The Flatiron Building

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Yesterday was such a beautiful spring day. I walked downtown to meet a friend in Union Square. It was sunny and cool, with a nice spring wind. I had gotten a lot done this weekend in my writing projects. I can be a task-master. It’s hard to take time off. On Saturday I went and hung out with my sister Siobhan and my brand new niece Beatrice. It was wonderful! We just sat on the floor in Siobhan’s apartment, with Beatrice lying on her back on her little furry rug that she loves, and just watched her. Reveling in her. So that was beautiful too. And yesterday, I listened to Waylon Jennings on the ol’ iPod as I walked downtown through the crowded city streets, everyone out and about, enjoying the beautiful weather. Live it up. The humidity’s coming. The Flatiron is beautiful and striking from all angles, but I took this one through the trees in the park nearby. The building looks like an ocean liner. I have lived here for 20 years. I have never yet gotten sick of this building.

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A Conversation with Bunny Yeager

My pal Bill Teck shared this 15-minute interview he shot between questioner Youri Mevs and the pioneer pin-up photographer Bunny Yeager at the Miami International Book Fair in 2012. Bunny Yeager just passed away last week.

I loved this exchange:

Youri: “In your book there’s a statement … where you confirm that it would be a very boring place if all women looked alike …”

Bunny: “Our Maker was very clever about this … because sometimes that’s the little tweak we see in another person and fall in love with, perhaps – the thing that’s wrong with them.”

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Wanda Jackson Remembers Elvis

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Wanda Jackson and Elvis Presley, 1955

Rock and Roll Hall of Famer Wanda Jackson (whom I was so lucky to see live a couple years ago – hell, she’s still out there, still touring, still recording) dated Elvis in 1955, in his early days as a regional star, working out of Shreveport, Louisiana on the radio show The Louisiana Hayride. When I saw her at Maxwell’s in Hoboken, during “Elvis Week” (which was such a great coincidence), she talked about Elvis, about how he is the reason for her success, because he pushed her to think outside the strictly country genre she was in at the time, he pushed her to consider going into this new sound, the sound they didn’t really have a name for yet. She resisted at first. But then went for it. And now, well, she’s known as the Queen of Rockabilly. It was an extremely male-dominated field in Elvis’ day, and she pushed herself as a songwriter to write songs from the woman’s side of things, a sorely-needed counterpoint to all the gyrating duck tailed boys. Elvis thought she was fabulous. He was invested in her. They also dated. He was dating about 5 people at the same time, par for the course, but also par for the course, his connections were true. Their relationship was based on a shared devotion to music, their careers, and being the best they could be.

Wanda Jackson stands in her own light, as well, taking up space she demanded for herself. And yet she pays tribute to Elvis in every one of her shows, because he was the one who pushed her to try something a little bit different. After Elvis died, Wanda Jackson came out with an album of Elvis covers called I Remember Elvis. And on the album Jack White produced, she sings “Like a Baby,” a song she had always wanted to do.

Here, she describes her relationship with Elvis.

The first time I met Elvis was at a radio station the afternoon of the first show that I worked with him in Cape Girardou, Missouri, in July of 1955. I was impressed when I first met Elvis. I had never heard his name. I never heard him sing. So I had no idea who I was working with. But when he walked in the station I was impressed. Of course he was a tall dark-haired good-looking guy. But he was dressed kind of different. He had on a yellow sports coat and in 1955 men didn’t wear yellow sports coats. And his hair was longish, with the long sideburns and the ducktail, which was different than my friends in Oklahoma were wearing.

So we did our interview and then when we left the station I saw another surprising thing. Elvis got into a pink Cadillac. Now you have to remember. That was before the days of Mary Kay. I had never seen a pink car.

The night of our first show I had already been onstage and I was in my dressing room. My dad traveled with me in those days. He and I were in my dressing room, and all of a sudden we heard this screaming, and screaming, and it kind of scared me. Daddy said, “Gosh, I wonder if there’s a fire.” So he runs out, he says, “Get your stuff,” so I was gathering up my purse and everything and then he walks back into my room and says, “Wanda, you’re not gonna believe this. You gotta see it for yourself.” So he took me to the wings of the stage and sure enough there was Elvis singing and rocking and rolling and gyrating and all these girls down at the foot of the stage screaming and screaming and screaming. That was quite a sight.

