what I wanted to focus on in each painting, Not what the art world, the world of self-serving curators deemed the reason the damn things were in some museum other than as pace-fillers. So I will vent as is my prerogative. Laura Perkins]      

You never know what will happen in this business. This latter-day publishing business where unlike the old days you can lose stuff in an instant, lose by an injudicious hit of the delete button. That happened to me of late in something of an omen when I tried to do a second installment of what is according to site manager Greg Green an on-going series of painting which I am at liberty to choose to get us up to date in the art world, an area woefully under- represented in this publication. If I behave myself of which more below. Without overestimating the old days and their sluggish technologies there was something to be said for hand-written yellow pads and carbon copy smudge typewritten materials even without all the comforts of what the new technology has brought us. In any case I am starting to get the hang of it, the last barrier of cyberspace, getting used to the idea that not every utterance, every word needs to be etched eternally in the ether. Strangely I did believe that proposition in yellow pad (some of which I still have from my 1970s days as a free-lancer) and typewriter times (some also when I was weaned off of the yellow pad which was both too cumbersome and too slow when I had to make a day to day living out of my words). That typewriter in turn gave way to word processor and such when that too proved too cumbersome and too slow to make a day to day living out of my words. I would also add as will become clear below that I miss the old days when a reader had something bilious to say, some vitriolic smattering of words she or he had to not only write the spiel out but put stamp to envelope and actually go mail the damn thing. Which meant that they had to put some effort into the task unlike today they can fire off some silly salvo and move on to the next target of their villainy.    

But enough of personal recollections in the dark ages of this “publish or perish” business. As one and all should know by my first foray into the subject, at least first foray since I was named “unofficial” art critic I am taking quirky looks at some of the great paintings that intertest me. And not for art curator purposes either. I became an Art critic by default when Sam Lowell, my longtime companion who balked at doing this assignment. Sam, for better or worse, balked since he is in hot pursuit of why famed California private detective Lew Archer, yes that Lew Archer, who if you are old enough to remember solved the Galton kidnapping case, the Carlton murders and the infamous wife-done Hallman serial killings all under the noises of the public coppers, never made the vaunted P.I. Hall of Fame after such a glorious start. Sam has a “theory” which he can tell the reader if interested all I know is that site manager Greg Green let him off the hook to pursue his leads. Let Sam off the hook and put me on the hook once he knew from Leslie Dumont I had taken some art classes and at least had gone to an art museum unlike his other potential candidates.

By the way Sam’s credentials are far greater than mind could ever be since I only took art appreciation classes in high school and college and since then have limited my experiences in the field to an infinite number of doodling sessions when some windbag is fouling up the air at one conference or another. Sam actually could have gone to art school, his high school art teacher encouraged him endlessly and would have paved the way for him. Actually, now that I think about it did pave the way for him at his alma mater the highly regarded Massachusetts School of Art. Sam, from the desperately poor Acre section of North Adamsville where he grew up got a serious chill, a serious no when his mother found out he had applied and been accepted. She painted, nice word although not literally true, a horrendous picture of him in some flea-bitten, rat-infested and crime-ridden cold-water flat garret with him barely able to hold his frozen hand brush to canvas for the rest of his life. Her idea, a not uncommon one in the Acre from what some of the other guys who grew up there have told me, was for him to be the first in the family to have a nice steady white-collar civil service job which would bring the family fortunes up a notch. He didn’t do that but neither did he to his sometimes-later regret pursue that art dream, cold water flat and frozen fingers or not. I got the job even though I made it clear to Greg that I would not pose as an art critic and would take my shots where they would lead me without any regard for what they meant for the greater art world.  

My first foray not so strangely was John Singer Sargent’s Portrait Of Madame X which now hangs in the Metropolitan Museum of Art in New York City. How it got there is a long story as is the story behind many art acquisitions but will not detain us because I have bigger fish to fry today. My main axis on that first assignment was to deal with the obvious sexual allure (circa the 1880s which was demurer than now) of the painting and of Madame’s scandalous sex life considering she was married to some French pillar of society, a well-heeled and connected banker. You can read my take in the archives (see January 8, 2019) but mostly what I have found out was that Madame Guiteau, no need to be coy about that “Madame X” business she foisted on a less than candid world was that she was so intend on being a social climber, of working her way up French high society that she slept with any guy who could get her moving up what Seth Garth calls “the food chain.”

Fair enough then if today not fair enough in a post-#MeToo world since beautiful women, perceived beautiful women were known to, for good or evil, use their “profession” beauty to get ahead in this wicked old world. I said some other stuff, but this is what has brought me a ton of blow-back, blow-back which Sam, dear Sam in this instance, warned me would happen when I laid out my argument. He always said reviewing was a tough cutthroat racket and now I have had my baptism of fire. The gist of the responses has dealt with exactly how John Singer Sargent (hereafter Singer Sargent we don’t have to go on endlessly with the robber baron era habit of three name monikers among the elite to show pedigree or prove legitimacy in or more democratic age) got the Madame to pose so provocatively in the first place.

Even Sam was surprised though at the apparent source of the criticism not of me, although that may be in question the evangelicals. People not known to frequent this publication but who saw an opening to see who was, or was not, doing Satan’s work, who was damned and why. Here is where we get into what Sam and others call the “trolls” and their “alternate facts,” actually alternate universe outlook. A major rash of e-mails pointed out that Singer Sargent had obviously picked his model up out of the gutter and gave her a few sous, francs, some French money to pose for him, that he got some kind of sexual pleasure out of what he was doing as well as painting a great if toilsome masterpiece. Those skimpy straps ready to tell all, something like that. Certainly the gown and her provocative pose spoke of eternal damnation to these mob. The other big “school of thought” was that the model, nobody wanted to tie Madame Guiteau, a well-oiled member of high society looking to move upward with the age old art of using her professional beauty to work her way up that chain, had been tossed out of a high-end bordello in New York City after she had “stolen” some dough from one of the customers. Jay Gould, yes, the robber baron Jay Gould, and had to flee to avoid his wrath and her imprisonment.        

