Films! Films! Films!

For some inexplicable reason, I decided to re-watch both American Graffiti and Dazed and Confused this week. I suppose the first viewing was an attempt to express to my roommates how awesome George Lucas was early on in his career. And since I unconsciously link the two films together now, a screening of D&C was necessary. Fortunately, I still enjoy the two, but the tension I felt early May came flooding back. Eeeesh.

In addition to AG and D&C, I feel like I've watched many a film over the past couple weeks for work. Let's see...there was Woman of the Year with Spencer Tracy and Katherine Hepburn (the couple's first onscreen appearance together) and a film I truly enjoyed. Then Dinner at Eight - a 1933 George Cukor production with some of the biggest stars of the era including the one and only Jean Harlow. And finally, Sweet Smell of Success. Quite dark, a bit melodramatic, but truly great. All are part of the Essentials programming, so do check your local listings or TCM's website to find out when they'll be airing. Wow. I sound like a TCM drone. Wait! I am a TCM drone. Parfait!

I also viewed Frankenstein and Mutiny on the Bounty (the 1935 Clark Gable version, not the Marlon Brando or Mel Gibson ones) - knocking off some of the remaining films on the 1997 AFI list. They were decent, a bit hard to stick with, but I did. I had to. I'm on a mission that's long overdue.

Weekend Round-up

While I didn't watch any movies this weekend, I found myself on many a culinary and an exploratory adventure. Friday night Ash, Glenn, Noah and I started our Solstice festivities at Taqueria del Sol where I enjoyed a fish taco, a carnita taco, some guacamole and refreshing margarita. I'd been craving some Taqueria goodness for a couple weeks, and let me say, the wait was worth it. After dinner we made our way over to Cabbagetown and met Vic at Krog Bar - a place I'd been looking forward to experiencing myself after the rave Amateur Gourmet review. Perhaps if it hadn't been a Friday night or I'd gone before its popularity became too overwhelming, I'm sure Krog Bar and I would have been fast friends. While the wine was delicious and the pours rather generous, the prices are a little out of my everyday range and the space a bit too cramped, but I might give it another try.

Next stop was 97 Estoria where hard drinks were had, but just one each. We were also kept entertained by a couple - acrobatically positioned in the passenger seat of a car - who was not ashamed to display some rather ridiculous PDAs. With that, and since we ladies felt a chocolate craving needing fixing, we decided to pay Vic's sister Erica a visit at Carroll Street. After some delicious chocolate mousse and an entertaining phone call from Orly, we headed a couple blocks over to Milltown Arms Tavern, where Noah and Vic schooled me in darts. Glenn, being the good guy he is, did his best to fudge the score, but I still came out on the losing end. That's okay. I plan on practicing for next time.

Saturday night was a local night. Friday's crew (minus Vic) hit up Atkins Park then Vintage Tavern in Smyrna proper - a new area for me. Ash described Atkins as yuppy central - popped collars et al. - and I was a bit concerned. While an affluence was evident, the place was pretty chill. I had a delicious crab cake paired with a nice glass of Oregon Pinot Gris. In comparison to Atkins, Vintage finds itself dangling between dive bar and chic dive bar. Sitting outside was key to the bar's charm as our distance allowed us to peer through the windows and ridicule many of the bar's patrons. Cruel, you may call us, but all comments were well justified. Trust me.

Sunday Glenn and I brunched at South City Kitchen: very satisfying and a place I'd like to return for dinner. The egg/spinach/cheese tart I recommend. After brunch, and since it was such a lovely day, we explored Smyrna and Austell. Glenn pointed the Silver Comet Trail out to me (which I then added - in my head - to my list of things to do). As we drove along the tree-lined roads, we entered into the Covered Bridge District. Both Glenn and I were beyond excited to explore this land of covered bridges, but as we soon discovered, one covered bridge equates a district. Rather disappointing, but it seems that a few of the bridges had been uncovered and left in their naked forms. I'll give Austell the benefit of the doubt that at some point in time at least two bridges were covered.

Later in the day I watched the Red Sox go 13-innings, and while I'm thrilled they won, I was less so during the insufferably long game. The fact that the boys had the bases loaded on more than one occasion and could not convert a run drove me - and many others I'm sure - crazy! So to feed my depression, I went to Five Guys with the roomies and stuffed my sorrows away with a burger and dog. Hit the spot for sure.