Elvis had been talking to me about trying to sing this new rock and roll or rockabilly – I don’t think we even had a name for it yet – and I didn’t think I could, I told him No, I’m just a country singer. But it seemed like he knew something I didn’t know. He said, “You can do this. I know you can. And you need to.”

So we were working in Memphis and one afternoon he picked me up and took me to their house, the one on Audobon, the small house. And we went there, and we played records all afternoon, we sang, and he was trying to give me the feel for this, the way he sang songs. I was impressed that he just really seemed to care about my career. He just put a lot of time and effort in helping me to see that I could stretch myself and be a little bit more than I thought I could. He even made me promise to try.

But you know what? Now I’m sure glad I did.

There was one very special day in my life at that time. Elvis and I were working in Shreveport, Louisiana. We had a matinee and then an evening show. So after the matinee, we had to kind of hang around there, but he asked me to step outside with him, which I did. We walked over to his car and he asked me if I’d be his girl. And I said Yes, I would be glad to be his girl. He took a ring off of his hand and gave it to me and asked me to wear it around my neck and I did, for over a year.

So needless to say, Elvis’ ring is one of my prize possessions.

In 1964, my husband Wendell and I were in Las Vegas for just a weekend of fun. We checked into our hotel, we were staying at The Sahara, and we went out the first evening and we came back in a little bit early, I think. When we got off the elevator, there stood a security guard, and he wanted to see the key to our room. We showed it to him and we said, “What’s the big deal?” He said, “Elvis and his entourage is on this whole floor, with the exception of the suite that you and your husband have.” And I said, “Oh, gee, I would love to just be able to say hi to him. If he comes in while you’re on duty, tell him that Wanda Jackson is here and we’d just love to say hi.” So we went on to our room and it wasn’t 20 minutes til the phone rang and someone was asking would it be all right if Elvis came down to our room, that he would also like to say Hi to me. So in a few minutes, there Elvis stood, and I hadn’t seen him in a long time, and I was very glad to see him and he was glad to see me.

And I’m so glad that my husband got to meet him. He was impressed with our friendship and the fact that we just really liked each other, and that was important that he know that – because for the rest of my life, probably, I’ll be talking about Elvis on every interview, and fans ask me these questions, but now he understands the importance that Elvis Presley had in my career, and in my life.

That was the last time that I got to see Elvis.

We still miss you, Elvis, and always will.

Two songs to close this out.

In 1958, Elvis recorded “Won’t You Wear My Ring.” There was a lot of discussion beforehand about whether or not he should do it. He was 22, 23 years old. He was beyond high school stuff like exchanging class rings and “going steady”. Maybe he should be focusing on more adult material? But Elvis insisted he would record it. And when you hear the song, it is not hard to figure out why.

He gives a great rock and roll performance, one of my favorite tracks of his. Ferocious, raw. Teeny-bop material sung this way? Rowr.

Wanda Jackson wrote a song called “I Wore Elvis’ Ring,” a great and rockin’ example of how “kissing and telling” isn’t always a bad thing. Sometimes it’s sweet, sometimes it’s a tribute.

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Congrats to Alexandra Billings: Transparent

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My great friend Alexandra Billings (notably, the first transgendered person to actually play a transgendered person on network television) has been cast in a recurring role in a new series called Transparent – an Amazon original series, with a helluva cast: Jeffrey Tambor, Judith Light, Gaby Hoffman, and others. Alex has been busy getting her Master’s and becoming a tenure-track professor, which basically means I have not spoken to her in months, beyond our agonized “I miss you” texts. Super proud of her. She hasn’t updated her blog in a while, but you can check her stuff out here. She wrote a piece for my site a while back about her idol, Lucille Ball. Anyone who has read me for a while knows of my adventures with Alex. We get into trouble when we are together. We strolled right through the immediate aftermath of a gangwar murder, for example. Totally by an accident of timing. We have tried, on numerous occasions, to get recruited into a certain … sketchy and notorious organization. We can’t seem to stop. We spent an entire day in Los Angeles visiting with … “organization” members and lying our way into private tours.