            

Under either theory what these ding-dongs have in common is the erroneous idea that Singer Sargent was getting sexual pleasure out of the provocative poses of the model, especially that very suggestive slipping of one of the straps of her evil thought jet black evening gown. What they could not factor in was the idea that Singer Sargent, as was well know, had a number of “assistants,” male and female, who found his bed. Which ones, which sex is problematic but most people with an opinion have mentioned that the females acted as cover. I have uncovered some useful information in that regard. The great English poet and self-acknowledged gay man when that was not cool to say in polite society, when it was the love  “that dare not speak its name,”    W.H. Auden had always claimed Singer Sargent for the “Homintern,” a name which he or one of his crowd, one of his gay friends maybe Christopher Isherwood or Stephen Spender, coined as a spin-off from the Comintern which both had at one time supported to mean that the guy was a member of the fraternity, was gay in the cloaked terminology of the times. Yes, the evangelicals will have a field day with this one if they can figure it out. What I don’t get is people who are ready to absolve every sexual predator alive if he or she repents has no mercy for somebody who used their sex, as with Madame X, to get ahead whether we agree or not.      

Most of the other comments descended downward from that Madame is a whore trope and are not worthy of comment. What is worthy is one that attempted to take the high road, attempted to in the end try to whitewash the whole sordid affair. One Arthur Gilmore Doyle, here we go with the “three name” Brahmin (although not all the “three name” crowd were Brahmins, Boston variety since Singer Sargent would trace his lineage from the Philadelphia Main Line crowd but they are all of a piece), who argued, if that is the right word, that Singer Sargent would not stoop to having some “fallen woman,” his term, pose for him under any circumstances. So here we have the class line drawn in lieu of the sex line. Or maybe both lines since he seemed very fussy about the whole matter.

Doyle further mentioned that Madame X if she posed for Singer Sargent was a pure as the driven snow. Worse disputed the evidence presented by the famous Parisian paint-maker Bleu who provided Singer Sargent (and others) with his paints in his memoir that when Madame was in her plebian wants mood he was her lover. Going up the back stairway to her boudoir, sometimes when her husband was down in his study figuring out ways to make money to keep his growing number of creditors at bay. Disputed as well, the testimony of Madame’s personal maid that she let him in and further, under orders from Madame, had cut that provocative gown strap with her own scissors. You see according to Doyle one   could never believe the hired help, not even somebody who had to change the sweaty sheets after each exhortation. Yes, the class line indeed.

We have already dealt with the predilections of Singer Sargent for his male “assistants” which may not freak out Brother Doyle as much as it was the gay-bashing evangelicals since it was an open secret that half the bluebloods were same-sex inclined. And everybody knew and accepted it unlike in poor Oscar Wilde’s irate father of Lord Alfred Douglas who was crazy with hate about the whole matter. Where the heck do you think they got the term “Boston marriage” when two unmarried women lived together lesbian splendor.

What has amazed me about this first volley into the art world, or the social aspect of it is that nobody thus far has mentioned word one about why Madame had not allowed herself to be posed in a frontal position by Sargent (and upon further investigation by any other artist with one possible later exception to be mentioned below). That is she did not want her beak-like nose to be fully exposed to the light of day. Apparently Madame was so vain to have that horrendous little pointed nose shown too prominently would have detracted from his sullen suggestive pose. Remember she was using her professional beauty to advance in the world, a hard task for an “ice queen” and so that was her order. Upon further investigation there is some evidence that later in life, in 1907 she did pose in a frontal position but by that time the wear and tear of using her beauty for social advantage, the dissipation showed through. And the nose was even more hideous that I expected. So Madame did make a smart move, very smart. Still I don’t know why nobody in the flutter of responses picked up on that beak even to defend her against my charges that maybe men liked that kind of nose then. Fashion and beauty tend to change with the ages, with time.   

But let’s move on. Finally I can get to the subject matter for today’s piece, John White Alexander’s Isabella and the Pot of Basil which is in the permanent collection at the Museum of Fine Arts in Boston (here we go again with the three name moniker business that drives me crazy so let’s call him Alexander and be done with it). Alexander was linked to the Boston School who were for the most part interested in realistic portrayal of whatever subject matter they were painting. When you first go into the room where the painting is located you are immediately drawn to this high Victorian beauty in a great gauzey with sharply drawn flowing lines dressing gown strangely caressing a jar, a big jar with 

***In The Time Of The Time Of An Outlaw Country Music Moment- The Belfast Cowboy Rides Again Van Morrison’s “Pay The Devil”

A YouTube film clip of Van Morrison performing his pre-Belfast Cowboy Into The Mystic.

CD Review


Seth Garth

Pay The Devil, Van Morrison, Exile Productions, 2006


[One of the enduring things about the older writers here, the ones who were “present at the creation” of this publication in its hard copy days back in the mid-1970s when there was still something of an afterglow alive, if not well, from their 1960s countercultural is their love of music. Mainly back in that self-same 1960s rock and roll which most of them were also “present at the creation” at although it was left to older brothers and sister to partake of the full “jail-break” as Sam Lowell liked to call the early uprising. Of course rock and roll has gone through many incarnations, has suffered as has my favored music, jazz, its share of blossom times and barren periods. When that has happened in jazz I tend to go back to the blues, or better rhythm and blues from which a lot of modern jazz had emerged from to break out again.       

When Seth Garth, who knows more about music, about the American songbook that all the rest of his old-time cohort combined hits a dry spot he looks, feverishly at times from this review, for some other nuggets from the songbook. I know because of later he has been humming and low-voice singing the lyrics from a bunch of Cole Porter songs. But back in the 1980s he was working his way through the great American go west young man, young cowboy to be myth and what it meant to some songwriters who were tired of what passed for such music and brought some vigor into the genre. Not so strangely to my mind as that was something of an off period for modern jazz as well I went back to the blues, went back to the old country blues from down in the Delta. On this beat unlike our “dispute” over the merits of film noir we have some agreement if not of kind then of spirit. Greg Green]     


**********
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hencethe Belfast cowboy.

If you do not believe me then just listen to him ante up on There Stands The Glass, a classic honky-tonk midnight sorrows tune; the Williams’ classic Your Cheatin’ Heart; the pathos of Back Street Affair; the title song Pay The Devil; and, something out of about 1952, and the number one example of his cowboyishness (whee!), Till I Gain Control Again. The Belfast cowboy, indeed, although I always thought that was in the North.

