I will be offline for a while this week, because this is the time when we are going out to my respective hometowns of New Brunswick and Highland Park, New Jersey.  We are staying at The Heldridge Hotel in New Brunswick, where most of my classmates stayed for our reunion three years ago, and is across from the State Theater, which filled my early movie life, and is now a live cultural center.  Who could have known?

                                We will see familiar surroundings, hopefully meet up with a former HP friend of mine, but, most importantly, we are going to Resurrection Cemetery in Piscataway, NJ, where my parents are both buried, so I can read over their graves the last passage in Emily Bronte's "Wuthering Heights."

                                  I knew I wanted to do this, eight years before, when we buried my father, but I did not think to bring a copy of the book, and I would not have been permitted to do so, then.

                                   So, this trip will be fraught with emotionality.

                                    We will be back on Thursday.  I will give you a full report then, darlings!!!!!!!!!!!!

Three Is The Charm, With "Three Women!!!!!!!!!!!!!!!!!!!!!"

                                  Darlings, you simply have to see this!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

                                  When "Three Women" came out, in 1977, it was called Robert Altman's "Persona."  The latter is a 1966 Ingmar Bergman film in which two women through the course of the film switch personalities.  But on my third viewing of "Three Women"--and I hope to have many more-- I find that while there are similarities to Bergman it is not simply a redo.

                                        Sissy Spacek delivers the best performance as Pinky Rose, who goes from being a childlike woman to a gun toting' mama, sexy as all get out, who emerges as the kind of woman Shelley Duvall's Millie Lammoreaux desperately wants to be, but fails on all counts.  The kind of woman who thinks serving pigs in a blanket is sophisticated, and that the best dinner recipes come from the back of Campbell's soup cans.  Are you kidding me?

                                              Janice Rule as a pregnant Willie Hart, paints murals on drained swimming pools in the area, and it this artwork that gives the film its most fascinating imagery and uses the paintings and water to transition into other areas of the plot.  Pinky's transition is triggered by a horrible event, which Millie is the cause of, but has no clue to that at all.

                                                     Girls, you have got to see Sissy at the pistol range, with her pink halter top outfit; this is the best moment in the film.  Willie has a baby and the women ban together to deliver the child and some frontier justice.  Sissy Spacek seems to transition back to a child but watch out for those eyes.  She is fierce.   Shelley Duvall seems to morph into a shell of her former self, while Willie ends up owning the place.

                                                        The plot is fascinating, but so are the endless displays of imagery and color passing before the viewer's eye.  And wait till you see the Dodge City theme park (the film takes place in Palm Springs, CA) with its miniature golf course.

                                                              Altman based this film on a dream he had, but the images of double personae, such as the twins, or Spacek and Duvall pressed against a window looking out, suggest a splitting and transition of personalities that morph throughout the film.  Will these stay permanent at the end?  That is up to the viewer to decide.

                                                                I can tell you that this is Altman's best--and most minimalist film--since "Nashville.:

                                                                 It makes me want to wear Spacek's pink halter outfit and paint the walls of drained swimming pools!!!!!!!!!!!!!!!!!!!!!!

                                          

Darlings, What Could Be Lovelier Than A Summer Full Of Perenials??????????????????????????????

                            I just love the name "perennial," because it holds out the possibility to extending Summer beyond its end point, which, for all intents and purposes, is after Labor Day.  And we are edging closer to that dreaded day, when the magic stops.

                                But his colorful floral array will alleviate any end of Summer anxiety.  You know, girls, how big I am on color, so this display was just perfect.  Imagine awakening to this every day.

                                 Florals may not be "groundbreaking," as MERYL STREP says in "The Devil Wears Prada," but they do add something to the Summer season.

                                  So, anyone suffering end of Summer blues, gather yourself as many perennials as you can!

                                  It will make you feel so much better!!!!!!!!!!!!!!!!!!!!!

Girls, Join Us Tonight At 8PM, As "Svengoolie" Airs "Man-Made Monster!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!"

                                       The title of this movie has fascinated me since I was a child and always made me want to see it.  It is one of the few things "Svengoolie" is offering this month I would like to see.  However, as we are going to a birthday party today, we may not be home in time to watch it.

                                         But, girls, don't let that stop you.  You are all invited to see this film, and encouraged to, because this was Lon Chaney Jr.'s debut foray into horror films.  This was his first for Universal, before doing the picture that would become his signature role, "The Wolf Man."

                                           Of course, the story has overtones of "Frankenstein;" being that he is rejuvenated with electricity.   Does it make him stronger, or evil?  Only by watching can one find out.

                                              Darlings, if you are able, I urge you to tune in.  I may not be able to, so enjoy this rare treat from "Svengoolie;" this film is hardly shown anywhere to the point where I thought it was lost.  And I hope The Squad is with Svengoolie tonight.

                                                So, tune it tonight, girls!  I will be thinking of you!!!!!!!!!!!!!!!!
 