Best moment of lying:
Gatekeeper: “And what do you do?”
Alex: “I’m an accountant.”
Gatekeeper: (interested) “Oh! Who with??”
Alex: (after a pause) “A corporation.”

Smooth.

Alex’s wife Chrisanne is used to this nonsense, but did say to Alex during our insane “field trip” in Los Angeles, “While Sheila is visiting us … why don’t you take her to the freakin’ Getty Museum, for God’s sake…” Hilarious. Every time she and I see an opportunity, we leap at it. We got pretty far in at one point, in New York, so far in that we both actually almost joined the … organization … in order to get the hell out of there. It was a close call. Our friendship is something I treasure. Her life is exploding with awesome-ness right now. I can’t wait to see Transparent!

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The Books: Arguably, ‘Edmund Burke: Reactionary Prophet’, by Christopher Hitchens

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On the essays shelf:

Arguably: Essays by Christopher Hitchens

Edmund Burke’s Reflections on the Revolution in France is one of the great political tracts in existence. Like Tom Paine (who wrote Rights of Man as a sort of blistering REPLY to Burke’s critique), Burke was engaged in the revolutionary upheaval of that era, and his views are not easily put into a little box. It’s not a mystery why Burke is a conservative hero. (Example from the text.) Reflections is one of the best articulations of classical conservatism that I’ve ever read, and had a huge impact on me when I first read it, back in college. I’ve read it many many times since then. Reflections seems to morph and change, depending on where you, the reader, are at in your own life and intellectual development.

The whole thing started as a “letter” written to a young friend in France who wanted Burke’s opinion on the revolution. What began as a brief reply obviously changed into something much more elaborate. I am always finding new things in it. I have read much more of Burke, and have a collection of his writings that I dip into often, but, of course, Reflections is what he is most known for. One of the things to keep in mind about Burke’s critique of the French Revolution is that he was mainly fearful of that revolutionary fervor spreading to England. He was a champion (sort of) of the American colonies’ bid for independence, and was horrified at what he saw going down in France, a classic and terrible example of how NOT to do a revolution. He thought that the violence he was watching unfold came from the idealogical fervor of the main authors of the revolution, their desire to pull down the pillars of society until all was in flames. The thought of that kind of revolution was terrifying to Burke, and he was correct to be terrified. Many of the leading intellects of the day were swept up in the events in France, Thomas Jefferson being the most obvious example. Jefferson was so pro-French-Revolution that one of his many “breaks” with John Adams came because of it. His famous quote about the “tree of liberty” needing to be watered with the “blood of patriots and tyrants” was a clear statement of his beliefs, their ferocious ideology. Abigail Adams was so horrified by something he wrote in a letter to her in 1787 (“I like a little rebellion now and then. It is like a storm in the atmosphere.”) that she recoiled from him entirely. What was going down in France had NO similarities to what happened in America. But very few people could discern that at the time. One has to remember how news traveled relatively slowly, and getting a full picture of events was often challenging, even with people on the ground in France. Edmund Burke, however, saw which way the wind was blowing, saw that the revolution had turned into something monstrous and self-defeating, saw that it would “eat its own,” and refused to get swept away in the glorious feeling overtaking the globe at that particular time. “Equality” is no great shakes when your entire country is in flames.

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There are a couple of moments of spooky prescience in Reflections. He predicts a Napoleon will rise out of the ashes.

I read Reflections often (I just re-read it early this year). I find it a welcome clear-headed clear-thinking draught.

The following review of Reflections, written by Christopher Hitchens, appeared in the Atlantic in April of 2004. It’s a pretty huge essay, and beautifully examines Burke’s various attitudes, and where he was coming from in Reflections, how he was misinterpreted (or not), and just how good an analysis it really was. Hitchens references Conor Cruise O’Brien’s massive biography of Burke (The Great Melody: A Thematic Biography of Edmund Burke) -which I have not read. I lost a couple of readers when I mentioned I had read Conor Cruise O’Brien’s autobiography, one person leaving in a huff, but not before sending me a blistering email. I guess I hadn’t been condemning enough. I get that O’Brien is a divisive figure. But … what … I shouldn’t read what he had to say for himself? Or I should only talk about it in a condemnatory way? Stop it. The man intersected with every major Irish figure in the 20th century. So, duh, of course I’m gonna read what he wrote. Hitchens makes me curious about O’Brien’s Burke biography.