***Out In The 1940s Crime Noir Night- Otto Preminger’s “Fallen Angel”- A Film Review

DVD Review


By Josh Breslin  

Fallen Angel, starring Dana Andrews, Alice Faye, Linda Darnell, directed by Otto Preminger, 1945

[Alright I have had my say about my less than utter devotion to the film noir genre in a recent introduction to Josh Breslin’s film review of the adaptation of Ernest Hemingway’s short story The Killers (see, Archives, dated January 12, 2019). That still stands. What does not still stand though is the utterly crass response, a respond worthy of wounded elephants, when I mentioned that guys like Josh and Sam Lowell had ill-spent their youths in dark, popcorn-festered Saturday afternoon double feature matinees rather than breathing some innocent fresh air. Let me put it this way the kindest response was by Si Lannon (as usual) who speculated that as much as we are collectively opposed to capital punishment for criminal activities that offend against humankind that perhaps some exceptions should be made particularly egregious cases, mine. It went downhill from the gist of sentiment being that I never had been manly enough to understand the genre having been pampered in my youth up there in swank Hudson River digs        

That hurt whether it is true or not but remember that I am just enough younger and less poverty-driven conscious that those guys although having been through life none of these guys have to worry about where their next meal is coming from-very definitely don’t in some kind of survival of the fittest sense since they survived unlike some of the guys who as Seth Garth has said “laid down their heads in bloody Vietnam or like their icon Markin as a result of that experience.

Still on the face of it and I go with my having been involved with something like forty thousand reviews over the past few decades (not as a writer, Jesus no, not for a long time since that is such a perilous and cutthroat business depending on nothing but your last review and maybe not even that at some journals), the premise behind the noir is not something that ever wowed me, the photography, the black and white scene setting and sequel effects yes. The storyline and shabby treatment of women, even femmes leave a lot to be desired.

Yes, yes, I know we live in the #MeToo era and that has some effect even going back to the noirs but shabby is not too far a stretch that these films were only keeping the so-called feminine mystique alive. Take one example, and not the worse of the lot, Jane Greer’s role in Out Of The Past where she is treated by Robert Mitchum as so much eye candy to be looked up and down and back again. Treated by mobster Kirk Douglas and noting but an appendage. No wonder the woman had ot make her own way, her own space as best she could. If she had to get a little gun crazy, start shooting to keep herself going that was part of the overhead for her to stay alive. Hey, the guys knew what they were getting into and still came after her-and not just for her charms. It might be hard to make a feminist-friendly film, and maybe back then probably impossible but that is no reason for guys doing film reviews today to get all gushy about this genre. Touche. Greg Green]        

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As I have mentioned at the start of other reviews in this genre I am an aficionado of film noir, 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. There is nothing like that gritty black and white film, ominous musical background (one can tell without watching the beginning of the film, the credits, that a noir is on hand, or noir-influenced and those shadowy fugitive 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 yah, 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, Fallen Angel, is under that former category. This film is an example of what 1940s film noir was all about, maybe not the best but still more than passable.

Once you have started to get fixated on crime noir films a key question that inevitably comes up is the femme fatale, good or bad, although not every crime noir film had them. Fallen Angel does, although rather unusually this femme fatale (played by sultry big-lipped Linda Darnell) is working in a one-arm joint (come on now you know what that is right? A hash house, a diner, a road house, a dew-drop in and the person serving them off the arm, one arm see, is none other than Darnell as the magnet waitress, Stella). Now all femme fatales, at least the ones I have seen in film (and a few, okay more than a few, that I have been run over by in life), have some kind of shady past and/or have gone wrong by hooking up with a wrong gee. Some of them have put on high class- airs (like Gilda in the movie of the same name and The Lady From Shang-hai both played by sultry, very sultry, let me get my handkerchief out Rita Hayworth) and others, like the Stella role Ms. Darnell plays here, are just hard-boiled gold-diggers from the wrong side of the tracks.

And that little fact is what has all the boys crazy here, and also drives the plot line.
The Great Depression and World War II unhinged a lot of the certainties that earlier American society took for granted. Those mega-events left a lot of loose-end people struggling, struggling hard to find their place in the sun, or at least some dough to help find that place. And that notion goes a long way in explaining why down-at-the-heels Eric (played by Dana Andrews) find himself on the left coast (California before the post- World War II land’s end explosion westward, westward from any east) with no dough and no prospects. But that doesn’t stop him from drawing a bee-line to femme fatale Darnell when he was unceremoniously dropped off in some backwater California ocean town. But brother Eric, take a ticket, get in line, because every other guy on the left coast, including the very unglamorous hash house owner, has big ideas, or wants to have big ideas about setting up house with this two-timing brunette waitress. (Personally I don’t see it but I run to perky blondes and fire-haired red heads although, truth to tell, a few of those femmes I have been run over by, mentioned above, have been brunettes too.) But when a man, as men will do, is smitten well there it is. There are no hoops big enough that he will not roll through and that is where the plot thickens. See Stella, she from the wrong side of the tracks born, wants a home with a picket fence like all the other girls and if you don't have the cash, the cash in hand, then get lost, brother. Be a long gone daddy.  

Needless to say old Eric is ready to move heaven and earth to get the dough for that white picket-fenced house. And here is his scam. A scam that played right has worked since time immemorial. Go where the money is. In that one-horse town, ocean-fronted or not, the dough resides with two prominent sisters who have some dough left from their father’s estate. So Eric plays up to one sister, June, (the pretty one, of course, played by Alice Faye) and through a convoluted series of events they wind up married. Ms. Darnell was not pleased by this turn of event, as you can imagine.

Although Stella not being pleased was cut short by a little problem, she was murdered on the night of Eric’s honeymoon with June. And all signs lead to him as the stone-cold killer- the frame is on, no question. But also “no question” is that he is not that kind of guy. But just step back a minute and remember that point about having to take a ticket to line up for Stella's affections. Plenty of guys (and at least one woman) had motive. See the film and figure who that was. Like I say this not the best of the 1940s crime noirs for plot line but is interesting enough. And the film was directed by Otto Preminger so you know the black and white cinematography shadows and contrasts will be just fine.

