This movie held up better than I expected. It's still the same mess of wanting to be too many things that it was when I saw it in the theater, but it's still charming and still works.
Something about the movie feels like a studio editor, who didn't care, came at it super hard, or there were just too many competing things occurring in the script to make it really gel.* But the two stars, John Cusack and Minnie Driver, are charming and, frankly, non-standard enough in their approaches that they do a lot of heavy lifting just by being the leads.
Well, Texas being Texas, it's now a high of 70-something degrees. Skies are blue, and this is the weather people from out of state get duped into thinking we have all the time when they visit during the spring-times.
Today is the first day that hasn't felt like a total disaster. Yesterday I was still just sort of wandering around the house trying to figure out what to do and checking to make sure I wasn't spotting leaks or holes in the house that weren't there before. And, the inside of the house was and remains a bit of a mess. We've had a hard time keeping tidy during COVID to begin with, but add in our inability to just cook and clean with running, clean water, and it's all a bit of a mess.
Jamie's dialysis situation is pretty solid. She had treatment on Friday, and then again on Sunday. And, today, Monday, she's back on her regular schedule at her regular clinic. So, despite an ugly week of uncertainty, she's doing well, if a bit knackered. She did some chores for about two hours yesterday and then tapped out, for which I could not blame her.
I can't thank the nurses, technicians, social workers and others from Jamie's clinic enough. While it was clear this was an improvised effort, she had multiple people calling her, giving her information and driving in awful conditions (and with minimal experience) to make sure Jamie and tons of othersothers could get the care they needed. That's not nothing.
Austin Water has worked around the clock to restore water - and then drinking water - to the city. Austin Energy did what it could, kept people apprised and got power back when possible. Police, ambulances and firefighters stayed on duty. And I have to assume university staff stuck around to feed the kids on campus. I know there were also people on the UT campus keeping data centers going, keeping the heat on best they could - and power (UT has its own power plant. No fooling. It's at about 24th street).
In my own neighborhood, people offered food, water, and.. maybe most importantly information and tips. They helped each other out in countless ways that will be forgotten, but I was able to keep an eye on my own home and understand where we were at as the storm carried on as those in the know shared information about what to expect, what to do and not to do, how to deal with water heaters, how to care for pipes, etc...
This isn't the world's best musical, but it's also aggressively about not being about anything (by way of being a traditional, vaudeville-style Broadway show, and proving THAT'S what people really want).
It's been a long week, and I have a lot of things on the DVR, but Jamie didn't care what we watched, and I figured Cyd Charisse seemed like a great thing to watch.
By the time this movie was filmed, Astaire was in his mid-50's, and the story seemed all but pointedly about him. His character is a film song and dance man who has lost the spotlight. By this point, musicals were far from dead, but maybe weren't at the height of their heyday. He's playing someone maybe a few years younger than himself (convincingly) who returns to New York to work on a show with a husband and wife writing team (Oscar Levant and Nanette Fabray). They get involved with the latest big-name of Broadway, who does *serious theatre*, but who wants to try a musical.
You know he's fancy because he's doing that new-fangled Oedipus Rex show.
They rope in a top-tier choreographer and his top-teir ballerina girlfriend played by Cyd Charisse.
This isn't the only musical from around this time that feels like middle-aged people wrestling with the coming wave of American theater and dance and trying to take the piss out of it. There's a kind of goofy number in White Christmas that's really the one that doesn't work trying to poke fun at what we now call "modern dance". And, as I said up top, this one wants to remind us "please stop taking these new musicals seriously! Your heart really just wants to see people dance for 90 minutes and end with a wedding! Right? RIGHT?"
And, you know, sometimes that's true. But you kind of want to say to the movie "my friend, you haven't seen *anything* yet. Wait for the 60's.".
The movie is probably most famous for its show-within-a-show-within-a-show interlude of Astaire playing a priavte eye in a sort of Chandler/ Hammer/ whatever mystery homage and an excuse for Charisse to sex it up a whole lot. It's goofy as all get-out, and for the life of me, I can't figure out if it's full camp, a light spoof or someone trying to be quasi-earnest. But... the "Broadway Melody" sequence it is not. (By the way, this was written by the same folks who wrote Singin' In the Rain).
But, man, really, I'm not sure this sequence could have happened any earlier than 1953 or much later than '53. Noir (not yet called noir) had been in theaters for almost ten years, and all I can think is that this was how it was interpreted by song-and-dance folks trying to be cool, daddio. But... holy @#$%balls.