There are many parts to Hitchens’ essay. I love the section where he goes into how Tom Paine and Edmund Burke basically were speaking to one another, and what that conversation entailed. But here’s an excerpt from an earlier part in the essay, where Hitchens talks about what it is like to read Reflections today.

Arguably: Essays by Christopher Hitchens, ‘Edmund Burke: Reactionary Prophet’, by Christopher Hitchens

Three questions will occur to anybody considering the Reflections today. Was it a grand and prophetic indictment of revolutionary excess? Was it the disdainful shudder of a man who despised or feared what at one stage he described as the “swinish multitude”? And did it contain what we would now term a “hidden agenda”? The answer to all three questions, it seems to me, is a firm yes. Let us take the two most celebrated excerpts of Burke’s extraordinary prose. The first is the prescient one:

It is known; that armies have hitherto yielded a very precarious and uncertain obedience to any senate, or popular authority; and they will least of all yield it to an assembly which is only to have a continuance of two years. The officers must totally lose the characteristic disposition of military men, if they see with perfect submission and due admiration, the dominion of pleaders; especially when they find that they have a new court to pay to an endless succession of those pleaders; whose military policy, and the genius of whose command, (if they should have any), must be as uncertain as their duration is transient. In the weakness of one kind of authority, and in the fluctuation of all, the officers of an army will remain for some time mutinous and full of faction, until some popular general, who understands the art of conciliating the soldiery, and who possesses the true spirit of command, shall draw the eyes of all men upon himself. Armies will obey him on his personal account. There is no other way of securing military obedience in this state of things. But the moment in which that event shall happen, the person who really commands the army is your master, the master (that is little) of your king, the master of your Assembly, the master of your whole republic.

This is almost eerily exact. Even in the solitary detail in which it does not body forth the actual coming of Napoleon Bonaparte (who did not emerge until well after the execution of King Louis), it takes care to state that the subordination of existing monarchy would be the least of it. There is only one comparable Cassandra-like prediction that I can call to mind, and that is Rosa Luxemburg’s warning to Lenin that revolution can move swiftly from the dictatorship of a class to the dictatorship of a party, to be followed by the dictatorship of a committee of that party and eventually by the rule of a single man who will soon enough dispense with that committee.

Contrast this with Burke’s even more famous passage about the fragrance and charisma of Marie Antoinette:

It is now sixteen or seventeen years since I saw the queen of France, then the dauphins, at Versailles; and surely never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she just began to move in, – glittering like the morning-star, full of life, and splendour and joy. Oh! what a revolution! and what a heart must I have to contemplate without emotion that elevation and that fall! Little did I dream when she added titles of veneration to those of enthusiastic, distant, respectful love, that she should ever be obliged to carry the sharp antidote against disgrace concealed in that bosom; little did I dream that I should have lived to see such disasters fallen upon her in a nation of gallant men, in a nation of men of honour, and of cavaliers. I thought ten thousand swords must have leaped from their scabbards to avenge even a look that threatened her with insult. But the age of chivalry is gone. That of sophisters, economists, and calculators, has succeeded; and the glory of Europe is extinguished for ever. Never, never more shall we behold that generous loyalty to rank and sex, that proud submission, that dignified obedience, that subordination of the heart, which kept alive, even in servitude itself, the spirit of an exalted freedom. The unbought grace of life, the cheap defense of nations, the nurse of manly sentiment and heroic enterprise, is gone! It is gone, that sensibility of principle, that chastity of honour, which felt a stain like a wound, which inspired courage whilst it mitigated ferocity, which ennobled whatever it touched, and under which vice itself lost half its evil, by losing all its grossness.