The Old Man’s Old Sea- In Honor Of Our Homeland, The Ocean-From The Pen Of Old Time Acre Neighborhood Corner Boy Allan Jackson

From The Pen Of Peter Paul Markin 

[No, you are not seeing things in some weird way when you see a seeming disconnect between the named person in the title of this piece and the person who wrote it. They are one in the same person. Peter Paul Markin was the moniker that Allan used when he was the site manager, then called administrator, at this publication for many years both in its hard copy and current on-line forms. The demise of Allan Jackson, his removal by a vote of no confidence from among the younger writers, has been written unto death and need not detain us further.

What I do want to detain you about is the origin of the Markin moniker because that long-departed mad man, Allan’s words, still hovers over this publication, especially among the older writers who knew Markin, who in a funny way have almost made a cult out of his sordid memory. To make a long story short since along the way many of the older writers have written their remembrances of their long- fallen corner boy brother I will hurry along. (In fact young Zack James, at the request of his brother Alex, who knew and was best friends with Markin in high school, was commissioned to edit and see to hard copy publication a collective memoir dedicated to Markin’s memory which will be released for the general readership next year.) Markin, whatever happened to him later after his Vietnam War military service and the drug addiction which would lead to his downfall, was the recognized “intellectual” leader of the Tonio’s Pizza Parlor corner boys and while he could barely tie his shoes in practical matters was the guy who came up with all the ideas, good and bad, legal and illegal.

Allan, as he told me once we got him back on board as a contributing editor when things started going awry with some of the younger writers wo buckled under a few suggestions I tried to pass their way, took Markin’s murky death down in Mexico pretty hard since one of the he and a bunch of other writers looking for steady work and publication to avoid that cabdriver (now Uber or Lyft, that faced every unrequited writer, had put this operation together with Markin in mind. He was so bereft that he had to take Markin’s name if only to keep the bastard’s aura hang over the joint, and so it remains. I, frankly don’t like it, don’t like a two bit junkie with big dope-filled eyes hanging around overhead looking down at my every move. But that is just me and I know I will take a rash of nonsense for even mentioning Markin’s name without genuflecting my ass off. Sorry, guys. Greg Green]       

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It is dawn, or maybe just those few minutes before the dawn, those dark light minutes when the sun’s battle for the day is set. The waves splash, today not so innocently, today not tepidly like the past several days when the she sea sounds did not mercifully drown out traffics, construction hammers, or beach tractor clean-ups but swirling out from some hidden sea swells beyond the horizon against the defenseless waiting sand, sand beaten down since time immemorial. Or as long as anyone has been watching that feat, that seemingly endless feat.

This beach, this northern clime beach, the far end of Saco, Maine beach, is this day filled with empty clam shells from some timeless previous sea swirlings waiting sandification (is that right?), abandoned and mislaid lobster traps (and one up in lobster country had better know the difference, know the livelihood difference between the two conditions , just in case some irate boat craggy captain, aged liked sea, decides to reclaim one over your head), occasional oil slicks spilled from the trawlers (and hopefully only small working  residues and not some monster slick by some tiny horizon tanker heading to oil depot ports further up the coast), working trawlers nearby, the flotsam and jetsam streamed here of a thousand ships, cargoes, careless throwaways and conscious, very conscious dumpings, like the sea was just another land-fill wanting filling.

Today though I am ready, ready for the hundredth hundredth time to walk the walk, the ocean walk that has defined more parts of me than heaven will ever know. As I button up my yellow slicker against the April winds that come here more often than, and can come out of the blue against the Bay of Fundy confusions, one minute eighty degrees the next thirty five, I see, see faintly in the distance, a figure, a fellow traveler taking his, her or its (don’t laugh I have seen horses, unridden horses, trotting these beaches, although no sea monsters), maybe also hundredth hundredth walking along the ocean sidewalk, and maybe, just maybe, for the same reason.

Today, hundredth, hundredth walk or not, I am in a remembering mood, a high dudgeon remembering mood that always gets triggered by proximity, fifty mile proximity if the truth be known, to the ocean. I have just finished up a piece of work that reminded me of seas, sea-sides, sea walks, sea rocks, ocean-side carnival amusement parks placed as if to mock the intrinsic interest that one would have in the sea, our homeland the sea, and I need to sort this out, also for that now familiar ten-thousandth time. But I best begin at the beginning, or try to, so I will be finished in that hour or so that it will take me to walk this walk, this rambling ocean walk, and I will pass that solitary walker coming the other way and be obliged under some law of the sea to break my train of thought and remark on the nature of the day, the nature of the ocean, and the joys of ocean-ness brought forth by old King Neptune to that passing stranger.

Ah, memory, jesus, just the names, Taffrail Road, Yardarm Lane, Captain's Walk, Quarterdeck Road, Sextant Circle, and the Snug Harbor Elementary School tell a story all on their own. Yes, those names, those seemingly misplaced, misbegotten names and places from the old housing project down in Adamsville, down in my old hometown, and where I came of age, sea-worthy age as well, surely evoke imagines of the sea, of long ago sailing ships, mast-strewn ships, and of desperate, high stakes battles fought off shrouded, mist-covered coasts by those hearty enough to seek fame and fortune. And agile enough to keep it. Almost from my first wobbly, halting baby steps down at “the projects” I have been physically drawn to the sea, a seductive, foam-flecked siren call that has never left me.

Needless to say, ever since I was a toddler my imagination, my sense of imagery, my sense of the nature of the world has been driven by the sea as well. Not so much of pirates and prizes, although those drove my youth a bit but of the power of nature, for good or evil. And on those long ago days, just like now, I dressed against the impending inclement weather with my mustard yellow rain slicker(French’s mustard color not Guiden’s, okay) complete with Gloucester fisherman’s rain floppy rain hat of the same color and rubber boots, black, knee-length boots that go squish, squish and have done so since before time immemorial.