(also, look for when Julie Newmar walks right up to the camera!)
What *does* work, and beautifully, is the Dancing in the Dark number with Astaire and Charisse, which is the kind of number you want to see and remember with the talent they've lined up. The pair are in amazing form, and it's the one time you kind of think "well... maybe" as you look at the romance they're trying to push between a man and a woman young enough to be his daughter.
That poor Cyd Charisse, such an ungraceful and plain girl.
On the flip side, there's this weird thing where they suggest that the writer-couple is on the skids and the wife has taken up with the big-deal actor/ director/ producer guy that never... gets resolved. I guess we see a couple break up in slow motion, but just sort of from the edges? Someone help me out here, because that was weird and dark and I can't find mention of it anywhere online.
Anyway, it's not my favorite film, but I was amazed how much of it I didn't remember. A lot of people love this film, but... eh. It's fine.
Highly recommend checking out the RiffTrax version on Amazon Prime. Watched primarily because JeniferSF had watched it, and it seemed like a good idea. It was.
With the water main breakages, etc... it's been all sorts of operations that have had to do without, and dialysis centers have been hit pretty hard. She went from last Friday til today (it is Friday) when - normally - she's in on Monday, Wednesday and Friday every week.
They were unable to run her for the full duration, as there are only a few clinics open, and this morning she was sent to the wrong clinic (at 6:00 AM no less) and then traversed the city on a path I would not have recommended with freezing temps and roads, but she made it, safe and sound. Of her usual 2.5 hour run she did get 2 hours, so she should be good for a bit.
Still, these are the 1,000,000 stories of "this went a bit beyond 'we shivered a bit'" that are going to be flooding out of this event.
My colleagues from work are trying to fix things for a bunch of ungrateful college applicants, and we're having trouble on the IT side as - hey, there's no water for cooling our data center (why we aren't in the cloud - do not get me started). There's *massive* spikes for electric consumers who were on flexed rate plans (I saw a story about someone who will pay $3800 for this week's bill alone), and the water damage to property is going to be flat out insane.
Summing up the plot to Johnny Eager (1941) would be extraordinarily difficult - but the short version is: ex-con pretends to go straight, meets Lana Turner, uses her and her step-father to get his new dog track open. Poetic boozy pal plays Eager's conscience.
Honestly, it's a hell of a movie, and it's likely the goofy title that's kept it from being checked out by enough people.
I'm not a huge fan of star Robert Taylor - who is pretty rock solid here as a handsome, devil-may-care gangster with no refinement. That's not a dig, but I think I'd only seen two or so Robert Taylor films previously. But he's totally buyable as Johnny Eager.
The real hook is that Johnny can spot an angle, spot a dope, and has a mind perfectly set for operating in the criminal world - but he can't understand the straight world. People with pure motivations are a mystery that gnaws at him. More than that, his understanding of women is only as pliable tools, either as sexual playthings or as employees.
What makes the movie curious - and maybe different from other gangster films with bent leads - is the presence of Van Heflin as Jeff Jartnett, a drunk and seemingly a man of education, who hangs around Johnny as pal, enabler, and because he sees the greatness within Johnny and wants to bear witness to either the rise or fall of a great mind.
Out of prison, Johnny has put everything he's got into a dummy organization trying to open a dog track with no permits, but meanwhile it seems his control on the city is slipping. Others may be moving against him.
Annnnd in the middle of all this, he meets Lan Turner, who more or less throws herself at him. But winds up in way deeper than she barganined for, and it takes a toll on her psyche.
This is very early to be considered true noir, but not so as a gangster picture, which this most certainly is. And Turner is a femme fatale only in that she leads Johnny toward his downfall because he actually does come close to understanding sacrifice via whatever passes for love in his heart. It absolutely is a man making bad decisions (that, I mean, get him dead) over a woman, but they also redeem him, which isn't very noirish. But that he goes down throwing a hail of bullets and popped off by the cop who married his first girl? That's some symmetry there.
And that's the interesting thing about the movie, really. It's a down-in-the-streets gangster picture about a guy trying to build an empire, and sees the poetry and literary mythology in it all - right down to pointing out "he's just some guy" who dies badly in the middle of the road.
Anyhoo... I enjoyed the heck out of this movie, and not just because Turner had amazing hair through the whole thing, even when we were told she looked "awful".*
Look, this movie was never aimed at me, is not now aimed at me, and is not for me. I have many questions, concerns and complaints, mostly around the fantasy imaginary boyfriend who celebrates every choice the lead character makes. But - also - the movie feels remarkably... lazy and toothless.