One has read this passage very many times (I shall never forget the first time I heard it read out loud, by a Tory headmaster), and its meaning and majesty appear to alter with one’s mood and evolution. “The unbought grace of life” is a most arresting phrase, however opaque, just as “the cheap defense of nations” remains unintelligible. The gallantry, and the appeal to chivalry, can sometimes seem like “the last enchantments of the Middle Age,” breathing with an incomparable melancholy and resignation. Alternatively, the entire stave can be held to rank with the most preposterous and empurpled sentimentality ever committed to print – not to be rivaled until the moist, vapid effusions that greeted the death of Diana Spencer, also in Paris, in a banal traffic accident.

The latter view, or something very like it, was the one expressed by Burke’s friend and confidant Philip Francis, to whom he had sent the draft and the proofs. The friendship more or less ended when Francis replied,

In my opinion all that you say of the Queen is pure foppery. If she be a perfect female character you ought to take your ground upon her virtues. If she be the reverse it is ridiculous in any but a Lover, to place her personal charms in opposition to her crimes. Either way I know the argument must proceed upon a supposition; for neither have you said anything to establish her moral merits, nor have her accusers formally tried and convicted her of guilt.

The gash that this inflicted on Burke was not a shallow one: He had admired Philip Francis ever since the latter took an active part in the defense of the rights of India and the consequent impeachment of Warren Hastings. Francis, moreover, was one of the most feared and skillful pamphleteers of the day, writing excoriating letters under the pseudonym “Junius” – whose identity Burke was one of the few to guess. (I can’t resist pointing out here that Rosa Luxemburg wrote her most famous pamphlet under the same nom de guerre. I do so not to make a connection that hasn’t been observed before but because “Junius” is taken from Lucius Junius Brtutus, not the Shakespeareean regicide but the hero and founder of the Roman republic.) Not content with taunting Burke about his emotional spasm over Marie Antoinette, Francis urged him in effect to give up the whole project; and when it was finally published in spite of this advice, he wrote Burke a letter in which he coupled “the Church” with “that religion in short, which was practiced or professed, and with great Zeal too, by tyrants and villains of every denomination.” This English Voltaireanism had the effect of spurring Burke to an even more heated defense of the alliance of religion with order and property. To him, the alleged “deism” of the revolutionaries was a shabby mask for iconoclastic atheism. Nor did he care much for the then fashionable chatter about liberty and “rights.” As he stated early in the Reflections,

Am I to congratulate an highwayman and murderer, who has broke prison, upon the recovery of his natural rights? This would be to act over again the scene of the criminals condemned to the galleys, and their heroic deliverer, the metaphysic knight of the sorrowful countenance.

In other words, Burke was quite ready to anticipate, or to meet any charge of quixotism. This did not prevent Thomas Paine from responding that “in the rhapsody of his imagination, he has discovered a world of windmills, and his sorrows are, that there are no Quixotes to attack them.”

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Supernatural: Season 1, Episode 19: “Provenance”

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Directed by Phil Sgriccia
Written by David Ehrman

Supernatural works cumulatively. Yes, each season has its own particular arc, its underlying motor and drive. But it is the accumulation of details, character and otherwise, that make the show work, ultimately. I’m not a big Plot-Girl, really. I’m all about character. I’d rather see something with character and no plot than the other way around. Sometimes Supernatural hits the nail on the head with both, but as long as the characters keep developing, and revealing themselves, and contradicting themselves, I’m in. “Provenance” is a piece of fluff, really, in the major run to the end-zones of Season 1, but it’s extremely important (and subtle) in terms of character. It’s a messy and silly Monster of the Week, and it’s all over the place, with red herrings strewn in our path to up the ante (It’s the father! No, it’s the daughter! “My sister, my daughter!”.) It features the Winchesters stepping, for the first time, into a world of wealth, which provides some of the comedic moments in the episode. Considering the fact that “Provenance” is book-ended by two powerhouse episodes, “Something Wicked,” and “Dead Man’s Blood,” it seems quite slight in many respects, but in others it has a lot of depth. It has “oomph” in the realm of character, and like I said, that’s my main interest.