Apparently, I'm an expert.

We'll continue our look at musicals with my personal favorite of the genre as well as one my favorite films - period: Singin' in the Rain. This also seems like an ideal time to write about this one, not only because I forced Ash and Glenn to listen to my personal commentary as they watched it - which I then repeated the next day, unbeknownst to me - but also because one of the stars - the featured dancer to be exact - passed away this week: the supreme Cyd Charisse (who was known as "Legs" among her peers). She dances with Gene Kelly in the breathtaking number, Broadway Melody.

Gene Kelly, Debbie Reynolds (Princess Leia's mother in real-life, though there's no noticeable similarity between them), and Donald O'Connor star in this 1952 masterpiece which highlights the cinematic era when Hollywood transitioned from Silent film into the "Talkies." This was a tough time for many silent screen stars, and a lot of them no longer had careers once sound became commonplace. (Lina Lamont (Jean Hagen) is just one such example.) Singin' does not hesitate to make fun of itself and its industry while at the same time promoting its stronghold over audiences. This duality makes up just part of Singin's genius with the remainder of the brilliance composed of the songs, dances, sets, and acting. I believe that none of the songs were original numbers but rather written by Arthur Freed during his Broadway days decades before. He waited for the right screenwriters to come along before attaching any of them to a film, and when Betty Comden and Adolph Green said they'd do it, the two created the plot around the songs. Next on-board came Gene Kelly and Stanley Donen - co-directors and co-choreographers - and from there, everything else seemed to fall into place.

Two of my favorite scenes in any movie are in this one (at least as far as I told Ash and Glenn): the first is "Make 'Em Laugh" performed by Donald O'Connor which spotlights his physical comedic side as well as singing and dancing talents. The second is "Good Mornin'" with the three stars performing together. This was Debbie's first day of shooting with the two dance masters, and it's impossible to tell, but the few weeks prior to the shoot day were the only days of dance lessons she'd ever had. And she pulled it off - beautifully! The song also reminds me of my friend Ana who, whenever we went on overnight school trips in high school, would sing "Good Mornin'" to get us all out of bed, and it was very lovely. Always.

If I could be any character in any movie, I'd be Kathy Selden, hands-down. Why? Well, for one, she can dance; two, she can sing; three, she's gorgeous. Plus, she's paired with Gene Kelly's Don Lockwood! Lucky, lucky lady. Okay, I'm not writing anything more, except, everyone should see this. Seriously. Right now. Stop whatever you're doing and go! Post me once you do.

We'll start off with a lil' dancin' and singin'...

Over a week has elapsed since I last wrote, but I have been busy with many films, mainly classics, and will give abbreviated thoughts on each. This will happen in multiple installments.

Up first: Swing Time, an enjoyable Fred Astaire-Ginger Rogers musical (which comes in at number 90 on the most recent AFI Top 100 list), and of the ten films the duo made together, I feel it displays Astaire and Roger's skills and chemistry the best.

I don't understand how anyone cannot be mesmerized with the footwork and choreography. Astaire really was a master, but enough credit cannot be given to Ginger who not only matched Fred step by step but did so in high heels while wearing ridiculously, intricate, beaded gowns. Gorgeous, yes, but I can't imagine she enjoyed dancing in them day after day. Fred plays Lucky, an adorable gambler/dancer, who happens upon Ginger's dance instructress named Penny, and the two form the dancing duo that takes over at a popular nightclub. They sing; they dance; they fall in love. Don't worry: I'm not giving anything away. The film is completely predictable, but still, lots of fun.

Now I know people often take issue with the strangeness of musicals - random bursting into song - but this film handles the transitions very nicely, and the songs are so fantastic! The main theme of the film that is interwoven from scene to scene is "The Way You Look Tonight" which has been recorded by many, many singers and won the Best Original Song Oscar for 1936. One of the film's more interesting scenes is Astaire's number "Bojangles" which he performs in black face. I cannot help but think that audiences today may take offense to the number, but the more you know about Bill Robinson, the more it becomes clear that Astaire is paying tribute to one of his heroes. Granted, he would not be able to get away with such a scene today, especially after Spike Lee's Bamboozled created such a stir, but he's brilliant nonetheless, and one of the most memorable moments occurs during his dance with his shadows. Unbelievable!

