Review: TFF 2013: Thomas Haden Church in Whitewash

This review originally appeared on Capital New York.

WHITEWASH

The opening of Emanuel Hoss-Desmarais’ first feature, Whitewash, starring Thomas Haden Church, launches us directly into the story with no preamble. It is night, there is a blizzard, and a man staggers through dark snowy streets.

Meanwhile, Bruce (Church), behind the wheel of a small bulldozer, barrels along too fast and does not see the man in the street. In a horrifying moment, he accidentally plows the man down. Bruce, panicked, wraps the dead body in a blanket, and buries it in a snow drift, before driving off into the nearby forest. He crashes the bulldozer.

Bruce’s choices in the first five minutes of the film defy logic. Why wouldn’t he contact authorities? Why wouldn’t he take the body to a hospital? Did he know the man?

Whitewash will answer those questions, but on its own terms, and in its own time. Bruce huddles in the crashed bulldozer, as the wind roars and the snow piles up, and he waits. For what, we aren’t sure. And we are never really sure. Whitewash allows for uncertainty and ambivalence.

Elegantly woven-in flashbacks utilizing an entirely different tone, wry and bitterly comical, reveal that Bruce and the man he eventually runs over met a couple days earlier. Paul (Marc Labreche) is a strange character, eerily charming, but obviously unstable. Bruce, the lines in his face speaking a world of private pain, lets Paul stay with him for a couple of days. Bruce’s wife died recently, and he’s lost his bulldozer license for drinking on the job. It takes many flashbacks to discover what it was that happened between the two men that would cause Paul to take off into a blizzard on foot.

But the real thrust of the movie is not the Paul-Bruce story, and this is what is so fascinating about Whitewash (co-written by Hoss-Desmarais and Marc Tulin).

In high school English classes, we learned the three different types of conflict in fiction: Man against Man, Man against Nature, and Man against Self. (Some people object to these classifications, but they are a useful starting-off point.) The opening of Whitewash starts with “Man against Man,” with, perhaps, a bit of “Nature” thrown in, on account of the blizzard. But slowly, the conflict clearly morphs from Man against Nature to Man against Self.

Bruce does not go for help. Bruce does not try to fix his vehicle. He does not go to the police about the man he ran over. He stays with the bulldozer. He tries to keep warm. He makes treks for food (a rigorous journey through the trackless wilderness), and goes back to his “home”, now in the middle of the forest.

Whitewash was shot in northern Quebec, and Church is clearly really out there, in a real wilderness, with real snow drifts swallowing him up. He struggles with branches, he builds fires, he tries to carry bags of groceries and cans of gasoline through the deep drifts. Church often looks legitimately freezing. The setting is one of bleak grandeur and isolation. Far beyond the pull of civilization, Bruce is often filmed in long shots, so we see him starkly against the blinding white and snow-covered trees of the forbidding landscape. Cinematographer André Turpin captures both the beauty and the fear inherent in such a vast landscape.

As time passes, Bruce’s hold on reality comes apart. He talks to himself in a slightly deranged way, obviously grappling with pain and terror. He becomes convinced the bulldozer is a sentient being, watching him at all times. Although he could easily find his way back to a place with running water and electricity, it doesn’t seem to be that simple for Bruce. The longer he stays, the harder it is to go back.

Thomas Haden Church has never been better (and that’s saying a lot: he is always good). He is in every scene, and for the majority of Whitewash he is all by himself. There are a couple of moments where Church huddles inside the bull dozer, talking to himself, lost in a paranoid fantasy world. He is riveting, scary, vulnerable.

Hoss-Desmarais takes big risks with this strange material, holding off on using a score or any musical cues to let us know what we should be thinking or feeling. Bruce is on his own, and so are we. We aren’t sure why he can’t go back, we aren’t sure why he can no longer fit into that small sad house filled with memories of his wife, but we know he has his reasons.

Whitewash is a bold and risky film, dark and relentless in some respects, and almost slapstick in others (a sentient snow plow?). It is a meditative mood piece on loss, isolation, and one man’s battle against the elements, and against (or towards) himself.

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In Honor of the Bard: Walter Huston’s Extraordinary 1937 Essay on Playing Othello


Walter Huston as Othello, 1937

It’s Shakespeare’s birthday today. And so:

Walter Huston played Othello in New York in 1937. It was not, to put it mildly, a success. The following essay, written by Huston, appeared in Stage Magazine in March of that year. It is one of my favorite pieces ever written by an actor about his own process, and about Shakespeare, not to mention failure, something very few people are willing to talk about honestly.

Walter Huston: “In and Out of the Bag: Othello Sits Up in Bed the Morning After and Takes Notice”. New York: Stage Magazine, March, 1937

We were about to open Othello in New York … We knew we were fairly intelligent actors. But just so there would be no doubt about it we sailed in and played Othello with a relish and a zest, played it as we would have on a dare – with all the knowledge we had, with all the verve and understanding we could bring to it. Our performances were made better by the stimulation of a large New York first-night audience, which always brings a great excitement to bestow upon the play if the actors will absorb it.

For my own part, I never felt better on any stage than I did that night. My performance, it seemed to me, had never been so keen. Between acts I spoke of it, “I’m really enjoying this,” I said. “I’ve never known it to go like this.” And everyone else seemed to feel the same. There was no doubt in our minds that the audience felt it too, for we on stage could sense it. We felt we had it in the palms of our hands. That we could move it at will … we were certain we were a success … we earnestly believed, as deep down as a man can, that we had given a hell of a performance, as fine a piece of work as our lives ever fashioned …

Certainly I had never had that warm feeling of successful achievement as I had it that night. It occurred to me during the broil and confusion of the aftermath that I had spent too many years of my life outside the magic circle of Shakespeare …

I awoke at seven o’clock and, having awakened, I could not resist the disturbing desire to see the morning papers. I decided to read the News first, for I knew that Burns Mantle’s star system of rating could be seen at a glance. The two-and-a-half stars I found above Mr. Mantle’s column gave me a shock. That meant he had found little in Othello to praise.

Hastily I picked up the Times. Tabloids might be all right for the movies and the modern drama, but for appreciation of the classics, I assured myself, one had to look at the Times. Imagine the shock to find that Mr. Atkinson’s opinion was no more favorable than Mr. Mantle’s! Quickly I snatched up the other papers, as a stunned prize fighter clutches his opponent, but as I read them one by one it slowly dawned on me that the show was a failure. I could hardly believe it. After all those months of work, after all that fond care, after all that had been said, after hundreds of changes and experiments – after we had patted down every minute detail, could it be that we had produced a poor thing?

The brunt of all the criticism fell on me. No matter how I deluded myself, I could not escape the clear cry against my performance. I tried to tell myself that the trouble with the critics was that they did not want me, whom they considered a homespun fellow, to try to put on airs. I refused to see any truth in the adverse criticism I read, but instead turned it around and used it to criticize the critics. Did they not know that I had studied the role longer, had given it more thought, than any role I had ever played? Couldn’t they accept my conception rather than dictate to me from their own ignorance?

But then I knew this argument would not hold water, either. All they knew about my performance, I was slow to admit, was that it did not move them; that it did not grasp and hold their interest; that it did not entertain them, did not ring their approbative bells. On the contrary, their stomachs ached for me. But then I knew that even if I had encompassed the character of the Einstein Theory so that it made plain and good sense to me, it need not necessarily therefore appeal to the public. That was a hard and large lump to swallow.

What made it so hard, I guess, is the fact that Othello was my first failure in thirteen years – that and the fact that I had bent every effort toward making it as fine a production as the American theatre had ever known.

Here it appears, is my principal fault in playing the Moor: I was not ferocious enough; I did not rave and rant. I have no intention of defending myself here, of justifying my performance, my conception of the character of Othello. Either I was convincing in my performance or I was not; and evidently I was not. But after the abundant criticism, when it was obvious we were going to sink, I decided to play the role as my critics thought I should. I went forth with a mighty breath in my lungs and tore through the performance like a madman. I hammed the part within an inch of burlesque; I ate all the scenery I had time and digestion for; I frightened the other actors, none of whom knew I had changed my characterization. And upon my soul, the audience seemed to enjoy it. But please accept it from me – that performance was no good; on the contrary, it was terrible. Any 20 year old schoolboy could have played it that way. I was ten-twenty-thirty melodrama of the very lowest sort, so far as my actions were concerned, in beautiful costumes and against magnificent settings.

If that is acting then I have spent the last 35 years of my life in vain.

My subdued conception may not be the right one for Othello, I will grant, but it is so far superior to giving the role the works that there is no comparison, honestly. If I had the whole thing to do over again … I think I would arrive at the same characterization I gave opening night.

It is good to have a failure every now and then, especially for someone like myself who has had so much good fortune. It balances the books, you might say: it draws you up sharp and makes you take stock. That is not always pleasant. You know, you forget about failures if you have a series of successes. It seems to you odd that men cannot get along in this world. In all probability you begin thinking you are composed of extraordinary ingredients, that you are not like other men. So you feel sorry for the beggars on the streets and give them dimes. Now I’m not trying to be sentimental, and I hope I’m not being too platitudinous when I say what any fool knows – that is, that success breeds success, just as money breeds money, and rabbits breed rabbits. It is true also that the rich man loses heavily. That is good. He should.

I’m glad I was a failure or I should have forgotten these simple things, things I learned many years ago when, wandering about the streets of New York looking for a job, I was penniless and hungry. It does you good to quit kidding yourself.

I don’t think I’m through playing Shakespeare. There is no desire in me to show anybody, and least of all the dramatic critics of New York newspapers, that I can play it. The hell with such vanity. But the truth is that I have become ensnared by the magic of the guy’s web. It is quite clear to me now why so many of the world’s great actors (practically all of them) have grown up to play Shakespeare. His work is a challenge to any actor. His work holds a fascination for the actor such as nothing else in the literature of our theatre does. Having played Shakespeare, even in a production which flopped, was an experience by which my life is immensely enriched. I’m tickled pink to have done it. And I’m not picking up any crumbs when I say I am not in the least disheartened that it was not a success.

And yet, just the same, it would have been nice if it had been.

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Ebert Fest 2013: Haskell Wexler QA: “Use available light”; the thousand-mile stare of Linda Manz

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Following the Days of Heaven screening on the first night of Ebert Fest, Chaz came back out onstage to introduce the special guest Haskell Wexler (the entire festival was dedicated to him). Haskell Wexler hadn’t been the principal cinematographer for the film, but he had come up to Alberta, at Malick’s request, to film a lot of stuff, and his contribution was so significant that he got his own credit title. By the time he got up there, filming was already well underway, so he just needed to fit into the Malick style already set. Malick, of course, has a style and sensibility so recognizable that you could pick it out of a lineup, but at that point, he had only made one short and one feature (the brilliant Badlands (1973). Days of Heaven came out in 1978. And then, of course, there was a famous twenty-year gap in his career, before The Thin Red Line in 1998. Since then, his pace has just kept accelerating, which is a bit of a miracle for those of us who fell in love with Malick from the get-go, with Badlands, and have had to learn PATIENCE when waiting for his next film.

NY Mag TV critic, Malick expert, and friend Matt Zoller Seitz was then brought out onto the stage by Chaz, to interview Haskell Wexler. I had known Matt would be there, but hadn’t seen him yet. In fact, I hadn’t seen any of the friends I knew would be there – Steven Boone, and others. It was a bit of a madhouse in the VIP section of the house that first night, although we all got into a groove by the end of the festival, and I made good friends with some folks I saw every day. It was great. So Matt came out onto the stage, and I felt very excited for him, and excited about the conversation we were about to listen to.