Continue reading

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R.I.P. Bunny Yeager

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Model and pin-up photographer Bunny Yeager, most famous for her photographs of Bettie Page (she was also instrumental in getting Bettie Page the Playboy cover), has passed away at the age of 85. She tended to photograph her subjects outside, at the beach, in the trees, with animals. She said only last year, “I’m not doing it to titillate anybody’s interests. I want to show off how beautiful my subjects are, whether it’s a cheetah or a live girl or two of them together. That’s more important to me than anything.” Yeager said of Bettie Page, “She was the best model because she not only had perfect facial features, but a great body and wasn’t ashamed to show it. It was impossible to take a bad photo of her. Bettie Page was always ready for the camera’s eye.”

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Yeager’s pin-up photos are eye-catching, and so are her self-portraits. She was able to bring things out in models that other photographers couldn’t. Perhaps it was because she was a woman, so the models could relax in her presence, be themselves, be playful, be funny, be goofy. She was working right up until the end, planning her next shoot. While she will always be known for her collaboration with Bettie Page (my review of the recent documentary Bettie Page Reveals All), her work encompasses much more than that. She worked out of South Florida, and so her photos are often drenched in sun and natural light.

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Her photos still live. You look at them and you can hear the laughter that must have gone on during the shoot, or you can hear the waves crashing in the background. There is life there. Lightning captured in a bottle.

A true pioneer. Rest in peace.

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Bunny Yeager, Bettie Page, cheetahs

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John and Gena

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A Hard Day’s Night (1964): Turning 50 and Coming to Theatres Again This Summer

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A Hard Day’s Night, directed by Richard Lester, is turning 50 this year. To commemorate, the Criterion Collection is releasing the film in a gorgeous digital restoration with new sound mixes overseen by George Martin at Abbey Road Studios. There will be a commentary track and deluxe special features. Also, awesomely, it is going to hit theaters again on July 4, 2014. It will play all over the country, all 50 states. Here’s the new trailer for the re-release.

The film is a goofball classic, featuring the Beatles racing around London being pursued by a screaming mob of girls. They are about to appear on a variety show, and their manager has a hell of a time keeping the boys on track. Answer your fan mail, show up for rehearsal, be good boys. But they just can’t. They keep sneaking out of the hotel room to go out dancing, or, in the case of Ringo, to try to live life as an anonymous citizen. The situation is exacerbated by Paul’s wacko grandfather, who is basically a revolutionary disguised as a harmless dotty old man, and he is devoted to causing mischief and wreaking havoc.

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Richard Lester directed and it’s impossible to overstate the influence Hard Day’s Night has had on our culture. It is still being imitated today. Or, the imitations are imitating the imitations. The film’s impact has been so completely absorbed that you can’t even feel it anymore. But that’s the beauty of going back to the original: you can see it there, in clear crisp black-and-white, the genesis of so much, the genesis of everything. The film has a wacky screwball vibe, with visual jokes and slapstick elements, all of which land perfectly. There’s one scene where the grandfather, futzing around backstage at the theatre, accidentally flips a switch and he is then propelled up through the floor of the stage, smack-dab into the middle of some ridiculous opera act. It’s a gloriously silly and outrageously funny sight gag (and, of course, shows up again in one of the final moments of the film.)

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At this point in their careers, The Beatles had just appeared on the Ed Sullivan Show, and we all know the mayhem that erupted as a result. They filmed Hard Day’s Night in the wake of that, and it’s that rare document that actually captures the moment in time just as something is “hitting”. Elvis Presley’s three appearances on the Ed Sullivan Show have a similar interest: Filmed over a three month period, during which time Elvis was starting to film Love Me Tender, and was causing riots at his shows in Texas and Florida and elsewhere, the Ed Sullivan appearances were mainstream America’s introduction to the greasy-haired “hillbilly cat” from the South. The regional star went international, almost overnight. And you can SEE it happening in that footage. You can FEEL the seismic shift in the culture. Such moments are rare. A Hard Day’s Night is both a visual evocation of what exploding fame feels like as well as a commentary ON the fame the Beatles had achieved. It doesn’t take itself seriously, which is one of the film’s aces in the hole. It is filled with mockery and humor, cheeky behavior, wisecracks. But it is also an act of myth-making. Seen today, the four boys look so young! So fresh-faced. Such bad teeth! And, at times, achingly beautiful, especially John. But the idolatry is undercut by humor every step of the way, which is a great look, a great feel. It’s a slam-dunk, really. Because fame is seen as so important, and it IS so important … but the best stars know they have to manage it with humor and self-deprecation.