I'm trying to save you ten bucks and two hours. You can thank me later.

Friday night, with Glenn and Vic in tow, I made my way to the cineplex ready to watch Indiana Jones and the Kingdom of the Crystal Skull with an unbiased eye. For the last couple weeks I've ignored the reviews and turned deaf ears to those folks ripping apart the latest installment in the Indy franchise. I just couldn't understand how any Indiana Jones movie could be bad. Or at least worse than Temple of Doom (not my favorite of the first three).

Well, not even five minutes into the movie, I began to realize that people had been professing truth and not unjustified lies. By the time the end credits rolled, I thought that watching Indy 2 over and over would have been much more enjoyable and fulfilling than the 4th, even risking the same nightmares that Temple gave me as a kid! Each scene seemed to expose new plot hole after new plot hole or completely illogical endeavors on the parts of Indy, Mutt (yes, that's Shia's name in the film - classy and not at all subtle), and Marion (who I was so excited to see reunited with Indy!). And Cate Blanchett's villainous Irina, at first, was the best part of the movie, then very quickly, turned out to be just as ridiculous as the rest. I was completely amazed that after trekking through the Amazonian rain forest, cascading over waterfalls, and being attacked by killer ants, no one had any scratches or dirt on them. But I did learn that if ever I find myself caught in quick sand (or whatever it was), there really is no need for a rope or tree branch: a snake will work just fine. And I feel someone recycled some choreography from a much better movie as one fight scene seemed awfully reminiscent of one from my favorite Star Wars episode (VI).

Overall, I guess I can't say I regret seeing it, I mean, I had to experience this myself, but I wish my expectations (though I really didn't have high ones) hadn't been completely crushed. Sigh. And not to sound too much like an academically brainwashed cinema student, but honestly, Spielberg and Lucas have never been my favorite directors. Don't get me wrong: I thoroughly enjoy some of their earlier works (American Graffiti, Jaws, the Original Star Wars, Raiders, E.T., The Ewok Adventure) but lately the duo - Lucas especially - have produced VERY disappointing works (prequels anyone?). No longer creative or satisfying, they are too conventional or money hungry or just bored. Or lazy - I mean who okayed the final draft of Kingdom? Seriously! The actors really can't be blamed for their blase performances, mainly because they had NOTHING to work with. And I imagine it's pretty difficult to turn away Steven Spielberg when he comes knocking on your door. Regardless of a film's artistic caliber, there's no doubt that a Spielberg-Lucas blockbuster will be a box office smash. If only they weren't, then maybe they'd stop making crap. Sigh. A dream for which this cinephile can only hope.

Last movie this week

Today I screened Chaplin's silent film Modern Times, a film I'm pretty familiar with, yet, like many other great works, every time I watch it, I discover something new and reach another level of appreciation. City Lights remains my favorite Chaplin piece, but enough cannot be said about Modern Times. Made nine years after the first "talkie" - The Jazz Singer - and during the early years of sound film, Modern Times falls into the category of silent cinema. While studios embraced sound dialogue and audiences became accustomed to the technological advancement, Chaplin returned to the older format. Once again, his physical comedy and poignant social commentary reached audiences. The film is saturated with so many iconic scenes and images that trying to choose one to capture its essence becomes impossible! There's Chaplin strapped into the feeding machine, moving through the cogs and wheels, roller skating blindfolded on the edge of the 6th floor, and, of course, attempting a career as a waiter. With Paulette Goddard (Chaplin's third wife and my freshman year resident hall's namesake) watching out for Charlie's neck, Modern Times should be added to everyone's lists. FYI: It also moved up 3 spots (81 to 78) on AFI's top 100 list.

Some tasty treats...

Yes, I have utilized the kitchen here in the South for my usual baked goods and desserty type foods. Since I was so inspired by Hungry Bruno, I decided to try my hand at her banana nut bread which she made prior to my departure from 180 Washington. It came out very nicely and was pretty tasty. I doubled the number of bananas for which the recipe called, and as hoped, the final product had all the banana-walnut flavors I wanted.