Of course, anybody with any sense knows that anyone who had even a passing attachment to a place like Adamsville, tucked in a bay, an Atlantic bay, had to have an almost instinctual love of the sea; and, a 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. If being determines consciousness, and if you love the ocean, then it does not hurt to have been brought up in Adamsiville with its ready access to the bay and water on three sides. That said, the focal point for any experience with the ocean in Adamsville centered, naturally, around its longest stretch of beach, Adamsville Central Beach. Puny by Saco beach far-as-the-eye-can-see standards, and Saco puny by Carlsbad (California Carlsbad) farther-than-the-eye-can-see standards but a place to learn the ropes of how to deal with the sea, with its pitfalls, its mysteries, it lure, and its lore.

For many of us of a certain age brought forth by the sea, including this writer, one cannot discuss Adamsville Central Beach properly without reference to such spots such as Howard Johnson's famous landmark ice cream stand (now a woe-begotten clam shack of no repute). For those who are clueless as to what I speak of, or have only heard about it in mythological terms from older relatives, or worst, have written it off as just another ice cream joint you can only dream of such heavens although someone, not me, not me today as I remembrance with a broad stroke and have no time for pretty descriptions, for literary flourishes, should really do themselves proud and write the history, yah, the child’s view history of that establishment. And make the theme, make the theme if you will, the bond between New England love of ice cream and of the sea (yes, it is true, other parts of the country, other ocean parts of the country as well, are, well, nonplussed by the ice cream idea, and it shows in their product).

Know this for now though: many a hot, muggy, sultry, sweaty summer evening was spent in line impatiently, and perhaps, on occasion, beyond impatience, waiting for one of those 27 (or was it 28?) flavors to cool off with. In those days the prize went to cherry vanilla in a sugar cone (backup: frozen pudding). I will not bore the reader with superlative terms and “they don’t make them like they used to”, especially for those who only know “HoJo’s” from the later, pale imitation franchise days out on some forsaken turnpike highway, but at that moment I was in very heaven.

Nor can one forget those stumbling, fumbling, fierce childish efforts, bare-footed against all motherly caution against the dreaded jellyfish (or motherly cautions against everything, everything even the slightest bit harmful in this dangerous old world), pail and shovel in hand, to dig for seemingly non-existent clams down toward the South Adamsville end of the beach at the, in those days, just slightly oil-slicked, sulfuric low tide (the days before dinosaur lament fossils fuels exploded the oceans). Or the smell of charcoal-flavored hot dogs on those occasional family barbecues (when one in a series of old jalopies, Nash Ramblers come to mind and disappear, that my father drove worked well enough to get us there) at the then just recently constructed old Treasure Island (now named after some fallen Marine) that were some of the too few times when my family acted like a family. Or, more vivid, the memory of roasted, really burnt, sticky marshmallows sticking to the roof of my mouth (and maybe still ancient wound stuck there).

But those thoughts and smells are not the only ones that interest me today. No trip down memory lane would be complete without at least a passing reference to high school Adamsville Central Beach. The sea brings out many emotions: humankind's struggle against nature ( a fitful and uneven struggle at best as a few over the top wave crashes have demonstrated to keep us on our toes, and humble), some Zen notions of oneness with the universe (and if not Zen then Kali, Misha or some Zoroastrian flaming fire god mad monk), the calming effect of the thundering waves (rule: speak no louder than the angriest wave in its presence, children under twelve excepted), thoughts of mortality (endless seas bring that notion to the fore and not just ancient wounds and sorrows), and so on. But it also brings out the primordial longings for companionship. And no one longs for companionship more than teenagers. So the draw of the ocean is not just in its cosmic appeal but hormonal, as well. Mind you, however, we, you and I, just in case a stray naive child of about eight is around, are not discussing the nighttime Adamsville Beach, the time of "parking" and the "submarine races.” Our thoughts are now pure as the driven snow. We will confine ourselves to the day time beach.

Virtually from the day we got out of school for the summer vacation I headed for the beach. And not just any section of that beach but the section directly between the John Adams and John Quincy Adams Yacht Clubs (yes, it was that kind of city touting ancient wise men long gone and not missed, not missed after the obligatory sixth grade crypt visit in the Center, not missed, hell, not even on the radar for heady 1960s teenagers. Now, I ask you, was situating myself in that spot done so that I could watch all the fine boats at anchor? Or was this the best swimming location on the beach? Hell no, this is where we heard (and here I include my old running pal and classmate, Frankie, Francis Xavier Riley, the king of the North Adamsville corner boy night around Salducci’s Pizza Parlor of blessed memory and nothing but a flame-throwing lady-killer, uh, when his honey, Joanne Doyle was summering elsewhere) all the "babes" were. We were, apparently, under the influence of Beach Blanket Bingo or some such teenage beach film. (For those who are again clueless this was a grade B ‘boy meets girl’ saga the plot behind a thousand Hollywood films, except they exploded into song on the beach as well.)

Well, for those who expected a movie-like happy ending to this section of the remembrance piece, you know, where I meet a youthful "Ms. Right" to the strains of the song Sea of Love, forget it. (That is the original Sea of Love, by the way, not the one used in the movie of the same name sung by Tom Waits at the end, and a cover that you should listen to on YouTube.) I will keep the gory details short, though. As fate would have it there may have been "babes" aplenty down there but not for this lad. I don't know about you but I was just too socially awkward (read, tongue-tied) to get up the nerve to talk to girls (female readers substitute boys here). And on reflection, if the truth were to be known, I would not have known what to do about such a situation in any case. No job, no money and, most importantly, no car for a date to watch one of those legendary "submarine races" that we, you and I, have agreed that we will not discuss here. But we can hardly fault the sea for that, right?