Haskell Wexler is a long lean glass of water, sharp as a tack, funny and completely present, despite his 91 years of age. He described Malick as a “weird guy”, and said that when he arrived on the set in the middle of the Canadian prairies, the shooting was well underway. So it was a matter of fitting himself into the process already in place. The entire shoot was about using “available light”, which, as is obvious in the final product, gives the film its sweep, scope, and almost unbearable beauty. Most of the film was shot during the “magic hours”, when the sun is on its way down (or up, I suppose, but mostly down), and everything gets that almost unearthly glow to it in the final rays. Magic Hour. There was very little artificial light in the film, even in the interiors. Haskell Wexler said that he likes to film what is actually in front of him. The images before him tell him how to shoot, and the images before him are so perfect that in some cases all he has to do is turn the camera on. Of course there is so much art that goes into a moment like that, you have to be damn good, and ready for the surprise moment. Malick would often tell them to shoot something spontaneously, if a certain image came up that was perfect and fleeting.

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Matt did a wonderful job of crafting the conversation (his questions were excellent).

Roger came up repeatedly (and also deliberately: everyone wanted to talk about him, every guest shared a Roger story – it was really this rather extraordinary collective experience). Ebert was a Malick champion from the start, and, of course, his final review was of Malick’s latest, To the Wonder, which is strangely fitting. As Matt was talking to Wexler, he took out Roger’s review and read the following bit, about the voiceover, which captures perfectly what I was trying to express the other day (and which will be instantly recognizable to anyone who has seen the film, and listened to Linda Manz’s unique voiceover):

Against this backdrop, the story is told in a curious way. We do see key emotional moments between the three adult characters. (Bill advises Abby to take the farmer’s offer. The farmer and Abby share moments together in which she realizes she is beginning to love him, and Bill and the farmer have their elliptical exchanges in which neither quite states the obvious.) But all of their words together, if summed up, do not equal the total of the words in the voiceover spoken so hauntingly by Linda Manz.
She was 16 when the film was made, playing younger, with a face that sometimes looks angular and plain, but at other times (especially in a shot where she is illuminated by firelight and surrounded by darkness) has a startling beauty. Her voice tells us everything we need to know about her character (and is so particular and unusual that we almost think it tells us about the actress, too). It is flat, resigned, emotionless, with some kind of quirky Eastern accent.
The whole story is told by her. But her words are not a narration so much as a parallel commentary, with asides and footnotes. We get the sense that she is speaking some years after the events have happened, trying to reconstruct these events that were seen through naive eyes. She is there in almost the first words of the film (“My brother used to tell everyone they were brother and sister,” a statement that is more complex than it seems). And still there in the last words of the film, as she walks down the tracks with her new “best friend.” She is there after the others are gone. She is the teller of the tale.

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Now. One side note on Linda Manz. I first saw her when I was a kid in a 1979 TV movie called Orphan Train, starring Jill Eikenberry (and Glenn Close has a cameo). This movie, about a do-gooder who takes a bunch of street urchins out west in the late 19th century to find them homes on farms, knocked me OUT. It had everything I loved: orphans (for starters – I loved Everything Orphan), women in high-collared old-fashioned dresses, kids living by their wits on the streets, and, best of all, a little girl who dressed up as a boy. I was in HEA-VEN. DAYS of heaven? How about MONTHS of heaven, just dreaming about that movie, obsessing on it. I was so obsessed that I wrote it up as a novel. Let’s remember that this was really before VCRs were in vogue, at least in my house. So I saw the movie once, and wrote up the novel version from memory. I now own the damn thing on VHS and I have to say: IT HOLDS UP.

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Linda Manz plays a young girl who lives in a brothel (which I didn’t really understand at the time), and she is obviously being groomed to work there. She steals from the men who frequent there. There was something about her face that stuck in my head. She was so interesting-looking, so tough, and yet so open. She has instant authority and authenticity onscreen. She seemed to come from another time. I had no idea that she had got her start the year before in Malick’s Days of Heaven. All I knew was that she was the emotional center, in many ways, of this movie that transported me into a world of fantasy. I will always have a soft spot in my heart for Linda Manz because of that.

What a face. It’s like an old photograph of a miner, or one of those pictures of the people fleeing the Dust Bowl, looking for work, living out of their jalopy. Her face belongs in Shorpy’s Kids gallery, even though she is a child of the 1970s. It has a thousand-mile stare. It has known hardship. But it has no self-pity. Great movie face.

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Someone stood up at the QA and said to Wexler, “Your work in Days of Heaven reminds me so much of the paintings of Andrew Wyeth. I wondered if that was deliberate.”

Wexler said, “Any time anybody compares me to a famous painter …”

He left it unfinished, but it was clear his sentiment. Andrew Wyeth? Sure, I’ll take that compliment, man. Bring it on!

christina

days 3

Heartwarming stimulating night, exciting. Made my way back to the hotel, gearing up for Day 2.

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Review: TFF 2013: Will You Still Love Me Tomorrow? It’s Always the Question

This review originally appeared on Capital New York.

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“I haven’t been gay in a while,” admits shy optician Weichung (Richie Jen), in Arvin Chen’s sophomore feature Will You Still Love Me Tomorrow?, a bittersweet comedy about a closeted gay man in Taiwan.

Weicheng was openly gay as a young man, and then, like most of the men in Taiwan (at least according to Chen’s film) gave all that up to get married and have kids. A serious subject, to be sure, but Chen suffuses the story with melancholy, bittersweet yearning, and humor.

In an early scene, Weicheng’s boss says he is now “done with glasses,” and hands the managing of the shop over to Weicheng. The boss leaves the store, opens a red umbrella, and promptly floats up into the sky. This whimsical scene sets the tone for the film. It’s non-realistic and emotional. The boss sets himself free of his responsibilities by retiring. So up into the air he goes. Most of the lead characters are looking for a way to open their own red umbrella and float up to an atmosphere where life is good and they can be free. With a beautiful original score by Wen Hsu, Will You Still Love Me Tomorrow? is surprising, touching, and funny.

Weicheng and his wife Feng (the wonderful Mavis Fan) have a young son, two busy careers, and a comfortable existence. But doubt and trouble loom. Feng wants another child. She also wants more affection in her marriage, and cannot understand why Weicheng is so distant. Weicheng’s wild sister Mandy (Kimi Hsia) has announced her engagement to the stodgy unimaginative San San (Stone). At the engagement party, Mandy makes an inappropriate speech saying triumphantly, “So this time I’ll make sure it lasts!” Weicheng runs into an old friend in the bathroom. Richie (Lawrence Ko) is a wedding photographer, flamboyantly gay, and married to a lesbian. Richie bows to convention, as it suits him, but still lives his life as a gay man. Weicheng, entirely in the closet, is shocked and yet also awakened by his encounter with Richie.

Mandy’s engagement is the spark that sets the rest of the film in motion. Weicheng’s buried past starts to rise up before him. Feng wants more from her marriage. Mandy, not surprisingly, does not make it to the altar. In fact, she freaks out in a surreal flashback scene at a giant fluorescent-lit grocery store, getting a vision of her future as one of endless, rampant consumption. She abandons poor San San at the store, and holes up in her apartment, eating cold noodles, weeping, and watching soap operas. Occasionally, the male lead in one of the soap operas, baby-faced and gorgeous, appears in her apartment with her, giving her advice and a shoulder to cry on. San San is baffled. What on earth did he do?

Meanwhile, a handsome flight attendant (Wong Ka Lok) comes into Weicheng’s eyeglass shop to get fitted for glasses. There is obvious romantic and sexual tension between the two men.

These are the main story lines of Chen’s beautiful film. It’s a lot of balls to keep in the air, but Chen’s script deftly flows back and forth, spiking the tragic moments with humor, weaving it together. The film is coherent in tone and mood. Will You Still Love Me Tomorrow? is reminiscent of the Golden Age of Hollywood romances, George Cukor films especially, with their easy blend of serious subjects, in-depth characterizations, and hilarity. The colors are all bright, greens and pinks and oranges and blues, and with all of the sadness and loss presented, what Chen leaves us with is a celebration of the pursuit of love.

There are a couple of standout scenes; in one, Weicheng suddenly lets loose on the dance floor at a gay club. He is surrounded by gyrating young men, and he is 20 years older than everyone there, but it doesn’t matter. He is free, he dances with abandon and joy. It’s beautiful. In another, Feng goes out to do karaoke with her colleagues, and gets very drunk. She begins singing the classic Shirelles song, written by Carole King, which gives Chen’s film its title, and suddenly the dark bar disappears, and the scene transforms into a glittering music video, with glamorous backup singers, choreographed gestures, and the camera swooping around Feng, highlighting her own quest for love.

In these moments, the film transcends, showing the fantasies and dreams keeping us going in life, keeping us in touch with who we really are. The acting is wonderful, with Richie Jen as Weicheng turning in a sensitive and humorous portrayal of a repressed man, unused to standing up for himself, and unaccustomed to questioning the traditional traps he submits to. It’s a deeply compassionate performance.

There are no villains here. Even Mandy, whose treatment of San San is brutal, comes off as an adorable wreck, rather than a malevolent narcissist. She, too, cannot turn her back on the dreams she once had for herself, and she has a hard time reconciling those dreams with the reality of the boring San San (who, eventually, finds the gumption to start a campaign to win Mandy back).

The image of gay men getting married because they fear societal repercussions is a depressing one, and the film does not soft-pedal the emotional fallout. Weicheng is not the only victim of these circumstances. Feng is a victim, too. A couple of encounters with her concerned boss (who seems to have a crush on her) ignite in her the realization that she is not getting the attention and love she needs. She aches for connection, for closeness. The film’s tragic underbelly notwithstanding, Chen leads us through the shoals of these troubled relationships with a light grip, an affection for every character, and an acceptance that romantic possibility can make the world magic.

Carole King’s song is one of the most poignant expressions of the sadness that, in matters of love, goes hand in hand with hope. Everything is uncertain. We do not know what the future holds. There is a glorious pain in the pursuit of love. Yes, tonight you’re mine completely, but will you still love me tomorrow? Chen’s beautiful film is a successful and often joyful attempt to not answer that question, but to live it.

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Ebert Fest 2013: The Start

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While I have been consumed all week with the horrible news from Boston and Watertown (so many family and friends there), I am here at Ebert Fest in the beautiful college town of Urbana, and it has been a stimulating and emotional event so far, especially so soon after the passing of Roger Ebert. His presence is palpable at the festival. He is talked about constantly. Every guest, every visiting director, every critic, has some Roger-related story, and it seems very cathartic and important to keep talking about him, especially here. Chaz Ebert has been an incredible Master of Ceremonies, and on the first night of the Festival when she first walked onto the stage at the gorgeous Virginia Theatre, the emotion in the room was visceral. Many of the people in that audience know her, knew Roger, or at least had been coming to the festival since its inception. The community is very proud of the festival, emotionally and financially invested in it, and the entire event has such a warm family-like atmosphere, which was one of Roger’s goals.

Chaz Ebert, wearing one of Roger’s long scarves, said on that first night, in conclusion, “And I want to thank you all …. for giving me someplace to be this week.” It was an extraordinary moment. As bittersweet as it is having him not be here, of course it must go on, and it will go on, and it is the best tribute possible, to have the vibrant and stimulating film festival that he created, in his hometown, at his alma mater, to continue.

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My mother accompanied me on the trip and it has been an adventure and a half. Yesterday was particularly amusing, involving a torrential downpour (that lasted all day), ruined umbrellas, scarfed-down sandwiches in between screenings, and poor Mum, who didn’t have a ticket, having to wait in line under a tent as the rain poured down above her. I kept calling her from inside. “Mum? Where you at now?” “Still in the tent. I’m making friends.” It was hilarious. She also got Haskell Wexler’s autograph, but I’ll get to that. It’s been a lot of fun traveling with Mum, and the accommodations are incredible. All festival VIP guests are being put up at the hotel at the student union, which is fantastic. It’s right on campus, a gorgeous building, with all sorts of lounges, where the panel discussions have been taking place. Our room is cozy and we have settled in as though we are never going to leave. Upon walking into the room, I immediately saw that a gift basket and gift bag had been left for me, welcoming me to the Fest, with all kinds of goodies, a VIP pass, a programs, and one of Roger Ebert’s books, a coffee mug, a T-shirt, and delicious snacks beautifully wrapped. It was so exciting to be a part of this festival at this level. Mum and I oohed and ahhed over the Swag for a bit. I felt very welcomed.