When the joint Glenn's birthday/Memorial Day Party came around, I decided to make one of my favorite desserts which I've always associated with the beginning of summer: Trifle. The best thing about it - other than its fruity deliciousness and not-so-bad-for-you appeal - is that no ovens or electric utensils are needed. Grab the angel food, the jam, the pudding, the cool whip, and an assortment of your favorite fruits, and presto! A refreshing treat! All thanks to my Mom for introducing me to this yumminess and passing on her recipe. I'm sure I'll make it again before the summer's done. *Oh, I didn't have a traditional trifle dish, hence, the less than stellar presentation.

My next baking goal will be the Crispy Salted Oatmeal White Chocolate cookies Bruno posted last month. But I'm not quite ready for those.

Enlightenment!

As aforementioned, at work this week I've been watching and time coding scenes from four films. Today's selection: You Can't Take it with You. Now I've always considered myself a Frank Capra fan and many know that Jimmy Stewart reigns as my favorite actor of all time. So the question that arises from those two points: How have I managed to go through these last 25 years without seeing this 1938 Best Picture Oscar winner? Really, I have no words! The film is marvelous. Classic Capra with his troupe of usual suspects (including an uncredited Ward Bond who found his way into many a Capra and John Ford film). I mean, this film is a stomping ground for many of those who worked with the director before, and then after. Until today, I never realized how enjoyable Lionel Barrymore can be since I have always associated him with the duplicitous Mr. Potter to Jimmy's affable and confused George Bailey in It's a Wonderful Life. In this film, however, Barrymore is absolutely charming and very grandfatherly as Martin Vanderhof. With the talents of Jean Arthur, a 15-year-old Ann Miller, and Spring Byington, among many others, You Can't Take it with You is funny, witty, touching, and discusses the role of government in a very smart and thought provoking manner, many ideas which resonate today. I guess all that's left to say: I love this job (er, internship)!

Also, aside from films and TCM, with my trip to Trader Joe's after Sex and the City the other night, I purchased two wines: a Red - my favorite Montepulciano (Villa Cerrina Montepulciano D'Abruzzo) - and a White - one I had never tried - a Vouvray (Lacheteau Vouvray 2006). It was very fruity and delightful, and I highly recommend it for these hot summer days or for a delicious pairing with fish and veggies. And of course, as the ladies of 180 Washington may attest, I always suggest the Montepulciano for any and every occasion.

Less than a month later...

So, as many predicted, I have been slacking on the posts. But while I have a bit of downtime here at TCM, I thought I'd write at least a little something. Let's see...

Okay, I saw Iron Man, and it was extremely entertaining. I can't help it: I love Robert Downey, Jr. And in this movie, he's even more attractive than I ever remember. Maybe sobriety actually suits him. If you haven't seen it, you should. And when you do, make sure you're still sitting down by the time the last credit rolls. You won't be disappointed. Trust me.

I also saw Sex and the City last night. And I'm not sure how objective I can be because I saw it: For free, through work (I actually got to leave work early), and they gave me popcorn and a diet coke. And I won the official Sex and the City book (a $20 value!). Jealous? Anyhow, the movie was what I expected. For the length of - about - an entire disc (2.25 hours) it stayed pretty true to the show - for the exception of the use of really ridiculous music. And while it got awfully depressing in the middle, it evoked the essences of each of the four ladies. I really did enjoy it. Towards the end, nostalgia hit me. Hard. And I will admit, I cried. Though, I think it was a mixture of my missing New York, and of course, my ladies (Cor, Pris, Rach, Haley). Nonetheless, it was well worth my 2+ hours.

I've also watched a couple classic films at work: The Spiral Staircase and The Postman Always Rings Twice - and will be screening two more by weeks end - You Can't Take it With You and Modern Times. We also put together a little tribute to Sydney Pollack which aired this past Monday (June 2nd). It was pretty surreal being surrounded by many people who worked with him fairly regularly. He, of course, was the original host of The Essentials on TCM and was in a number of terrific films - some of which he himself directed and others in which he produced. He will be missed greatly by both his peers and his fans.