But visions of nearly one-half century ago hardly exhaust the lure of the sea. And, speaking of visions, that fellow sea-seeker I mentioned a while ago, coming from the other end of the beach is starting to take shape, it is a he, I can tell by the walk, by the sea walk that men put on when they are alone with their thoughts, although beyond that he is too far away for me to determine age, class (this is a very democratic beach, in most spots, with few vulgar and almost universally disregarded no-trespassing-private property-keep out-beware-of-dogs-police-take-notice signs on some Mayfair swell properties), or physical description, as the suppressed light from the cloudy morning day gets a little brighter

Funny, some people I have known, including some I grew up with, grew up with breathing ocean air embedded in their inner beings and who started with a love of the sea much as I did, moved to Kansas, Omaha, Peoria, Winnemucca or some such place, some such distinctly non-ocean place and never looked back. Christ, as is well known by one and all who know me I get very nervous even now when, as a city boy, I go to the country and do not have the feel of city lights to comfort me. Not as well known is the fact, the hard fact that I get nervous, very nervous, when I am not within driving distance of some ocean, say that fifty miles mentioned above. So keep, please keep, your Kansas, your Omaha, your Peoria, and your damned Winnemucca (and that desolate bus station bench I slept on one night after giving up on the hitchhike road for the evening trying to head out of town to no avail, trying to head ocean west, and let me be, be in places like Bar Harbor, Maine, Peggy’s Cove, Nova Scotia, Sanibel Island, Florida, Carlsbad, California (hell no, not the New Mexico one ), Mendocino, ditto California, Seattle, Washington just to name a few places on this continent, and there are many others, and on other continents, or the edges of other continents, as well. And stories, plenty of stories, which I don’t have time to tell you now except for one that will stand in as an exemplar for what I mean. By the way that form, that mannish form, coming toward me is looking more like a young man by the speed of his walk, and he too seems to have on a favored sea dog yellow rain jacket.

January 1970 visions of Angelica, Angelica of the homeland sea.

I waved good-bye to Angelica, once again, as she drove off from the ocean front campsite that we had been camping out on, the Leo Carrillo State Park near Point Magoo about fifty miles or so north of Los Angeles. She will now drive the road back in her green Ford Hertz unlimited mileage, mid-size rental (paid for, as she explained one night, by her parents whose golden age of the automobile-frenzied minds counted it as a strike against me, a very big strike, that when I had “kidnapped” their daughter on the 1969 blue-pink summer road west down in Steubenville, Ohio I didn’t even have a car). She planned (on my advice) to drive back mostly on the ocean-abutted, white-capped waves smashing against jagged ancient shore rocks, Pacific Coast Highway down through Malibu and Santa Monica to take one last look at the Pacific Ocean as the final point on her first look ocean trip, on the way to LAX to take a flight back to school days Muncie, Indiana.

She will also be driving back to the airport and getting on that miserable plane east knowing as I do since we talked about it incessantly during her stay, that some right things, or at least some maybe right things, like our being together last summer heading free west and for these two January weeks in front of the sea, our homeland the sea, before her classes started again, got caught up in the curious web of the human drama. For no understandable reason. Hey, you already knew this if you have ever had even that one teeny-weeny, tiny, minuscule love affair that just had no place to go, or no time to take root, or just got caught out there in the blue-pink night. Yah, you know that story. But let me take some minutes to tell you this one. If it seems very familiar and you “know” the plot line well then just move on.

To get you up to speed after Angelica and I had been on the heartland hitchhike road (and places like Moline, Neola, and Omaha are nothing but the heartland, good or bad), she, well, she just got tired of it, tired of the lacks, tired of the uncertainties of the road. Hell hell-on-wheels, I was getting tired of it myself except I was a man on a mission. The nature of that mission is contained in the words “search for the blue-pink great American West night” so the particulars of that mission need not detain us here. So in Neola, Iowa, Neola, Iowa of all places aided by “fairy grandmother” Aunt Betty, who ran the local diner where Angelica worked to help make us some dough to move on, and her own sense of dreams she called it quits back in September. Aunt Betty drove us to Omaha where Angelica took the bus back east, Indiana east from Nebraska, to hometown Muncie and I hit Interstate 80 West headed first to Denver before the snows, or so I hoped.
Honestly, although we exchanged addresses and telephone numbers where messages could be left, or where we could speak to each other (her parents’ house not being one of them), and made big plans to reunite in California in January during her school break, I didn’t really think that once we were off the road together that those plans would pan out.
Now I may not remember all my reasoning at the time this far removed, the now of my telling this story many years later, but I had had enough relationships with women to sense this one was good, very good, while it lasted but it could not survive the parting.
Not one of those overused “absence makes the heart grow fonder” things you hear about. And, truth to tell, because I thought that was the way things would play out, I started getting focused back on Boston Joyel more than a little as I walked a lot, stood at the shoulder of the hitchhike road a lot, and fitfully got my rides on the road west.

But see this is where you think you have something figured out just so and then it goes awry. Angelica called, left messages, sent letters, even a telegram, to Denver (to the commune where, Jack and Mattie, my traveling companions on the final leg west whom I had met earlier in the spring on a different trip down to D.C., were staying). She sent more communications in early December saying that she was still coming to Los Angeles as well where we three stayed with a few artistic friends of Jack and Mattie’s. Cinema-crazed artistic friends, including one budding film director who, moreover, had great dope connections right into the heart of Mexico. This is where they would stay while I planned to push the hitchhike road north heading to San Francisco.

I once, in running through one of the scenes in this hitchhike road show, oh yah, it was the Neola scene, mentioned that in Angelica what you saw was what you got, what she said was what she meant, and both those were good things indeed. And so if I had thought about it a minute of course she was coming to California in January and staying with me for her two week break, and maybe longer. So when January came she contacted me though John and Mattie, who like I said were now staying with this very interesting experimental film-maker, David, in the Hollywood hills and canyons. I started back south to L.A. in order to meet her at the airport. From there I had it planned that we would go to Point Magoo and camp out like in the “old days” at an ocean front state park.

Needless to say when I greeted her at LAX we both were all smiles, I was in more than all smiles mode, because I had been “stag” for a while and she was, well, fetching as always, or almost always. Here though is where I noticed that the road really is not for everyone. In Neola, and later getting on the bus back home in Omaha, poor Angelica looked pretty haggard but at the airport, well like I said, she was fetching.
And, guess what, she brought her sleeping bag that we had gotten for her in a Lexington, Kentucky Army-Navy Store when we first seriously started on the road west. The first thing she said about it was, referring to a little in-joke between us, “it fits two, in a pinch.” Be still my heart. So we gathered up her stuff, did the airport exit stuff (easier in those days) and picked up the outside shuttle to the Hertz car rental terminal. We were jabbering away like crazy, but best of all, we were like, a little, those first days last summer back in that old-time Steubenville truck stop diner and cabin when I first met her.