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The first night, I attended the gala reception at the President’s house. It was a beautiful sunset, with lush green athletic fields, and magnolia trees in bloom. There were a ton of people there, many of the sponsors who help make the festival possible, as well as all of us writers and festival guests. The President of the University stood in the foyer to greet us with his wife, and Chaz Ebert stood between them. It was a wonderful sort of receiving-line format, which helped with introductions (and, again, made me feel welcome). The President and his wife were lovely, and Chaz was amazing. I told her I was very sorry for her loss, and she said Thank you but then immediately asked me for my name again. I told her, and then said, “I write for Roger? He just hired me …” And the light dawned on her face and she said, “Oh! So many people have been telling me to look for your writing.” It was one of those moments when I had to seriously let go of my nerves, and my social shyness, and get the hell into the moment, because this was important and I didn’t want to miss it. I said, “Really?” She said, “Yes! Roger told me you were a beautiful writer and to make sure to look for your stuff.” I felt goosebumps explode over me spontaneously and I confided in Chaz, “I have goosebumps right now.” You know, just narrating my life as it happens. It was what you might call a Major Moment. She held onto my hand the entire time, and then turned to introduce me to the President’s wife.

This is not meant to be some sort of official dispatch. If you read me, you know what I’m about. I’m always in my writing, and while I am capable of leaving myself out of it and being more official, that’s not what this particular piece will be about (not entirely, anyway).

As I said in my piece about Roger Ebert, one of the qualities about him that is so unique, and one of the things I will miss the most, is his inability to be “over” anything. He had seen Citizen Kane countless times, Casablanca, others, and was never “over” it. He loved sharing his enthusiasm with others. He could certainly be harsh towards films, and it often brought out his humor, but he did not operate from a place of contempt, which is a trap that far too many critics seem to fall into. They see too much, they write too much, who knows what the problem is. I don’t really care. I don’t read such people. Life is too short.

And so Ebert is an example to me, like so many others. I am not “over” being here at the Festival, I am not “over” the excitement of being welcomed into this family, and I take none of it for granted. Due to social anxieties, I have to force myself to be present emotionally (especially when I am walking into a party where I know no one), and Chaz, in her warm enthusiastic and personalized welcome, helped me really keep my feet on the ground, and really enter the space. I might have floated around unconnected for the entire gala event if she hadn’t pulled me in so specifically.

This year’s Ebert Fest is dedicated to legendary cinematographer Haskell Wexler, who is alive and well at 91 years of age, and is here at the festival. What a treat! I was in the presence of a legend, the man who was responsible for the look and feel of some of my favorite images ever caught on film. What an artist! He was there at the gala, and it was so touching and cool to see him standing out in the garden giving an interview to what looked like a student at the university. All around was the chatter of the party, people eating food, drinking, talking, and over on the little walkway snaking through the green, this quiet conversation was taking place between a man and a young woman, with 70 years age-gap between them. But she was listening intently, nodding at what he said, and he was gesturing and thoughtful. I didn’t hear a word that they said. I just watched the conversation unfold like a beautiful pantomime. Again, I felt so lucky to be there … in that particular moment … the green grass, the respectful soft conversation between a legend and a college student. Here we can connect.

Speaking of Haskell Wexler, the first night saw the screening of Days of Heaven, directed by Terrence Malick. I’ve seen the film a bunch, own it, have written about it, but I always felt that I never saw it the way it was meant to be seen: on a gigantic screen, like the one at the Virginia Theatre. The cinematographer for Days of Heaven was Néstor Almendros, and there’s that odd little credit about “additional photography by Haskell Wexler”. There is, of course, a story behind that credit, and we got to hear a lot about it at the QA with Wexler following the film.

Before Days of Heaven, a short film called “I Remember”, directed by Grace Wang, was screened. Wang is a beautiful writer and one of Roger Ebert’s “Far-Flung Correspondents”. It is her first film, a short, and she made a speech beforehand about her relationship with Roger (probably not a dry eye in the house), and how when she got the first copy of her film in her hands, she took a picture of it and sent it to Roger with the words, “I am having a moment.” This was a couple of days before he passed, and he did not respond as quickly as he normally would have in the past. When he did respond, all he wrote was, “A moment for a lifetime.”

Wang’s film was lyrical and very sad, shot with no budget, but beautifully conceived and realized. A girl folds laundry in her dark apartment. The shirts lie in a crumpled mess on the bed. A clock ticks on the dresser. A glass stands on the windowsill, alongside a couple of shells. As the film progresses, we get overhead shots of the ice slowly melting to nothingness in the cup, a beautiful visual choice to give us the sense of time passing, and of dissolve. When a relationship ends, what are you left with? The memories, sure. But the memories are not a comfort when the heartbreak is new. A romantic moment on a seashore, entwining fingers in the sand around a couple of shells, is poignant, and yet the way Wang keeps cutting to the image of the girls’ fingers in the sand, is jarring. Memories intrude. They wreck your inner peace. You are left bereft. What we remember can comfort us, it can also haunt. Wang’s film is short, but it has all of that meditative space in it. Roger Ebert was a big fan of Wang’s writing, and chose her film to open his festival. I cannot even imagine what a privilege that must have been for her, and it was an emotional and perfect opener.

And I Remember was a perfect opener for Days of Heaven, come to think of it, because the entirety of Days of Heaven could be seen as occurring in the vast plains of the memory. The voiceover (a key element in all Malick’s films) is used in a way that can only be described as unique. If you have seen the movie, you will know what I am talking about. The voiceover sounds as if it is coming from another time, first of all, as though it is an interview taken around a campfire in the middle of the Panhandle. But it also sounds as though it is coming from a deeply subconscious place: the person giving the narration is both aware and un-aware. She is in the moment with her memories, and the script does not worry about being too articulate. She’ll trail off after a sentence with, “… and stuff like that …” It sounds meditative, contemplative, like a person musing over something deep in her past. And yet the voice itself is young. It’s my favorite use of voiceover in all of film. Because voiceover can be deadly. It can be condescending, unnecessary, over-explanatory, or, worse, arch, in some way. The voiceover in Days of Heaven is dreamy. Literally. We are in the present, the future, and the past, all at the same time.

It was something else seeing that spectacular cinematography projected so large. It is breathtaking, unforgettable images. And the acting has a pared-down quality. We are just peeking in on these moments, essentially. Nothing is highlighted or underlined. In the fight that opens the film, between Richard Gere and his boss, we don’t even hear the dialogue, even though we see both men in closeup. We just know a confrontation is taking place. It doesn’t matter what people say. The emotions are clear. So there again, it feels like we are both in the present and in the future, looking back, when we see a scene like that. In memory, we don’t remember things in a linear way. “He said this, then I said this.” In memory, it’s usually captured in the senses. We remember how hot it was that day, or how the guys’ face looked, and the noises around us. Without making a precious point of it, Days of Heaven resides in that otherworldly “we are here and also this was a long time ago” place. I would say that that strange overall effect (very emotional in nature) is even more obvious when seen on a giant screen in a packed movie house, with a silent watching crowd. What we are seeing is not only a personal memory of this young girl, but a collective memory of a part of American history. Here is what we did, here is how we lived, here is what was normal. It’s not a history lesson. History, too, often resides in what one might call the collective unconscious. Days of Heaven is a perfect example of how that can operate.

And boy that locusts scene is gross, and so well done and frightening. In the QA later, someone asked about how they got that effect of the locusts filling the sky. Wexler answered that they dropped coffee beans from a hovering helicopter, and then ran the footage in reverse.

I love artists. I have seen Days of Heaven a dozen times, and I will see it a dozen more, and even though now I know those are coffee beans flying in reverse I will still see a swarm of locusts blacking out the sun.

Superb problem-solving and innovative film-making. The effect, in the end, is entirely real. Like, no-question-about-it real.

There is more to say. We are, after all, four days in. I have seen some phenomenal films and met some great people. Long day today. A panel in the morning on the video essay (which I will be speaking on), and then four films. A marathon of art.

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Rupert Pupkin Haunts Me Still: The Restored The King of Comedy

This review originally appeared on Capital New York.

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It’s been 30 years since Martin Scorsese’s The King of Comedy was released, with its bleak tale of fan obsession, celebrity worship, and rampant self-delusion.

While it does not share the status of Taxi Driver or Raging Bull in the Scorsese/De Niro canon, The King of Comedy has been a cult favorite, gaining in reputation over the years (critics and fans were baffled by it upon its original release). The Tribeca Film Festival, now in its 12th year, has announced that a restored version of King of Comedy will close out the festival. It will screen April 27 at Tribeca BMCC PAC. The restoration, according to festival co-founder Jane Rosenthal, grew out of Scorsese’s idea of featuring restored and rediscovered films at the festival; in this case, it’s one of Scorsese’s own, and was restored by Fox’s Jim Gianopulos and Regency enterprises.

With a brilliant screenplay by Paul D. Zimmerman, King of Comedy stars Robert De Niro as Rupert Pupkin, the aspiring stand-up comic and dangerously obsessed fan; Sandra Bernhard as Masha, Rupert’s partner in crime; and an incredible Jerry Lewis as “Jerry Langford,” the popular television host and comedian. The film is an eerily prescient examination of the culture of celebrity and the obsession with becoming famous, by whatever means possible.

The King of Comedy was a critical hit more than a commercial one upon its original release, though critics were not unanimous. The late Roger Ebert referred to it, quite accurately, as an “emotional desert.” Scorsese made his name with violent street dramas like Mean Streets and Taxi Driver, and The King of Comedy was an obvious departure. It incorporated surrealist elements — fantasy conversations between Rupert Pupkin and Jerry Langford, where they are apparently best friends (Langford calling Rupert “Rupe,” an affectionate nickname), or Rupert Pupkin standing in an empty dark room staring at a giant black and white photo a laughing audience, the laughter echoing in his ears. In that moment, they could be laughing at him, rather than with him. Does Rupert even care?

Scorsese hasn’t talked as much about Comedy as some of his other films, but he did pay a special homage to it when the restored film was announced. “I’ve always been partial to comedians — the irreverence, the absurdity, the hostility, all the feelings under the surface — and to the old world of late-night variety shows hosted by Steve Allen and Jack Paar and, of course, Johnny Carson, to the familiarity and the camaraderie between the guests,” he said. “You had the feeling that they were there with you, in your living room. Robert De Niro and I were both drawn to Paul Zimmerman’s script for The King of Comedy, which really captured the show business atmosphere and the desperate attachments that some of the people on the other side of the screen could form, the ones that in certain cases turned dangerous.”

There are many memorable scenes, the most famous of course being De Niro in the basement at his mother’s home, whooping it up with cardboard cutouts of Liza Minnelli and Jerry Lewis, pretending he is a guest on a late-night talk show. His mother screams down the stairs, “What is going on down there, Rupert?” Exasperated, De Niro screams up the stairs, “Ma, I’m BUSY!” and then, without missing a beat, goes right back into the fantasy.

There’s a great scene where Jerry Lewis walks down the crowded Manhattan sidewalk when an elderly woman calls out to him how much she loves his show, and would he say hello to her son, just now on the phone from Florida. Lewis demurs, he’s on his way somewhere, and she turns on him immediately, screaming, “I hope you get CANCER.” It is a brilliant observation of the relationship we have the famous, the expectations we lay on them.