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One of my favorite sections of the film is when the lads bust out of the back door of the theatre, trample down the fire escape, and race across a nearby field, all to the accompaniment of “Can’t Buy Me Love”. Some of it is filmed from the vantage point of a helicopter, a great choice, because it makes them seem so small, first of all, which, ironically, makes them seem completely ENORMOUS. As though they are so huge that they can be seen from space. It’s also a great way to show the four guys catapulting about in space together. There’s a manic Benny Hill feeling to the sequence, and the joy of it still sparks off the screen today. It’s infectious.

George Harrison once said that fame at the level they experienced was like an “assault” on the ego. The only reason they were able to survive it at all was because they had each other. They could hole up in a hotel room and goof off and commiserate and take the edge off of what was happening out there with The Beatles (™). To compare, Elvis was out there alone. No wonder he surrounded himself with a Praetorian guard. He understood the “assault on the ego”. He handled it the best way he knew how. He had no one to commiserate with, no one who “got it”. Even other stars couldn’t “get it” because nobody was as big as he was.

There’s a nod to Elvis in the film. The butler at the hotel room, who is locked in the closet by the escaping grandfather, keeps himself occupied by reading a movie magazine with a giant photo of Elvis on the front page. It’s a reminder of that great anecdote from George Harrison. He was asked what his musical roots were. He said he had none. The only “root” he could think of was riding his bicycle down a street in Liverpool when he was a kid and hearing “Heartbreak Hotel” from out of an open window. Holy shit, is basically what I have to say to THAT.

The “Can’t Buy Me Love” section is such a beautiful and hilarious sequence of both together-ness (seen from far above, symbolic of the fame that was isolating them) and individuality. Even from the helicopter, you can tell which one is which. They seem to take great joy in one another, and really just seem to be a bunch of young Liverpool lads having a blast. There’s that great quote from John Lennon, one of the best examples of understatement I can think of: “We were four guys… just a band who made it very, very big. That’s all.”

Oh. Is “that all”?

Director Richard Lester took a goofy screwball approach, packing the film with visual gags and hijinx (I love when the boys carry John by the window of the train compartment), and filling it with inside jokes, like Ringo’s sense of inferiority. The songs are woven through, sometimes we see a straight performance, and other times, like the “Can’t Buy Me Love” section, it’s a music video. The pack of screaming girls pursuing them throughout the film seem like a wild collective beast, and during the final performance, seen on the variety show, there are some great shots from behind the band, looking out at the theatre filled with screaming girls. There’s one girl Lester keeps focusing on, a blonde girl, with tears down her face, her heart literally breaking at the sight of the four guys up onstage.

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It was touching, and a powerful reminder that sniffing dismissively at teenage girls’ mania for the things they love is not only cruel but idiotic. Teenage girls are often RIGHT about things before the culture is ready to accept it. When teenage girls decide to love something, they break down police barriers to get to it. Instead of making fun of teenage girls for losing their ever-loving minds about something, perhaps critics should follow the sound of the screams and try to understand what the fuss is about. Don’t judge them. Listen to them. Because more often than not, they are onto something.

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A Hard Day’s Night still feels fresh, still feels vital and fun and exciting. I’ve seen it before, of course, but never on a big screen. It’s an overwhelming experience. I saw it at the small screening room in the Criterion offices and I brought my aunt Regina as my date. In 1964, when my aunt Regina was 11, she went to go see Hard Day’s Night with her group of friends. My grandmother drove them all to the theatre. Regina remembered the screams, the mania, and how much fun it was to go see the movie, what an event it was. 50 years later, Regina sat next to me, guffawing with laughter at some of the bits, sighing with appreciation at some of the beautiful closeups, and singing along. She was not alone. The whole room felt like that.

It’s an exciting “documentary” of a moment in time, a film that captures the moment just … just … as the gigantic wave was breaking.