Of course, part of the trip for her, part of what she went as far as she could with me on the hitchhike road for, was to get to California and see what it was all about, and what the ocean was all about since she was a heartland girl who had never seen the ocean before. When we got to Point Magoo she flipped out, she flipped out mostly at the idea that we would stay, could stay right on the beach in front of the ocean. And just like a kid, just like I did when I was kid and saw the ocean, when she saw the Pacific, she jumped right in. Hell, she was so excited she almost got caught in a small riptide. I had to go drag her out. I won’t say we had fun every minute of those weeks acting out our ocean nomad existence, but most minutes, and I could see that she felt the same way.

Naturally, as time drifted away toward her return flight date we talked more and more about what the future, if any, held in store for us. She was adamant about not going back on the road, she was adamant as well that she wanted to finish school and make something of herself. I had no serious defense against that practical wisdom. And, truthfully, I wasn’t, toward the end of her stay, pushing the issue, partially because even I could see that it made sense but also, we had had a “flare-up” over the Boston Joyel question (I am being polite here).

But it was more than that; the flat out, hungry truth was that I really didn’t know how to deal with a Midwestern what you see is what you get woman like Angelica. I was more used to virtuous Irish Catholic girls who drove me crazy as a kid getting me all twisted up about religion, about nice girls, and about duplicity when I found out what the real score was with this type of young girl/ woman later. I was also, and Joyel was the epitome of this type, totally in sync (well, as much as a man can be) with the Harvard Square folksy, intellectual, abstract idealist, let’s-look-at-everything-from-twenty-two different angles, what is the meaning of human relationships 24/7 kind of woman. And fatally attracted to them (and still am). This Angelica look at things only a couple of ways, let’s work things out easy-like, heavens, let’s not analyze everything to the nth degree flipped me out. Angelica was a breath of fresh air and, maybe, maybe, about ten years later, and two divorces later to boot, I would have had that enough sense god gave geese to hold onto her with both hands, tightly, very tightly. But I was in my blue-pink search phase and not to be detoured.

Of course all this hard work of trying to understand where we stood put a little crack in our reason for being together in the first place. The search for, search for something. Maybe, for her, it was just that life minute at the ocean and then on to regular life minutes out in the thickets of the white picket fences. She never said it then in so many words but that seemed to be the aim. And to be truthful, although I was only just barely thinking about it at the time, as the social turmoil of the times got weird, diffuse, and began to evaporate things started to lose steam. As we were, seemingly, endlessly taking our one-sided beatings as those in charge started a counter-offensive ( a counter-offensive still going on) people, good people, but people made of human clay nevertheless got tired of the this and that existence, even Joyel. Joyel of Harvard Square folksy, intellectual, abstract idealist, let’s-look-at-everything-from-twenty-two different angles, what is the meaning of relationships 24/7 was also weary and wary of what was next and where she fit into “square” society. Christ, enough of that, we know, or knew, that song too well.

A couple of days before Angelica was to leave, and on a day when the sun seemed especially bright, especially bright for then smog-filled Los Angeles January, and warm, not resident warm but Boston and Muncie warm, sat like two seals sunning ourselves in the glow of mother ocean she nudged me and asked me if I had a joint. Now Angelica liked a little vino now and then but I can’t recall her ever doing a joint (grass, marijuana, herb, ganja, whatever you call it in your neck of the woods). So this is new. The problem, although not a big one in ocean-side state park 1970 Southern California, was that I was not “holding.” No problem though, a few spots down the beach was an old well-traveled, kind of beat-up Volkswagen van that I knew, knew just as sure as I was standing on that white sand beach, was “holding.” I went over, asked around, and “bingo” two nice big joints came traveling with me back to our campsite. Oh, daddy, daddy out in the be-bop blue-pink night thank you brother van man. For just a minute, just that 1970 California minute, the righteous did inherit the earth.

Back at our camp site Angelica awaited the outcome of my quest, although she also wanted to wait until later, until the day’s sun started going down a bit more to go into that smoked-filled good night. When that later came Angelica was scared/ thrilled, as she tried to smoke the one I lit up for her and started coughing like crazy, but that was nothing then. Everybody, at least everybody I knew, went through that same baptism. But Jesus, did we get mellow, that stuff, as was most stuff then, was primo, not your ragweed bull stuff that ran the rounds later. And why should it have not been so as we were so close to the then sane Mexican border of those days to get the good stuff.

But all of this build-up over this dope scene is so much filler, filler in those days when if you didn’t at least take a pipe full (inhale or not, like it or not) you were a square “squared.” What the stuff did for Angelica, and through Angelica to me, got her to open up a little. No, not about family, or old boyfriends, or her this and that problems. No, but kind of deep, kind of deep somewhere that she maybe didn’t know existed. Deep as I had ever heard her before. She talked about her fate, the fate of the fates, about what was going on in the world, no, not politics; she was organically incapable of that. Mystics stuff, getting in touch with the sea homeland stuff, earth mother stuff too in a way. Dope-edged stuff sure but when she compared the splashing foam-flecked waves to some cosmic force that I forget how she put it (remember I was dope-addled as well) then for just that moment, just that moment when the old red-balled sun started to dip to the horizon on one of those fairly rare days when it met the ocean I swear that Angelica knew, knew in her heart, knew in her soul even, what the blue-pink American West dream stuff I had bombarded her with was all about. That was our moment, and we both knew it.