Rupert Pupkin does not “get his,” in the end. We, the audience, are made complicit in a culture which creates Rupert Pupkins by the dozens. We want to see him punished, shown the door. Instead, he is celebrated, he gets what he wants, fame and fortune (like Travis Bickle,hailed as a hero for his vigilantism in Taxi Driver‘s deeply uneasy finale). Pupkin doesn’t “bomb” in his appearance on the Jerry Langford show, guest hosted by the real-life Tony Randall. He gets laughs. Yes, there’s the little matter that he kidnapped Jerry Langford to get there, and now has to do some prison time. But he gets a book deal out of it. There are no repercussions.

Near the end of the film, there are shots of magazine covers, all featuring the smirking self-satisfied face of Rupert Pupkin, and the cover of Newsweek worriedly asks, “Rupert Pupkin: Who is he? What does he want?”

In our current age, in which Real Housewives tip over tables and destroy their own families to get good ratings, in which doing a humiliating reality show is seen as a valid career move for a washed-up star, it’s still a relevant question.

What is it about fame? What do these people want? Rupert Pupkin (or “Pumpkin,” “Pipkin,” or any of the other incorrect names he is called during the course of the film) is alive and well, even more so than he was in 1983. Rupert pointed the way.

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I Am

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12:08 East of Bucharest; Dir. Corneliu Porumboiu

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Mircea Andreescu, Teodor Corban, Ion Sapdaru, “12:08 East of Bucharest”

Don’t let the unwieldy title put you off. And don’t let the fact that the film is about the revolutionary events of Dec. 22, 1989 in Romania, when Communism finally ended, fool you. This movie is hilarious. There’s a satirical biting edge to it, and a ton of anger, but it’s all filtered through an absurdist lens, and I roared with laughter watching it. It’s a delight, it really is. Complete craziness. Complete slapstick.

On December 21, 1989, after a week of extraordinary events throughout Romania starting in the town of Timișoara, head honcho and all-around Big Fat Authoritarian Bore Nicolae Ceaușescu came out on the balcony overlooking the main square in Bucharest to make a nice-nice speech about the wonders of the glorious socialist society. It was poorly timed. Ceaușescu was so insulated and arrogant that his critical thinking skills, if they ever existed, had deteriorated. He started his speech, and the crowd gathered there began to heckle him. It’s one of the most memorable moments of the entire crumbling of the Communist bloc. He didn’t know how to handle it. He had zero context in which to put the heckling. Then, in an act of desperation, he told the crowd there that every single person in Romania would be given 100 lei for Christmas. I mean, you can’t make this stuff up. The booing got so loud that Ceaușescu retreated from the balcony in confusion. All of this was televised. Terrified, Ceaușescu and his equally monstrous wife fled by helicopter. And of course we all know their end. Most of the other leaders in the Eastern bloc just cowered away in defeat, and the people just let them go. Why bother punishing such inconsequential men? But not in Romania, which speaks to a lot of different things, but really speaks to how much Ceaușescu was hated, and how repressive and horrible and personality-cult-ish his regime really was. He and his wife were forbidden to leave Romania, arrested, and finally … tied up and executed on Christmas Day, 1989. It was the only country where such a violent reprisal occurred against the fleeing former leaders.

So. That happened.

In Porumboiu’s 12:08 East of Bucharest, it is 16 years later, and the anniversary of those momentous events in Romania. It takes place in a small town “east of Bucharest”, and a local TV host (Teodor Corban) has on two guests, an alcoholic teacher (Ion Sapdaru), and a cranky old guy (Mircea Andreescu) to discuss the question: Was there a revolution in our small town? Yes, people flooded into the main square AFTER 12:08 on December 22, 1989, when news came from Bucharest that Ceaușescu had fled and the Communist regime had collapsed. But celebrating after the fact does not a revolution make.

The first half of the film shows the morning leading up to the televised talk show. A Christmas tree stands in the town square, blinking its lights, a whimsical sight especially surrounded by Stalinist space and architecture. The town is sleepy, wintry, and the streetlamps all come on at the same time, lighting up the blue dawn. It’s a beautiful opening, and will be echoed in the final shots. TV host has to rustle up some guests for his afternoon talk show. He also has to manage the affair he is having with his needy mistress as well as his marriage to his wife. He’s a busy guy. He used to be a textile engineer. Now he owns a “TV station” (which is really a room with a camera and some mics. And broken tripods. Times are tough.) He makes some calls. He asks his wife where she keeps the book on Mythology, he needs it. (This will come up later, hilariously, when he awkwardly introduces his guests, throwing in random references to Heraclitus and Plato’s cave, in order to sound smart but obviously showing that he has zero understanding of anything he is saying. The teacher and the old guy share awkward stunned looks of embarrassment behind the TV host’s oblivious head. It’s so funny.)

We see both talk-show guests going about their mornings. The alcoholic teacher wakes up hungover. He got in trouble again the night before. He drank at the local pub, and, like always, insulted “the Chinese guy” again. He bought rounds of drinks for the whole bar. He couldn’t pay the bill. He owes money to everyone in town, it looks like. He goes to collect his pay with a line of his fellow teachers, and after he gets his paycheck, one by one each teacher approaches him and says, “You owe me 60,” “You owe me 40”, “Hey, don’t forget you owe me 20.” Defeated, he passes out his entire paycheck to his colleagues.

Meanwhile, we watch poor Piscoci, the old guy, deal with the stupid kids in his hallway who throw firecrackers and scare him out of his mind. He screams at them, he showers abuse on them. He is perpetually annoyed, puttering around his home. It’s Christmastime. He is going to be Santa Claus again. Every year, he is Santa Claus. It’s a town tradition. A neighbor comes over with a hand-me-down Santa suit for him, and he tries it on, grumbling the whole time about how frayed it is, how it’s stained on the cuffs. “In conclusion,” he declares, “your costume is shit.”

Both talk-show guests pay a call separately to the aforementioned “Chinese guy” (George Guoqingyun), who owns a store (he sells firecrackers, of course, and other things.) The Chinese guy has lived in Romania for 10 years. He speaks the language. Everyone shops at his store. He is a member of the community. But he is still (and probably always will be) “the Chinese guy”.

The alcoholic teacher first of all wants to apologize to the Chinese guy for whatever he said the night before. Chinese guy repeats the insults hurled at him in the bar, one being, “You’re yellow inside.” The teacher says, “I said that?” Chinese guy says, “I don’t even know what that means, but you said it.” The teacher apologizes. He shouldn’t drink, he knows he shouldn’t drink. The Chinese guy agrees with him, no, you shouldn’t drink, and let me guess, you also need some money, right? The Chinese guy gives the teacher some money. Teacher promises to pay him back. It’s a great little scene, one that will pay off later when the Chinese guy calls into the show. (He calls in, introduces himself, and the TV host looks blank for a second, and then says, “Oh. The Chinese guy?” “Yes.”)

Later, Piscoci stands in the Chinese guy’s shop, wearing a billowing Santa suit that makes him look like a Cardinal, and demands of the Chinese guy, “Why do you sell firecrackers?” Chinese guy replies, “Supply and demand.” So fine, Piscoci buys some firecrackers, too. He’ll show those rotten kids what’s what. Then we get to see Piscoci sneaking into his own apartment building, dressed as Santa, and ambushing the hoodlums with firecrackers, before running away, cackling in glee. The man is out of his mind. It’s hysterical.

TV host, harassed and over-it, drives around and picks up his two guests, and they all drive to the studio in a tiny rickety car. They argue about stupid things. They talk about Christmas trees and the like. Once in the studio, a local band from the grade school is playing, all of them crowded into the small space with a pimply kid filming them. They are playing what sounds like salsa music with great gusto, and one of the tiny kids is singing, and the chorus includes the lyric, “LATINO MUSIC IS MY LIFE.” I was dying laughing. What?? The poor TV host interrupts them, exasperated. “Today is the anniversary of our revolution. What is this shit? Latino music is my life? How about some Romanian music, for GOD’S SAKE?” They immediately begin to play a mournful Romanian Christmas carol.

The second half of 12:08 East of Bucharest is the TV show itself, with TV host flanked by his two uncomfortable guests. The camera-work becomes hilarious and amateur, with random inaccurate zooming-in, faces filling the screen but with their eyeballs or chins cut off, and slow awkward panning-outs to show all three guests. (During a commercial break, TV host snaps at the pimply camera”man”, “Where did you learn to film like that??”) Alcoholic teacher sneaks sips from his flask on-air. Old Santa Claus guy makes paper boats, the crumpling of the paper distracting everyone. TV host tries to keep control. He fails. He asks each guest to describe what they were doing on the day of December 22, 1989.

Alcoholic teacher says that he and three of his colleagues gathered in the town square that morning and started a protest, throwing rocks, and getting into an altercation with a member of the Securitate. People start calling in, disputing his story. One lady: “You were drunk in a bar the whole time. I saw you there.” The security guard calls in and says he will sue everyone if they mention his name on the air again. One person calls in, furious, and shouts, “Things were better under Ceaușescu! Shit!” “Please,” TV host says, “watch your language.” TV host does not believe the teacher’s claim that he started a protest BEFORE 12:08, and so the entire show then becomes not a tribute to events in 1989, but an interrogation of the teacher as to the veracity of his story. It goes on forever. It starts to feel like the teacher is about to be arrested for lying. “There is no proof that you were there,” TV host says gently to teacher. “Are you calling me a liar??” drunk teacher cries. It’s a debacle.

It seems that if the teacher can somehow prove that he and his four drunk friends were actually in the town square BEFORE 12:08 p.m., then maybe some dignity can be salvaged for their little town. But everybody says the guy is lying. Everyone knows he’s a drunk. The town square was totally empty until news came from Bucharest that the leaders had fled. Then everyone came out. End of story. The teacher will go to his grave insisting he was there. He threw rocks. He fought with a security guard. Nobody can tell him he wasn’t there.

Piscoci tries to interject (and, of course, the camera is never ready for it – when Piscoci starts to speak, we see the camera hurriedly pan out to capture all three men). Nobody will let Piscoci speak. When he finally does tell the story of what he did on the morning of December 22, 1989, it’s a touching personal tale about his jealousy of his wife and how he was trying to buy her flowers, and what a horrible husband he was. He is interrupted constantly by the TV host with mundane questions, causing Piscoci to say, “Am I boring you?” “No, no, please. Continue.” But Piscoci’s story is really the whole point, as you will see. It’s beautifully written, and beautifully performed. Piscoci describes hearing the speech where 100 lei was promised every Romanian, and he and his wife start planning a vacation and they were very excited about it. The subversive commentary in that one detail is enough to take your breath away if you think about it.

The actors are all amazing. Much of the film takes place with all three of them in the same frame. The reaction shots are priceless. Everyone is so in the moment, so in character. It looks improvised. With the backdrop of a giant photo of the Stalinist-designed town square in question, it looks totally surreal. And it is surreal. Ceaușescu is ancient history now, like Plato’s cave, like Heraclitus. 1989 may as well be in the B.C. era for all that current-day people give a shit or even remember. Did that even happen? Did our country spend 50 years in a nightmare? What the hell happened back then? And why does it matter if one drunk guy said he threw rocks before 12:08 p.m.? What will that prove? What is the point?

Any hope that we might actually learn something about the Romanian revolution is completely lost in the chaos of that TV broadcast (and, apparently, the film was based on an actual local TV program that director Porumboiu saw once). Nobody cares about the Revolution. Revolution? Timișoara was where it was at. THOSE people were part of a Revolution. And Bucharest too. But here? We were getting drunk and trying on Santa Claus outfits. And we’re still doing that now.

A film spiked with hilarity, rudeness, and off-the-cuff mayhem, 12:08 East of Bucharest is strangely and sneakily profound.

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The Books: The Fun of It: Stories from The Talk of the Town, edited by Lillian Ross; ‘On Fire’, by Lillian Ross

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Next up on the essays shelf:

The Fun of It: Stories from The Talk of the Town (Modern Library Paperbacks) is a collection of “The Talk of the Town” pieces in The New Yorker, grouped by decade, which is a lot of fun because you can see how the “voice” of the magazine developed, and how “The Talk of the Town” has grown and changed over the years.