Previously, I'd only ever seen the first half of the first of these movies, and the lead's obsession with 80's movies felt kinda goofy and broke the "do not show a better movie inside your movie" rule. This one decides to reference The Big Lebowski, and I hope the director was just doing this for fun, because a 20-something year-old dope-heavy satire of Chandler mysteries spoofed here is... man, it's kinda wild.
What with the freeze on here in Austin, Jamie requested we watch something we didn't have to follow closely and wouldn't be depressing. Well, I happened to have recorded Swing Time (1936), a famed Fred Astaire/ Ginger Rogers collaboration.
We did NOT have to pay much attention to the movie to follow the film.
just a couple of Hollywood hoofers
Uh, look. I just don't have the time, energy or headspace to give the movie proper consideration. It has a cute, very 1930's plot about plucky underdogs finding their way to the big time and glamour through dance. Unfortunately - the big show stopper number they give Astaire to show off his talents is a minstrel number in black face, and... you know... sometimes dealing with the racism of our forebears is a real fucking bummer. Like, you're just going about your business and cheering on the two lovebirds of the picture, and then Astaire turns around and starts slathering on blackface, and you're like "COME ON, MOVIE."
Anyway - already exhausted and not wanting to deal with nonsense, it was not welcome and kind of threw me off from the admittedly lovely final dance sequence ending. The movie is a good, light-hearted musical romance. I very much enjoyed the lead and supporting characters, and it was fun. Oh, and, yes, I hope you like the song "The Way You Look Tonight", because this movie loves it.
I've seen other Astaire movies, but few Ginger Rogers films, and she really was perfect for the screen for what they were doing. Lovely, all the grace you read about, and perfectly paired with Astaire.
and she knew how to wear a gown
And, hey, she was pretty funny, too, in her own right.
Anyway - its' worth watching at some point from an historical and entertainment persepctive, but be aware of the "oh god, this is super racist" 10 minutes or so that I would more than understand would be a solid reason not to watch the film.
Scout ponders the inevitable slowing of all atomic motion
If you're on the outside of the freeze occurring in our Southern States - and, in particular, in Texas, it's very hard to explain the insanity of the past week. And, I imagine, you have to do a lot of intentional empathizing to care. Texans have a semi-earned reputation for being natively hateable, and anything bad that befalls them is schadenfreude.
The truth is - we *are* in fact dealing with the results of bad policy, hubris and a lack of foresight. All the stuff you'd expect from the blowhards and braggarts who've run the state for decades.
And it's costing lives. The closest I can compare this to would be - a hurricane or similar event taking out Washington, Oregon and most of California, including LA, but leaving San Diego just fine.
Texas is huge. It takes 12 hours to cross from Texarkansas to El Paso and 13 hours from Texhoma to Brownsville. That's 29 million people. Houston is currently listed as the most diverse city in the country (don't believe it? Go hang around the Univ. of Houston campus), and while it's easy to think of morons like Rick Perry as the face of Texas, it's not the reality on the ground. Good people and many kinds of people live here.
We're in an unprecendented weather event - it's not just been record cold in intensity, it's also record cold in duration. I assume the precipitation is also record level. I've never seen more than a dusting of snow in my decades in this town. If we can't see the grass, we think it's a blizzard.
One common misconception I've seen is that we just need snow plows. Well, what that this were so.
Since I was in college, way, way back in the 1990's, I've heard nothing but how the power grid in Texas was outdated and needed overhauls, improvements and extensions. Some of that has happened, but this being Texas, the loads has been focused on the load the state requires during the summer. Texas summers can see weeks on end with temperatures in the 100's, and if you don't provide AC, we'd all likely die of heat stroke. There's a reason Texas was sparsely inhabited by ingidgenous people and Mexican settlers when Anglos set their sites on Texas in the early 1800's.
Anyhoo... what we haven't worried about a whole lot has been extreme winter weather. Most of the time, we get into March and say "man, it never really got all that cold this winter." I mean, we've had cold winters, and icy spells that kept us off the roads, but it was never a question of "hey, why is almost half the state without power? And why is it different street by street?"
Because, yeah, two streets over in my same subdivision, people had power this whole time. Go figure. And I have no idea why we currently have power and others do not.
Anyway - hearing that Texas has an outdated grid isn't new. Now add in Texas' booming population and energy needs. We've added millions of people every decade for some time. I believe the last two decades saw about 4 million new Texans for a total of, like, 8 million new people. And not a whole lot of new sources of power.