So when leaving came a couple of days later and we both knew, I think, as we packed up her things, including that well-used sleeping bag, we had come to a parting of the roads. As I put her stuff in the rental car she sweetly blurted out something I was also thinking, “I’ll always remember that night we made the earth under the cabin in Steubenville shake.” And I thought I bet she will, although she forgot the part about the making the roof of the cabin move too. And so there I was, waving as she drove off to her Angelica dreams. And I never saw her again.
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But enough of ancient thoughts, of ancient sea thoughts, and ancient sea loves because just now I see that previously distant figure is none other than a young boy, a young boy of maybe six or seven, not older I am sure. About fifty yards away he stops, as boys and girls will when confronted with the endless treasures of the sea, and is intently looking at some sea object although I cannot make it out from this distance. What I can make out, make out very plainly, is that he is wearing a mustard yellow rain slicker (French’s mustard color not Guiden’s) complete with a Gloucester fisherman’s floppy rain hat of the same color and knee-deep rubber boots, black, of course. As we approach each other I notice that he has that determined sea walk that I have carried with me since childhood. I look at him intensely, he looks at me intensely, and we nod as we pass each other. No words, no remarks on the nature of the day, the nature of the ocean, and the joys of ocean-ness brought forth by old King Neptune need be spoken between us. The nod, the ocean swell, and the ocean sound as the waves crashed almost to the sand beneath our feet, spoke for us. The torch had been passed.

Taking The World Back From Being Out Of Joint-Out In The 1940s Crime Noir Night- Ernest Hemingway’s The Killers- A Film Adaptation

By Josh Breslin


DVD Review

The Killers, starring Edmond O’Brian, Burt Lancaster, and Ava Gardner, based on a short story by Ernest Hemingway, 1946

[I have noted in a recent bracketed introduction (see, Archives January 11, 2019 Jenny Dolan Speaks Her Mind) that some of the material that former site manager, then called administrator, Allan Jackson had let his old cronies run wild with whatever they wanted to write about centered on the old days their old days. Write about under his direction, some of the younger non-crony writers at the time said under his command, their old Acre neighborhood corner boy days back in their youthful 1960s. And they did, and truth, did a pretty good job. That however at the expense of other materials that this publication has been noted for since its hard copy inception back in the mid-1970s.

My background is from many years at the American Film Gazette in both its hard copy and on-line forms, so I was somewhat appalled when I noted that films, current or classic, were being given short shrift, especially in that last period of Allan’s reign when he had them running through hoops to pay 24/7/365 homage to the Summer of Love, 1967. The writer here, Josh Breslin although not an old time Acre neighborhood corner boy did hitch up with these older writers under the guidance of one Peter Paul Markin after he met this crowd out on Russian Hill in San Francisco in that long, hot summer of 1967. Notwithstanding that long association Josh wrote the following short, short by the Jackson standard then that every film review had to be only a little short of a cinematic studies dissertation without the footnotes, about an adaptation of one of Ernest Hemingway’s short stories and did a good job of it. Thus the encore.

Although I have been in the film review business for many years going back to when Sam Lowell used to be at American Film Gazette as a stringer I have always had something of an ambivalent feeling about film noir, that 1940s mostly genre that turned hardboiled literary productions by guys like Ray Chandler and Dashiell Hammett into hard-boiled films complete with great black and white photography and some femme with a knife, no, better gun in her pocketbook for a little off-hand shooting if the occasion arose, and it did. Maybe I am just that half-generation removed from Sam, and Josh, who lived and died by this Saturday afternoon matinee double feature menu as they came of age but a recent review of this film under review has moved me a little in a positive direction. In any case watch out for that gal with the gun-simple eyes, yes, watch out. Greg Green]
    
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As I have mentioned before at the start of other reviews in this genre, I am an aficionado of film noir, especially those 1940s detective epics like the film adaptations of Dashiell Hammett’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 also have classic femme fatales to add a little off-hand spice to the plot line, and, oh yah, 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, femme fatale interest and sheer duplicity the film under review, The Killers, is under that former category.

Although the screen adaptation owes little, except the opening passages, to Ernest Hemingway’s short story of the same name this is primo 1940s crime noir stuff. Here, although Hemingway left plenty of room for other possibilities in his plot line, the question is why did two professional killers, serious, bad-ass killers want to kill the seemingly harmless “Swede” (played by a young, rough-hewn Burt Lancaster). But come on now, wake up, you know as well as I do that it’s about a dame, a frill, a frail, a woman, and not just any woman, but a high roller femme fatale. In this case that would be Kitty Collins (played by sultry, very sultry, husky-voiced, dark-haired Ava Gardner) as just a poor colleen trying to get up from under and a femme fatale that has the boys, rich or poor, begging for more.

As I have noted recently in a review of the 1945 crime noir, Fallen Angel, femme fatales come in all shapes, sizes and dispositions. But, high or low, all want some dough, and man who has it or knows how to get it. This is no modernist, post-1970s concept but hard 1940s realities. And duplicity, big-time duplicity, is just one of the “feminine wiles” that will help get the dough. Now thoroughly modern Kitty is not all that choosy about the dough's source, any mug will do, but she has some kind of sixth sense that it is not the Swede, at least not in the long haul, and that notion will drive the action for a bit. And if you think about it, of course Kitty is going with the smart guy. And old Swede is nothing but a busted-up old palooka of a prize fighter past his prime and looking, just like every other past his prime guy, for some easy money. No, no way Kitty is going to wind up with him in some shoddy flea-bitten rooming house out in the sticks, just waiting for the other shoe to fall.

Let’s run through the plot a little and it will start to make more sense. You already know that other shoe dropped for Swede. And why he just waited for the fates to rush in on him. What you didn’t know is that to get some easy dough for another run at Ms. Kitty’s affections he, Swede, is involved along with Kitty’s current paramour, “Big Jim”, and a couple of other midnight grifters in a major hold-up of a hat factory (who would have guessed that is where the dough, real dough, was). The heist goes off like clockwork. Where it gets dicey is pay-off time. Kitty and Big Jim are dealing the others out, and dealing them out big time. And they get away with it for a while until an insurance investigator (yah, I know, what would such a guy want to get involved in this thing) trying to figure out why Swede just cast his fate to the wind starts to figure things out. And they lead naturally to the big double-cross. But double-crossing people, even simple midnight grifters, is not good criminal practice and so all hell breaks loose. Watch this film. And stay away from dark-haired Irish beauties with no heart, especially if you are just an average Joe. Okay.

Note: This is not the first Hemingway writing, or an idea for a writing, that has appeared in film totally different from the original idea. More famous, and rightly so, is his sea tale, To Have Or Have Not, that William Faulkner wrote the screenplay and that Humphrey Bogart and Lauren Bacall turned into a steamy (1940s steamy, okay) black and white film classic.