Director Joshua Logan was already successful when Lillian Ross (or, the “we” of the “Talk of the Town” pieces) visited him during previews of South Pacific, the 1949 Rodgers and Hammerstein musical, directed by Logan. Logan had started out as an actor, sort of. He knew he wanted to be in theatre, somehow, at an early age. He grew up in Texarcana (as he says, in this piece, “in Texas, on the paved side of the street”). His father committed suicide when he was a baby (something he doesn’t mention specifically here, he just says his dad “died”). Like most men of that generation, his early career was interrupted by the outbreak of war. He was drafted into the Army, worked as an intelligence officer, but he had a lot of fights with the top brass (he had gone to a military academy as a young man, he did not like those in charge, on principle). He resumed his career. As a young man, he had met Jimmy Stewart and Henry Fonda in summer stock jobs, and he would continue his relationship with them. Joshua Logan was eventually known as one of the most successful Broadway directors of all time. Everything he touched became a gigantic hit. And, of course, he directed some pretty famous films, Bus Stop, Sayonara, Picnic. He had directed the original Broadway production of Picnic as well. The 50s were really Josh Logan’s heyday.

But here, right before South Pacific is about to open … it’s all just starting.

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Joshua Logan and Richard Rodgers, at auditions for ‘South Pacific’

In later years, there would be a lot of controversy about Logan’s actual contribution to South Pacific. He was co-author of the damn thing, and won the Tony for Best Director. The Pulitzer only went to Rodgers and Hammerstein, however. This rankled him for years. South Pacific was a very personal project for Logan. In it, he expressed a lot of his feelings about the military and serving overseas, etc. To have his name shuffled aside, when he had been responsible for shaping it, writing scenes, directing … He felt that it made him invisible. It pissed him off.

Logan was a big macho guy, with a lot of pain and angst underneath, making him a perfect interpreter of William Inge, the king of 1950s sexual repression and restlessness.

I love the picture we get in this 1949 piece about Logan. He sits in the audience at previews, and finds himself unable to breathe. He knows he is calling attention to himself. He has to get up and walk out into the lobby. There are still issues with the show that need to be ironed out and fixed. Everyone comes at him at all sides telling him their problems. The life of a director.

There’s also an interesting section about Logan’s time in Moscow, as a young man, when he hung out listening to Stanislavski and seeing what this mysterious new acting method could provide performers. He describes operas and musicals he saw in Russia that blew his MIND. No more of this standing still and delivering your aria. Now he saw characters, and movement, a guy singing a song as he jumped joyfully on a bed. Logan wanted to bring that kind of energy and freshness to the stale American musical.

It would be difficult to be more successful than South Pacific, but the fun of this piece is that it is right before it opened. Everyone is losing their minds.

Here is an excerpt.

The Fun of It: Stories from The Talk of the Town (Modern Library Paperbacks), edited by Lillian Ross; ‘On Fire’, by Lillian Ross

“I like to think that ‘Mister Roberts’ and ‘South Pacific’ are my way of getting even with the Army,” Logan said. “High Army, I mean. I liked those crazy kids. I kept my ears open all the time and they gave me some wonderful lines.”

Throughout the act, we jumped up when Logan jumped up, and we reminded him to breathe from time to time. “I always try to feel like the audience,” he told us in a loud whisper, “but I’m so conscious of the audience that I distract it. I make everyone within fifteen feet of me conscious only of me.” After the first-act curtain, we followed Logan into the lobby, where he tapped a man on the shoulder. The man leaped straight into the air.

“Leland Hayward,” Logan said. “He’s nervous.”

“I thought you were Jake Shubert,” Hayward said.

We were joined by Richard Rodgers, who was carrying a small notebook. “Josh,” he said, “Jake Shubert says it’s bringing tears to his eyes.”

“Tell Oscar,” said Logan.

“Oscar told me,” Rodgers said. “Listen, Josh, I’m worried about the way our ocean looks.”

“Dick,” Logan said, “have you noticed that the audience is suppressing coughs?”

“They’re hypnotized,” Hayward said, “truly hypnotized.”

“We’ve got to get the wrinkles out of that ocean,” Rodgers said, studying his notebook.

Oscar Hammerstein appeared and said, “Jake Shubert’s laughing.”

“I don’t dare trust my own senses,” Logan said. He took a deep breath and held it, his face darkening.

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On This Day: April 13, 1743

Thomas Jefferson was born in Virginia.

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James Parton:

A gentleman of 32 who could calculate an eclipse, survey an estate, tie an artery, plan an edifice, try a cause, break a horse, dance a minuet, and play the violin.

From David McCullough’s John Adams:

[Thomas] Jefferson was devoted to the ideal of improving mankind but had comparatively little interest in people in particular. [John] Adams was not inclined to believe mankind improvable, but was certain it was important that human nature be understood.

Thomas Jefferson, 1787:

The whole commerce between master and slave is a perpetual exercise of the most boisterous passions, the most unremitting despotism on the one part, and degrading submissions on the other. Our children see this, and learn to imitate it – The parent storms, the child looks on, catches the lineaments of wrath, puts on the same airs in the circle of smaller slaves, gives a loose to his worst passions, and thus nursed, educated, and daily exercised in tyranny, cannot but be stamped by it with odious peculiarities. The man must be a prodigy who can retain his manners and morals undepraved by such circumstances – if a slave can have a country in this world, it must be any other in preference to that in which he is to be born to live and labor for another – or entail his own miserable condition on the endless generations proceeding from him – Indeed, I tremble for my country when I reflect that God is just: that his justice cannot sleep forever.

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The Jefferson Hotel, Richmond, Virginia

Excerpt from Paul Johnson’s magnificent History of the American People:

In terms of all-round learning, gifts, sensibilities, and accomplishments, there has never been an American like him, and generations of educated Americans have rated him higher even than Washington and Lincoln…

We know a great deal about this remarkable man, or think we do. His Writings, on a bewildering variety of subjects, have been published in twenty volumes. In addition, twenty-five volumes of his papers have appeared so far, plus various collections of his correspondence, including three thick volumes of his letters to his follower and successor James Madison alone. In some ways he was a mass of contradictions. He thought slavery an evil institution, which corrupted the master even more than it oppressed the chattel. But he owned, bought, sold, and bred slaves all his adult life. He was a deist, possibly even a skeptic; yet he was also a ‘closet theologian,’ who read daily from a multilingual edition of the New Testament. He was an elitist in education – ‘By this means twenty of the best geniuses will be raked from the rubbish annually’ – but he also complained bitterly of elites, ‘those who, rising above the swinish multitude, always contrive to nestle themselves into places of power and profit’. He was a democrat, who said he would ‘always have a jealous care of the right of election by the people.’ Yet he opposed direct election of the Senate on the ground that ‘a choice by the people themselves is not generally distinguished for its wisdom’. He could be an extremist, glorying in the violence of revolution: ‘What country before ever existed a century and a half without rebellion?…The tree of liberty must be refreshed from time to time with the blood of patriots and tyrants. It is its natural manure.’ Yet he said of Washington: ‘The moderation and virtue of a single character has probably prevented this revolution from being closed, as most others have been, by a subversion of that liberty it was intended to establish.’

No one did more than he did to create the United States of America. Yet he referred to Virginia as ‘my country’ and to the Congress as ‘a foreign legislature’. His favorite books were Don Quixote and Tristam Shandy. Yet he lacked a sense of humor. After the early death of his wife, he kept – it was alleged – a black mistress. Yet he was priggish, censorious of bawdy jokes and bad language, and cultivated a we-are-not-amused expression. He could use the most inflammatory language. Yet he always spoke with a quiet, low voice and despised oratory as such. His lifelong passion was books. He collected them in enormous quantity, beyond his means, and then had to sell them all to the Congress to raise money. He kept as detailed daily accounts as it is possible to conceive but failed to realize that he was running deeply and irreversibly into debt. He was a man of hyperbole. But he loved exactitude – he noted all figures, weights, distances, and quantities in minute detail; his carriage had a device to record the revolutions of its wheels; his house was crowded with barometers, rain-gauges, thermometers and anemometers. The motto of his seal-ring, chosen by himself, was ‘Rebellion to tyrants is obedience to God.’ Yet he shrank from violence and did not believe God existed.

Jefferson inherited 5,000 acres at fourteen from his father. He married a wealthy widow, Martha Wayles Skelton, and when her father died he acquired a further 11,000 acres. It was natural for this young patrician to enter Virginia’s House of Burgesses, which he did in 1769, meeting Washington there. He had an extraordinarily godlike impact on the assembly from the start, by virtue of his presence, not his speeches. Abigail Adams later remarked that his appearance was ‘not unworthy of a God’. A British officer said that ‘if he was put besides any king in Europe, that king would appear to be his laquey.’ His first hero was his fellow-Virginian Patrick Henry (1736-99), who seemed to be everything Jefferson was not: a firebrand, a man of extremes, a rabble-rouser, and an unreflective man of action. He had been a miserable failure as a planter and storekeeper, then found his metier in the law courts and politics. Jefferson was seventeen when he met him and he was presenting 1765 when Henry acquired instant fame for his flamboyant denunciation of the Stamp Act. Jefferson admired him no doubt for possessing the one gift he himself lacked – the power to rouse men’s emotions by the spoken word.

Jefferson had a more important quality, however: the power to analyze a historic situation in depth, to propose a course of conduct, and present it in such a way as to shape the minds of a deliberative assembly. In the decade between the Stamp Act agitation and the Boston Tea Party, many able pens had set out constitutional solutions for America’s dilemma. But it was Jefferson, in 1774, who encapsulated the entire debate in one brilliant treatise – Summary View of the Rights of British America. Like the works of his predecessors in the march to independence – James Otis’ Rights of the British Colonists Asserted (1764), Richard Bland’s An Inquiry into the Rights of the British Colonists (1766), and Samuel Adams’ A statement on the rights of the colonies (1772) – Jefferson relied heavily on Chapter Five of John Locke’s Second Treatise on Government, which set out the virtues of a meritocracy, in which men rise by virtue, talent, and industry. Locke argued that the acquisition of wealth, even on a large scale, was neither unjust nor morally wrong, provided it was fairly acquired. So, he said, society is necessarily stratified, but by merit, not by birth. This doctrine of industry as opposed to idleness as the determining factoring a just society militated strongly against kings, against governments of nobles and their placement, and in favor of representative republicanism.

Jefferson’s achievement, in his tract, as to graft onto Locke’s meritocratic structure two themes which became the dominant leitmotifs of the Revolutionary struggle. The first was the primacy of individual rights: ‘The God who gave us life, gave us liberty at the same time: the hand of force may destroy, but cannot disjoin them.’ Equally important was the placing of these rights within the context of Jefferson’s deep and in a sense more fundamental commitment to popular sovereignty: ‘From the nature of things, every society must at all times possess within itself the sovereign powers of legislation.’ It was Jefferson’s linking of popular sovereignty with liberty, both rooted in a divine plan, and further legitimized by ancient practice and the English tradition, which gave the American colonists such a strong, clear, and plausible conceptual basis for their action. Neither the British government nor the American loyalists produced arguments which had a fraction of this power. They could appeal to the law as it stood, and duty as they saw it, but that was all. Just as the rebels won the media battle (in America) from the start, so they rapidly won the ideological battle too.

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From David McCullough’s John Adams:

[Jefferson] worked rapidly [on writing the Declaration of Independence] and, to judge by surviving drafts, with a sure command of his material. He had none of his books with him, nor needed any, he later claimed. It was not his objective to be original, he would explain, only “to place before mankind the common sense of the subject.”

“Neither aiming at originality of principle or sentiment, nor yet copied from any particular and previous writing, it was intended to be an expression of the American mind, and to give to that expression the proper tone and spirit called for by the occasion.”