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Under the Skin (2014)

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I am thrilled that all I knew, going into Under the Skin, was that Scarlett Johansson plays a creepy woman who drives around Scotland in her van luring men to hitch a ride with her. That’s all I knew. What happened to the men afterwards, I didn’t know. And why she did all this, I had no idea either. I had avoided reviews to such a degree that I knew nothing, and even reviews that weren’t that spoiler-y gave a lot away.

It’s an art film, really. It’s a mood piece. It’s a repetitive and strange and dreamy collage. It doesn’t explain itself until almost the final frame, although there are clues dropped along the way. I imagine that Under the Skin is made for repeat viewings. It would seem a totally different film if I saw it again. I would know more. I would see more. I would understand more.

Jonathan Glazer directed. He is a major talent. Under the Skin had been in the working stage for about 10 years, and Scarlett Johansson had been attached to it for almost that long. Her stardom now is a much different thing than it was when she and Glazer first started talking about the film. Her stardom is now almost to supernova level. Her dedication and devotion to this totally strange project speaks very well of her. A lot of Under the Skin was filmed with hidden cameras, Scarlett Johansson’s character driving around and circulating, all on her own, with the crew hidden off somewhere far away. It was risky film-making, risky for Glazer, and risky for Johansson.

She is the only star in the film. The men she meets, the men she lures into her van, are all unknowns. Some of them don’t appear to be professional actors, although no less engaging and interesting because of that. Many times their Scottish accents are so thick that I could barely understand them, but the film provides no subtitles. It adds to the dreamy foreign feeling of the film.

Who is this woman? We see her driving around the streets, staring out the window at passersby. She asks men for directions. She engages them in conversation. “Do you live alone?” “Do you live near here?” It seems that it’s a disarming tactic. She knows she’s pretty, she knows that the men will want to be with her, and she uses that. At least that’s what it seems like, although by the end of the film that assumption is shattered.

Scarlett Johansson’s character has a partner-in-crime, a guy who zips around on a motorcycle, cleaning up her messes. Who is he? He never speaks. We never see his face. With no language explaining anything, it becomes clear that she is on some kind of mission. And it is clear, too, when she “goes rogue”. But all of this unfolds at a dreamy pace, repetitive, we see the same thing happen again and again and again. We get to know this woman’s serial killer routine. It is routine for her. We don’t know why she does it. We put all kinds of things onto her, we project. Or, I did. Is she sick of being drooled over? Is she sick of being “prey” to men so she turns the tables on them? All of these things are in the film, subtextually, thematically, without being spoken. There are deep fissures at work here, deep gaps in understanding, for us, AND for her. She has no life outside of her routine. Or no life that we see. We don’t see her eating, or sleeping. She always has on the same clothes. There is something … off … about her. She’s frightening. But more than that, she is foreign. “Other.” It’s a marvelous performance. It takes great patience and trust to pull off a performance like this, a performance that doesn’t explain itself.

The sound design of the film is superb. There are what sounds like drum beats going on, slow and insistent, throughout almost the whole entire film. It becomes like a heartbeat, it becomes the ritualistic soundtrack to what is an extremely ritualistic film.

Who is she? What does she want? Who is the guy on the motorcycle? What is that weird black-oily space where she takes her pick-ups? Where do the men go?

You’ll just have to see the film for yourself. It leaves you with more questions than answers, although the most important question is indeed answered at the very end. You’ve sensed it coming, you’ve sensed its presence, and when it is revealed there is a beautiful and calm recognition of how right it is, there is a feeling of, “Of course … of course … THAT’S what’s been going on … Yes, yes, I can see it now.” And you realize, suddenly, what you’ve actually been watching. You realize, suddenly, what story you’ve actually been in all along. And of course the clues have been staring you in the face from the get-go. The clue is in the title.

It’s a hell of a film. I can’t believe it’s playing in huge multiplexes. I saw it at an early-morning show at a giant multiplex in Union Square, and the theatre was packed. The audience was silent and engrossed. You could have heard a pin drop in that theatre. Surrounded by superhero movies and encroaching blockbusters, Under the Skin is a total anomaly, and is a beautiful reminder of the willingness of audiences to engage with challenging material.

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