He borrowed readily from his own previous writing, particularly from a recent draft for a new Virginia constitution, but also from a declaration of rights for Virginia, which appeared in the Pennsylvania Evening Post on June 12. it had been drawn up by George Mason, who wrote that “all men are born equally free and independent, and have certain inherent natural rights – among which are enjoyment of life and liberty.” And there was a pamphlet written by the Pennsylvania delegate James Wilson, published in Philadelphia in 1774, that declared, “All men are, by nature equal and free: no one has a right to any authority over another without his consent: all lawful government is founded on the consent of those who are subject to it.”
But then Mason, Wilson, and John Adams, no less than Jefferson, were, as they all appreciated, drawing on long familiarity with the seminal works of the English and Scottish writers John Locke, David Hume, Francis Hutcheson, and Henry St. John Bolinbroke, or such English poets as Defoe (“When kings the sword of justice first lay down,/They are no kings, though they possess the crown. / Titles are shadows, crowns are empty things, / The good of subjects is the end of kings”). Or, for that matter, Cicero (“The people’s good is the highest law.”)

Adams, in his earlier notes for an oration at Braintree, had written, “Nature throws us all into the world equal and alike – The only maxim of a free government ought to be to trust no man to endanger public liberty.”

What made Jefferson’s work surpassing was the grace and eloquence of expression. Jefferson had done superbly and in minimum time.

“I was delighted with its high tone and flights of oratory with which it abounded [Adams would recall], especially that concerning Negro slavery, which, though I knew his southern brethren would never suffer to pass in Congress, I certainly would never oppose. There were other expressions which I would not have inserted, if I had drawn it up, particularly that which called the King tyrant – I thought the expression too passionate; and too much like scolding, for so grave and solemn a document; but as Franklin and Sherman were to inspect it afterwards, I thought it would not become me to strike it out. I consented to report it, and do not now remember that I made or suggested a single alteration.”

A number of alterations were made, however, when Jefferson reviewed it with the committee, and several were by Adams. Possibly it was Franklin, or Jefferson himself, who made the small but inspired change in the second paragraph. Where, in the initial draft, certain “truths” were described as “sacred and undeniable”, a simpler stronger “self-evident” was substituted.

We hold these truths to be self-evident, that all men are created equal.

It was to be the eloquent lines of the second paragraph of the Declaration that would stand down the years, affecting the human spirit as neither Jefferson nor anyone could have foreseen. And however much was owed to the writing of others, as Jefferson acknowledged, or to such editorial refinements as those contributed by Franklin or Adams, they were, when all was said and done, his lines. It was Jefferson who had written them for all time:

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable rights, that among these are life, liberty, and the pursuit of happiness. That to secure these rights, governments are instituted among men, deriving their just powers from the consent of the governed.

John Page to Thomas Jefferson, July 20, 1776, on the signing of the Declaration of Independence:

God preserve the United States. We know the Race is not to the Swift nor the Battle to the Strong. Do you not think an Angel rides in the Whirlwind and directs this Storm?

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Abraham Lincoln, on the Declaration of Independence:

All honor to Jefferson, to the man who had the coolness, forecast, and capacity to introduce into a merely revolutionary document an abstract truth, and so to embalm it there, that today, and in all coming days, it shall be a rebuke and a stumbling-block to the very harbingers of reappearing tyranny and oppression.

From Christopher Hitchens’s Thomas Jefferson: Author of America (Eminent Lives):

It was partly as a result of a compromise that Jefferson was appointed to the committee charged with drawing up the Declaration. The author of the resolutions calling upon the thirteen colonies to announce independence, to form “a confederation and perpetual union,” and to seek overseas recognition and military alliances was Richard Henry Lee, himself a Virginian. But he was needed at home, and Congress needed a Virginian just as it needed some New Englanders and some delegates from the middle colonies. John Adams, Benjamin Franklin, Roger Sherman of Connecticut, and Robert Livingston of New York comprised the rest of the drafting group.

There is no other example in history, apart from the composition of the King James version of the Bible, in which great words and concepts have been fused into poetic prose by the banal processes of a committee. And, as with the extraordinary convocation of religious scholars that met at Hampton Court under the direction of Lancelot Andrewes in 1604, and with the later gathering of polymaths and revolutionaries at Philadelphia in 1776, the explanation lies partly in the simultaneous emergence, under the pressure of a commonly understood moment of crisis and transition, of like-minded philosophers and men of action. Modesty deserves its tribute here, too: a determination to do the best that could be commonly wrought was a great corrective to vanity. Thomas Jefferson’s modesty was sometimes of the false kind. We have too many instances of him protesting, throughout his political ascent, that the honor is too great, the burden too heavy, the eminence too high. (Rather as the Speaker of the House of Commons is still ceremonially dragged to his chair on his inauguration, as if being compelled to assume his commanding role.) However, someone had to pull together a first draft, and we have it on the word of his longtime rival John Adams that Jefferson’s reticence in the matter was on this occasion fairly swiftly overcome. He was generally thought to be the better writer and the finer advocate: one might wish to have seen a Franklin version — which might at least have contained one joke — but it was not to be.

Several years were to elapse before Jefferson was acknowledged as the author of the Declaration, or until the words themselves had so to speak “sunk in” and begun to resonate as they still do. So it is further evidence of his amour propre, as well as of his sense of history and rhetoric, that he always resented the changes that the Congress made to his original. These are reproduced, as parallel text, in his own Autobiography, and have been as exhaustively scrutinized as the intellectual sources on which Jefferson called when he repaired to a modest boarding house for seventeen days, with only a slave valet named Jupiter, brought from Monticello, at his disposal.

The most potent works, observes the oppressed and haunted Winston Smith in George Orwell’s Nineteen Eighty-Four, where he’s read the supposedly “secret” book of the forbidden opposition, are the ones that tell you what you already know. (And, in the “Dictionary of Newspeak” that closes that novel, a certain paragraph of prose is given as an example of something that could not be translated into “Newspeak” terms. The paragraph begins, “We hold these truths to be self-evident …”) Jefferson and Paine had this in common in that year of revolution; they had the gift of pithily summarizing what was already understood, and then of moving an already mobilized audience to follow an inexorable logic. But they also had to overcome an insecurity and indecision that is difficult for us, employing retrospect, to comprehend. Let not, in such circumstances, the trumpet give off an uncertain sound. So, after a deceptively modest and courteous paragraph that assumes the duty of making a full explanation and of manifesting “decent respect,” the very first sentence of the actual declaration roundly states that certain truths are — crucial words — self-evident.

This style — terse and pungent, yet fringed with elegance — allied the plain language of Thomas Paine to the loftier expositions of John Locke, from whose 1690 Second Treatise on Civil Government some of the argument derived. (It is of interest that Locke, who wrote of slavery that it was “so vile and miserable an Estate of Man … that ’tis hardly to be conceived that an Englishman, much less a Gentleman, should plead for it,” was also the draftsman for an absolutist slaveholding “Fundamental Constitution” of the Carolinas in 1669.) Jefferson radicalized Locke by grounding human equality on the observable facts of nature and the common human condition. Having originally written that rights are derived ‘from that equal creation,” he amended the thought to say that men were “endowed by their Creator with certain unalienable rights,” thus perhaps attempting to forestall any conflict between Deists and Christians. And, where Locke had spoken of “life, liberty, and property” as being natural rights, Jefferson famously wrote “life, liberty, and the pursuit of happiness.” We differ still on whether this means seeking happiness of rather happiness itself as a pursuit, but given the advantageous social position occupied by most of the delegates at Philadelphia, it is very striking indeed that either notion should have taken precedence over property. The clear need of the hour was for inspiration (and property rights were to be restored to their customary throne when the Constitution came to be written), but “the pursuit of happiness” belongs to that limited group of lapidary phrases that has changed history, and it seems that the delegates realized this as soon as they heard it.

Thomas Jefferson, indeed, is one of the small handful of people to have his very name associated with a form of democracy. The word was not in common use at the time, and was not always employed positively in any case. (John Adams tended to say “democratical” when he meant unsound or subversive.) But the idea that government arose from the people and was not a gift to them or an imposition upon them, was perhaps the most radical element in the Declaration. Jefferson was later to compare government with clothing as “the badge of lost innocence,” drawing from the myth of original nakedness and guilt in the Garden of Eden. Paine in his Common Sense had said, “Society is produced by our wants and government by our wickedness.” As a compromise between government as a necessary evil – or an inevitable one – and in the course of a bill of complaint against a hereditary monarch, the Declaration proposed the idea of “the consent of the governed” and thus launched the experiment we call American, or sometimes Jeffersonian, democracy.

From Joseph Ellis’s American Sphinx: The Character of Thomas Jefferson:

Before editorial changes were made by the Continental Congress, Jefferson’s early draft made it even clearer that his intention was to express a spiritual vision: ‘ We hold these truths to be sacred & undeniable; that all men are created equal & independent, that from that equal creation they derive rights inherent & unalienable, among which are the preservation of life, & liberty, & the pursuit of happiness.” These are the core articles of faith in the American Creed. Jefferson’s authorship of these words is the core of his seductive appeal across the ages, his central claim, on posterity’s affection. What, then, do they mean? How do they make magic?

Merely to ask the question is to risk being accused of some combination of treason and sacrilege, since self-evident truths are not meant to be analyzed; that is what being self-evident is all about. But when these words are stripped of the patriotic haze, read straightaway and literally, two monumental claims are being made here. The explicit claim is that the individual is the sovereign unit in society; his natural state is freedom from and equality with all other individuals; this is the natural order of things. The implicit claim is that all restrictions on this natural order are immoral transgressions, violations of what God intended; individuals liberated from such restrictions will interact with their fellows in a harmonious scheme requiring no external discipline and producing maximum human happiness.

This is a wildly idealistic message, the kind of good news simply too good to be true. It is, truth be told, a recipe for anarchy. Any national government that seriously attempted to operate in accord with these principles would be committing suicide. But, of course, the words were not intended to serve as an operational political blueprint. Jefferson was not a profound political thinker. He was, however, an utterly brilliant political rhetorician and visionary. The genius of his vision is to propose that our deepest yearnings for personal freedom are in fact attainable. The genius of his rhetoric is to articulate irreconcilable human urges at a sufficiently abstract level to mask their mutual exclusiveness. Jefferson guards the American Creed at this inspirational level, which is inherently immune to scholarly skepticism and a place where ordinary Americans can congregate to speak the magic words together. The Jeffersonian magic works because we permit it to function at a rarefied region where real-life choices do not have to be made.

Excerpt from Paul Johnson’s History of the American People:

Jefferson produced a superb draft, for which his 1774 pamphlet was a useful preparation. All kinds of philosophical and political influences went into it. They were all well-read men and Jefferson, despite his comparative youth, was the best read of all, and he made full use of the countless hours he had spent pouring over books of history, political theory, and government.

The Declaration is a powerful and wonderfully concise summary of the best Whig thought over several generations. Most of all, it has an electrifying beginning. It is hard to think of any way in which the first two paragraphs can be improved:

WHEN in the Course of human Events, it becomes necessary for one People to dissolve the Political Bands which have connected them with another, and to assume among the Powers of the Earth, the separate and equal Station to which the Laws of Nature and of Nature’s God entitle them, a decent Respect to the Opinions of Mankind requires that they should declare the causes which impel them to the Separation.

WE hold these Truths to be self-evident, that all Men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the Pursuit of Happiness — That to secure these Rights, Governments are instituted among Men, deriving their just Powers from the Consent of the Governed, that whenever any Form of Government becomes destructive of these Ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its Foundation on such Principles, and organizing its Powers in such Form, as to them shall seem most likely to effect their Safety and Happiness.

The first [paragraph], with its elegiac note of sadness at dissolving the union with Britain and its wish to show “a decent respect to the opinions of mankind” by giving its reasons; the second, with its riveting first sentence, the kernel of the whole: “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain inalienable rights, that among these are life, liberty and the pursuit of happiness.” After that sentence, the reader, any reader – even George III – is compelled to read on.

The Committee found it necessary to make few changes in Jefferson’s draft. Franklin, the practical man, toned down Jefferson’s grandiloquence – thus truths, from being “sacred and undeniable” became “self-evident”, a masterly improvement. But in general the four others were delighted with Jefferson’s work, as well they might be.

Congress was a different matter because at the heart of America’s claim to liberty there was a black hole. What of the slaves? How could Congress say that “all men are created equal” when there were 600,000 blacks scattered through the colonies, and concentrated in some of them in huge numbers, who were by law treated as chattels and enjoyed no rights at all? Jefferson and the other members of the Committee tried to up-end this argument – rather dishonestly, one is bound to say – by blaming American slavery on the British and King George.

The original draft charged that the King had “waged a cruel war against human nature” by attacking a “distant people” and “captivating and carrying them into slavery in another hemisphere”. But when the draft went before the full Congress, on June 28, the Southern delegates were not having this. Those from South Carolina, in particular, were not prepared to accept any admission that slavery was wrong and especially the acknowledgment that it violated the “most sacred rights of life and liberty”. If the Declaration said that, then the logical consequence was to free all the slaves forthwith. So the slavery passage was removed, the first of many compromises over the issue during the next eighty years, until it was finally resolved inn an ocean of tears and blood. However, the word “equality” remained in the text, and the fact that it did so was, as it were, a constitutional guarantee that, eventually, the glaring anomaly behind the Declaration would be rectified.

The Congress debated the draft for three days. Paradoxically, delegates spent little time going over the fundamental principles it enshrined, because the bulk of the Declaration presented the specific and detailed case against Britain, and more particularly against the King. The Revolutionaries were determined to scrap the pretense that they distinguished between evil ministers and a king who “could do no wrong”, and renounce their allegiance to the crown once and for all. So they fussed over the indictment of the King, to them the core of the document, and left its constitutional and ideological framework, apart from the slavery point, largely intact.

This was just as well. If Congress had chosen to argue over Jefferson’s sweeping assumptions and propositions, and resolve their differences with verbal compromises, the magic wrought by his pen would surely have been exorcized, and the world would have been poorer in consequence.

As it was the text was approved on July 2, and on July 4 all the colonies formally adopted what was called, to give it its correct title, “The Unanimous Declaration of the Thirteen United States of America”. At the time, and often since, Tom Paine was credited with its authorship, which did not help to endear it to the British, where he was (and still is) regarded with abhorrence. In fact he had nothing to do with it directly, but the term “United States” is certainly his.

On July 8 it was read publicly in the State House Yard and the Liberty Bell rung. The royal coat of arms was torn down and burned. On August 2 it was engrossed on parchment and signed by all the delegates. Whereupon (according to John Hancock) Franklin remarked: “Well, Gentlemen, we must now hang together, or we shall most assuredly hang separately.”

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Thomas Jefferson on George Washington:

The moderation and virtue of a single character probably prevented this Revolution from being closed, as most others have been, by a subversion of that liberty it was intended to establish.

Thomas Jefferson, famous letter to Abigail Adams, 1787:

The spirit of resistance to government is so valuable on certain occasions, that I wish it to be always kept alive. I like a little rebellion now and then. It is like a storm in the atmosphere.

From David McCullough’s John Adams:

On Inauguration Day, Wednesday, March 4, 1801, John Adams made his exit from the President’s House and the capital at four in the morning, traveling by public stage under clear skies lit by a quarter moon. He departed eight hours before Thomas Jefferson took the oath of office at the Capitol, and even more inconspicuously than he had arrived, rolling through empty streets past darkened houses.

To his political rivals and enemies Adams’ predawn departure was another ill-advised act of a petulant old man. But admirers, too, expressed disappointment. A correspondent for the Massachusetts Spy observed in a letter from Washington that numbers of Adams’ friends wished he had not departed so abruptly. “Sensible, moderate men of both parties would have been pleased had he tarried until after the installation of his successor. It certainly would have had good effect.”

By his presence at the ceremony Adams could have set an example of grace in defeat, while at the same time paying homage to a system whereby power, according to a written constitution, is transferred peacefully. After so vicious a contest for the highest office, with party hatreds so near to igniting in violence, a peaceful transfer of power seemed little short of a miracle. If ever a system was proven to work under extremely adverse circumstances, it was at this inauguration of 1801, and it is regrettable that Adams was not present.

“We are all Republicans, we are all Federalists,” Jefferson said famously in his inaugural address before a full Senate Chamber, his voice so soft many had difficulty hearing him. A passing tribute to Washington was made before he finished, but of Adams he said nothing.

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Thomas Jefferson Memorial, Washington DC

Thomas Jefferson to his grandson:

When I hear another express an opinion which is not mine, I say to myself, he has a right to his opinion, as I to mine. Why should I question it. His error does me no injury, and shall I become a Don Quixote, to bring all men by force of argument to one opinion? Be a listener only, keep within yourself, and endeavor to establish with yourself the habit of silence, especially in politics.

Thomas Jefferson to John Adams, July 17, 1791:

That you and I differ in our ideas of the best form of government is well known to us both: but we have differed as friends should do, respecting the purity of each other’s motives, and confining our difference of opinion to private conversation. And I can declare with truth in the presence of the almighty that nothing was further from my intention or expectation than to have had either my own or your name brought before the public on this occasion. The friendship and confidence which has so long existed between us required this explanation from me, and I know you too well to fear any misconstruction of the motives of it. Some people here who would wish me to be, or to be thought, fuilty of impropieties have suggested that I was Agricola, that I was Brutus etc etc. [Anonymous op-ed columns, attacking John Adams, signed under these names] I never did in my life, either by myself or by any other, have a sentence of mine inserted in a newspaper without putting my name to it; and I believe I never shall.

Thomas Jefferson, in a letter to the mayor of Washington, June 24, 1826, declining an invitation to the 4th of July celebration in Washington – (Jefferson died 10 days later):

May it be to the world, what I believe it will be (to some parts sooner, to others later, but finally to all) the signal of arousing men to burst the chains under which monkish ignorance and superstition had persuaded them to bind themselves, and to assume the blessings and security of self-government – All eyes are opened or opening to the rights of man. The general spread of the light of science has already laid open to every view the palpable truth, that the mass of mankind has not been born with saddles on their backs, nor a favored few, booted and spurred, ready to ride them legitimately by the grace of God. These are the grounds of hope for others; for ourselves, let the annual return to this day forever refresh our recollections of these rights, and an undiminished devotion to them.

And, of course, he died on July 4, 1826, the same day as his old colleague, friend, and nemesis John Adams.

Jefferson’s final words: “Is it the fourth?”

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Thomas Jefferson to Robert Skipwith, who had asked for a List of Books that would make up a “gentleman’s library”, Aug. 3, 1771. I am not sure if mere words can express how much I love that list. It also points to Jefferson’s acquisitive personality, which is a polite way of saying, “Boy ran up some major debt!”

I sat down with a design of executing your request to form a catalogue of books to the amount of about 50 lib. sterl. But could by no means satisfy myself with any partial choice I could make. Thinking therefore it might be as agreeable to you I have framed such a general collection as I think you would wish and might in time find convenient to procure. Out of this you will chuse for yourself to the amount you mentioned for the present year and may hereafter as shall be convenient proceed in completing the whole. A view of the second column in this catalogue would I suppose extort a smile from the face of gravity. Peace to its wisdom! Let me not awaken it. A little attention however to the nature of the human mind evinces that the entertainments of fiction are useful as well as pleasant. That they are pleasant when well written every person feels who reads. But wherein is its utility asks the reverend sage, big with the notion that nothing can be useful but the learned lumber of Greek and Roman reading with which his head is stored?

I answer, everything is useful which contributes to fix in the principles and practices of virtue. When any original act of charity or of gratitude, for instance, is presented either to our sight or imagination, we are deeply impressed with its beauty and feel a strong desire in ourselves of doing charitable and grateful acts also. On the contrary when we see or read of any atrocious deed, we are disgusted with it’s deformity, and conceive an abhorence of vice. Now every emotion of this kind is an exercise of our virtuous dispositions, and dispositions of the mind, like limbs of the body acquire strength by exercise. But exercise produces habit, and in the instance of which we speak the exercise being of the moral feelings produces a habit of thinking and acting virtuously. We never reflect whether the story we read be truth or fiction. If the painting be lively, and a tolerable picture of nature, we are thrown into a reverie, from which if we awaken it is the fault of the writer. I appeal to every reader of feeling and sentiment whether the fictitious murther of Duncan by Macbeth in Shakespeare does not excite in him as great a horror of villany, as the real one of Henry IV. by Ravaillac as related by Davila? And whether the fidelity of Nelson and generosity of Blandford in Marmontel do not dilate his breast and elevate his sentiments as much as any similar incident which real history can furnish? Does he not in fact feel himself a better man while reading them, and privately covenant to copy the fair example? We neither know nor care whether Lawrence Sterne really went to France, whether he was there accosted by the Franciscan, at first rebuked him unkindly, and then gave him a peace offering: or whether the whole be not fiction. In either case we equally are sorrowful at the rebuke, and secretly resolve we will never do so: we are pleased with the subsequent atonement, and view with emulation a soul candidly acknowleging it’s fault and making a just reparation. Considering history as a moral exercise, her lessons would be too infrequent if confined to real life. Of those recorded by historians few incidents have been attended with such circumstances as to excite in any high degree this sympathetic emotion of virtue. We are therefore wisely framed to be as warmly interested for a fictitious as for a real personage. The field of imagination is thus laid open to our use and lessons may be formed to illustrate and carry home to the heart every moral rule of life. Thus a lively and lasting sense of filial duty is more effectually impressed on the mind of a son or daughter by reading King Lear, than by all the dry volumes of ethics, and divinity that ever were written. This is my idea of well written Romance, of Tragedy, Comedy and Epic poetry. — If you are fond of speculation the books under the head of Criticism will afford you much pleasure. Of Politics and Trade I have given you a few only of the best books, as you would probably chuse to be not unacquainted with those commercial principles which bring wealth into our country, and the constitutional security we have for the enjoiment ofthat wealth. In Law I mention a few systematical books, as a knowledge of the minutiae of that science is not neces-sary for a private gentleman. In Religion, History, Natural philosophy, I have followed the same plan in general, — But whence the necessity of this collection? Come to the new Rowanty, from which you may reach your hand to a library formed on a more extensive plan. Separated from each other but a few paces the possessions of each would be open to the other. A spring centrically situated might be the scene of every evening’s joy. There we should talk over the lessons of the day, or lose them in music, chess or the merriments of our family companions. The heart thus lightened our pillows would be soft, and health and long life would attend the happy scene. Come then and bring our dear Tibby with you, the first in your affections, and second in mine. Offer prayers for me too at that shrine to which tho’ absent I pray continual devotions. In every scheme of happiness she is placed in the foreground of the picture, as the princi-pal figure. Take that away, and it is no picture for me. Bear my affections to Wintipock clothed in the warmest expressions of sincerity; and to yourself be every human felicity.

Adieu.

FINE ARTS.

Observations on gardening. Payne. 5/
Webb’s essay on painting. 12mo 3/
Pope’s Iliad. 18/
——- Odyssey. 15/
Dryden’s Virgil. 12mo. 12/
Milton’s works. 2 v. 8vo. Donaldson. Edinburgh 1762. 10/
Hoole’s Tasso. 12mo. 5/
Ossian with Blair’s criticisms. 2 v. 8vo. 10/
Telemachus by Dodsley. 6/
Capell’s Shakespear. 12mo. 30/
Dryden’s plays. 6v. 12mo. 18/
Addison’s plays. 12mo. 3/
Otway’s plays. 3 v. 12mo. 9/
Rowe’s works. 2 v. 12mo. 6/
Thompson’s works. 4 v. 12mo. 12/
Young’s works. 4 v. 12mo. 12/
Home’s plays. 12mo. 3/
Mallet’s works. 3 v. 12mo. 9/
Mason’s poetical works. 5/
Terence. Eng. 3/
Moliere. Eng. 15/
Farquhar’s plays. 2 v. 12mo. 6/
Vanbrugh’s plays. 2 v. 12mo. 6/
Steele’s plays. 3/
Congreve’s works. 3 v. 12mo. 9/
Garric’s dramatic works. 2 v. 8vo. 10/
Foote’s dramatic works. 2 v. 8vo. 10/
Rousseau’s Eloisa. Eng. 4 v. 12mo. 12/
—– Emilius and Sophia. Eng. 4 v. 12mo. 12/
Marmontel’s moral tales. Eng. 2 v. 12mo. 12/
Gil Blas. by Smollett. 6/
Don Quixot. by Smollett 4 v. 12mo. 12/
David Simple. 2 v. 12mo. 6/
Roderic Random. 2 v. 12mo. 6/ these are written by Smollett
Peregrine Pickle. 4 v. 12mo. 12/
Launcelot Graves. 6/
Adventures of a guinea. 2 v. 12mo. 6/
Pamela. 4 v. 12mo. 12/ these are by Richardson.
Clarissa. 8 v. 12mo. 24/
Grandison. 7 v. 12mo. 9/
Fool of quality. 3 v. 12mo. 9/
Feilding’s works. 12 v. 12mo. pound 1.16
Constantia. 2 v. 12mo. 6/ by Langhorne.
Solyman and Almena. 12mo. 3/
Belle assemblee. 4 v. 12mo. 12/
Vicar of Wakefeild. 2 v. 12mo. 6/. by Dr. Goldsmith
Sidney Bidulph. 5 v. 12mo. 15/
Lady Julia Mandeville. 2 v. 12mo. 6/
Almoran and Hamet. 2 v. 12mo. 6/
Tristam Shandy. 9 v. 12mo. pound 1.7
Sentimental journey. 2 v. 12mo. 6/
Fragments of antient poetry. Edinburgh. 2/
Percy’s Runic poems. 3/
Percy’s reliques of antient English poetry. 3 v. 12mo. 9/
Percy’s Han Kiou Chouan. 4 v. 12mo. 12/
Percy’s Miscellaneous Chinese peices. 2 v. 12mo. 6/
Chaucer. 10/
Spencer. 6 v. 12mo. 15/
Waller’s poems. 12mo. 3/
Dodsley’s collection of poems. 6 v. 12mo. 18/
Pearch’s collection of poems. 4 v. 12mo. 12/
Gray’s works. 5/
Ogilvie’s poems. 5/
Prior’s poems. 2 v. 12mo. Foulis. 6/
Gay’s works. 12mo. Foulis. 3/
Shenstone’s works. 2 v. 12mo. 6/
Dryden’s works. 4 v. 12mo. Foulis. 12/
Pope’s works. by Warburton. 12mo. pound 1.4
Churchill’s poems. 4 v. 12mo. 12/
Hudibrass. 3/
Swift’s works. 21 v. small 8vo. pound 3.3
Swift’s literary correspondence. 3 v. 9/
Spectator. 9 v. 12mo. pound 1.7
Tatler. 5 v. 12mo. 15/
Guardian. 2 v. 12mo. 6/
Freeholder. 12mo. 3/
Ld. Lyttleton’s Persian letters. 12mo. 3/

CRITICISM ON THE FINE ARTS.

Ld. Kaim’s elements of criticism. 2 v. 8vo. 10/
Burke on the sublime and beautiful. 8vo. 5/
Hogarth’s analysis of beauty. 4to. pound 1.1
Reid on the human mind. 8vo. 5/
Smith’s theory of moral sentiments. 8vo. 5/
Johnson’s dictionary. 2 v. fol. pound 3
Capell’s prolusions. 12mo. 3/

POLITICKS, TRADE.

Montesquieu’s spirit of the laws. 2 v. 12mo. 6/
Locke on government. 8vo. 5/
Sidney on government. 4to. 15/
Marmontel’s Belisarius. 12mo. Eng. 3/
Ld. Bolingbroke’s political works. 5 v. 8vo. pound 1.5
Montesquieu’s rise & fall of the Roman governmt. 12mo. 3/
Steuart’s Political oeconomy. 2 v. 4to. pound 1.10
Petty’s Political arithmetic. 8vo. 5/

RELIGION.

Locke’s conduct of the mind in search of truth. 12mo. 3/
Xenophon’s memoirs of Socrates. by Feilding. 8vo. 5/
Epictetus. by Mrs. Carter. 2 v. 12mo. 6/
Antoninus by Collins. 3/
Seneca. by L’Estrange. 8vo. 5/
Cicero’s Offices. by Guthrie. 8vo. 5/
Cicero’s Tusculan questions. Eng. 3/
Ld. Bolingbroke’s Philosophical works. 5 v. 8vo. pound 1.5
Hume’s essays. 4 v. 12mo. 12/
Ld. Kaim’s Natural religion. 8vo. 6/
Philosophical survey of Nature. 3/
Oeconomy of human life. 2/
Sterne’s sermons. 7 v. 12mo. pound 1.1
Sherlock on death. 8vo. 5/
Sherlock on a future state. 5/

LAW.

Ld. Kaim’s Principles of equity. fol. pound 1.1
Blackstone’s Commentaries. 4 v. 4to. pound 4.4
Cuningham’s Law dictionary. 2 v. fol. pound 3

HISTORY. ANTIENT.

Bible. 6/
Rollin’s Antient history. Eng. 13 v. 12mo. pound 1.19
Stanyan’s Graecian history. 2 v. 8vo. 10/
Livy. (the late translation). 12/
Sallust by Gordon. 12mo. 12/
Tacitus by Gordon. 12mo. 15/
Caesar by Bladen. 8vo. 5/
Josephus. Eng. 1.0
Vertot’s Revolutions of Rome. Eng. 9/
Plutarch’s lives. by Langhorne. 6 v. 8vo. pound 1.10
Bayle’s Dictionary. 5 v. fol. pound 7.10.
Jeffery’s Historical & Chronological chart. 15/

HISTORY. MODERN.

Robertson’s History of Charles the Vth. 3 v. 4to. pound 3.3
Bossuet’s history of France. 4 v. 12mo. 12/
Davila. by Farneworth. 2 v. 4to. pound 1.10.
Hume’s history of England. 8 v. 8vo. pound 2.8.
Clarendon’s history of the rebellion. 6 v. 8vo. pound 1.10.
Robertson’s history of Scotland. 2 v. 8vo. 12/
Keith’s history of Virginia. 4to. 12/
Stith’s history of Virginia. 6/

NATURAL PHILOSOPHY. NATURAL HISTORY &c.

Nature displayed. Eng. 7 v. 12mo.
Franklin on Electricity. 4to. 10/
Macqueer’s elements of Chemistry. 2 v. 8vo. 10/
Home’s principles of agriculture. 8vo. 5/
Tull’s horse-hoeing husbandry. 8vo. 5/
Duhamel’s husbandry. 4to. 15/
Millar’s Gardener’s diet. fol. pound 2.10.
Buffon’s natural history. Eng. pound 2.10.
A compendium of Physic & Surgery. Nourse. 12mo. 1765. 3/
Addison’s travels. 12mo. 3/
Anson’s voiage. 8vo. 6/
Thompson’s travels. 2 v. 12mo. 6/
Lady M. W. Montague’s letters. 3 v. 12mo. 9/

MISCELLANEOUS.

Ld. Lyttleton’s dialogues of the dead. 8vo. 5/
Fenelon’s dialogues of the dead. Eng. 12mo. 3/
Voltaire’s works. Eng. pound 4.
Locke on Education. 12mo. 3/
Owen’s Dict. of arts & sciences 4 v. 8vo. pound 2.

TJ%202%20436X500.jpg

Thomas Jefferson to John Adams:

“I have given up newspapers in exchange for Tacitus and Thucydides, for Newton and Euclid; and I find myself much the happier.”

WestLawnwithPond2008MP

Thomas Jefferson
by Lorine Niedecker

I
My wife is ill!
And I sit
waiting
for a quorum

II
Fast ride
his horse collapsed
Now he saddled walked

Borrowed a farmer’s
unbroken colt
To Richmond

Richmond How stop—
Arnold’s redcoats
there

III
Elk Hill destroyed—
Cornwallis
carried off 30 slaves

Jefferson:
Were it to give them freedom
he’d have done right

IV
Latin and Greek
my tools
to understand
humanity

I rode horse
away from a monarch
to an enchanting
philosophy

V
The South of France

Roman temple
“simple and sublime”

Maria Cosway
harpist
on his mind

white column
and arch

VI
To daughter Patsy: Read—
read Livy

No person full of work
was ever hysterical

Know music, history
dancing

(I calculate 14 to 1
in marriage
she will draw
a blockhead)

Science also
Patsy

VII
Agreed with Adams:
send spermaceti oil to Portugal
for their church candles

(light enough to banish mysteries?:
three are one and one is three
and yet the one not three
and the three not one)

and send salt fish
U.S. salt fish preferred
above all other

VIII
Jefferson of Patrick Henry
backwoods fiddler statesman:

“He spoke as Homer wrote”
Henry eyed our minister at Paris—

the Bill of Rights hassle—
“he remembers . . .

in splendor and dissipation
he thinks yet of bills of rights”

IX
True, French frills and lace
for Jefferson, sword and belt

but follow the Court to Fontainebleau
he could not—

house rent would have left him
nothing to eat

. . .

He bowed to everyone he met
and talked with arms folded

He could be trimmed
by a two-month migraine

and yet
stand up

X
Dear Polly:
I said No—no frost

in Virginia—the strawberries
were safe

I’d have heard—I’m in that kind
of correspondence

with a young daughter—
if they were not

Now I must retract
I shrink from it

XI
Political honors
“splendid torments”
“If one could establish
an absolute power
of silence over oneself”

When I set out for Monticello
(my grandchildren
will they know me?)

How are my young
chestnut trees—

XII
Hamilton and the bankers
would make my country Carthage

I am abandoning the rich—
their dinner parties—

I shall eat my simlins
with the class of science

or not at all
Next year the last of labors

among conflicting parties
Then my family

we shall sow our cabbages
together

XIII
Delicious flower
of the acacia

or rather

Mimosa Nilotica
from Mr. Lomax

XIV
Polly Jefferson, 8, had crossed
to father and sister in Paris

by way of London—Abigail
embraced her—Adams said

“in all my life I never saw
more charming child”

Death of Polly, 25,
Monticello

XV
My harpsichord
my alabaster vase
and bridle bit
bound for Alexandria
Virginia

The good sea weather
of retirement
The drift and suck
and die-down of life
but there is land

XVI
These were my passions:
Monticello and the villa-temples
I passed on to carpenters
bricklayers what I knew

and to an Italian sculptor
how to turn a volute
on a pillar

You may approach the campus rotunda
from lower to upper terrace
Cicero had levels

XVII
John Adams’ eyes
dimming
Tom Jefferson’s rheumatism
cantering

XVIII
Ah soon must Monticello be lost
to debts
and Jefferson himself
to death

XIX
Mind leaving, let body leave
Let dome live, spherical dome
and colonnade

Martha (Patsy) stay
“The Committee of Safety
must be warned”

Stay youth—Anne and Ellen
all my books, the bantams
and the seeds of the senega root

One of the funniest things about this man, funny meaning fascinating (and everything about Jefferson fascinates), is that his epitaph (written by him) reads:

thomas_jefferson_headstone_monument

Not a word about being President.

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