The First Truly Great Film By Robert Altman!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

                                              This was the film where Altman started formulating his style--and foreshadowed "Nashville."  With the help of top cinematographer Vilmos Zsigmond, the danger and beauty of snowcapped Western mountains overlooking a desolate frontier mining town is beautifully captured in "McCabe And Mrs. Miller."  The beauty and elemental danger of snow is vividly shown, especially at the climax.  But the most memorable aspect is Altman filtering Leonard Cohen songs--especially "The Stranger" and "Sisters Of Mercy" onto the soundtrack, demonstrating his special skill at integrating film and music and that would culminate four years later in "Nashville.

                                                   Warren Beatty and Julie Christie play the titular characters--he a gambler con businessman, and she the madame of a group of prostitutes.  One of those gals happens to be Shelley Duvall, who Altman and Zsigmond photography several times, and whose singular peculiarity one cannot keep one's eyes off of.  Along for the ride are also Keith Carradine, Michael Murphy and Bert Remsen.  Plus, in a minor role Joan Tewksbury, all of whom would go on to "Nashville."  Tewkesbury wrote the screenplay for that 1975 gem.

                                                       Zsigmond's interior lighting gives the film a 19th Century aura, and a final shot of Julie Christie captures all the beauty of this actress.  She doesn't even have to do anything to look beautiful.  I wish I could say the same!  But then, I don't look like Julie Christie!!!!!!!!!!!!!!!  Who among us does?

                                                            Rene Aubernjonois gives a touching and vulnerable performance as the observer of all the action.

                                                             For those studying Robert Altman, seeing this film is key to understanding the director's work.  Looking back, as one of my age can, I can see how here he was setting in motion the stylistic techniques that would make him the master, like no other.

                                                                 Sadly, there are no directors of this caliber today.  But seeing such work preserved, and available to the public and cinephiles is extremely comforting.

                                                                   After seeing this film, the West will never be the same!!!!!!!!!!!!!

                                                                    

Darlings, Liven Up Your Bedroom With Whimsical Wallpaper!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

 

                             Just behold the colors, the images that sweep you away to a magical childhood paradise!  Wouldn't we all like to be swept away to such a place?  I think this wallpaper design is the perfect choice, preserving the colors of innocence, yet having a maturity about it that would not make the room into a Victorian nursery.  Save that idea for another room in the house.

                                Really, girls, when it comes to design, color is the way to go.  Who could fail to resist this tranquil image of innocence, and fall asleep beneath it?  And then to awaken to the loveliest of images!  It is just so irresistible!!!!!!!!!!!!!!!!!!!!!!!!!!!!

                                 Not to mention it is like having perpetual Summer.  And what could be better than that????????????

                                 So, liven your bedroom, boudoir or whatever you call your sleeping quarters with a bit of whimsicality!!!!!!!!!!!!!!!!

                                   You will be the envy of your neighbors, darlings!!!!!!!!!!!!!!!!!!!!

It Was High Time I Saw A Luchino Visconti Film!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

                               Of course, I have always wanted to see his deliciously decadent 1969 film, "The Dammed," and I expect to in the near future.  But yesterday David and I saw his 1957 film "White Nights," which was tender and lyrical.

                                We saw it at the Film Forum.  Now, here is the thing about this place.  There are huge stretches of time when we never go there.  Then there are others when it seems as though we go there all the time.  We are in the latter phase right now.

                                  The film begins with a beautiful shot of the Venice set on which it was filmed.  A young woman, Natalia, is standing, crying, over a bridge, and one immediately fears she is going to jump. She is spotted by Mario (Marcello Matrionni) who thinks the same thing, and in the course of things strikes up not only a potential conversation, but a possible relationship.

                                    Natalia is played by Maria Schell, who has the kind of young freshness that reminded me of Eva Marie Saint as Edie Doyle in "On The Waterfront."  It is hard at first to determine if she is genuinely naive or a manipulator. As she reveals her story--a former wealthy Slavic family reduced to poverty and making rugs due to the Nazis, not to mention being literally and psychologically tethered to her grandmother and abandoned by her parents-- it is clear Natalia has no life experience but desperately wants it.  Alas, a year ago she met a man, L'inquilno, played by Jean Marais, whom she has promised to wait for a year.  What is he?  A criminal?  And why did he disappear to a year out of necessity?  Despite the mutual attraction between Mario and Natalia, she chooses the other.  Is she making the right choice?  The film allows the audience to make up their mind, as, snow falling, Mario walks off alone, accompanied by a stray dog, who will become his companion.  Sometimes dogs are better!

                                        I was sometimes reminded of "Brief Encounter."  But "White Nights" has a lyrical earthiness, with lights and shadows placed on buildings to suggest the emotional calibration of the characters.  Visconti is skilled at camera placement and eliciting marvelous performances from his lead trio, as well as the supporting cast, including grandma.  The boat ride Mario and Natalia take is shot beautifully, suggesting a kind of postwar hopefulness, while the climactic snowfall is as lyrical as needs to be for the climax.  For those inclined to shed tears, like me, this film will do it for you.

                                      Not familiar with Visconti's work, it surprised me he could make such a romantic and lyrical film.  I thought harshness and decadence were characteristic of his work, and in some cases, they might be, but "White Nights" shows him to be capable of romantic, poetic lyricism.

                                        I urge you to go, girls.  What could be more fulfilling on a hot summer afternoon than a gorgeous romantic story?

                                          See "White Nights," now, while it is still at the Film Forum!!!!!!!!!!!!!!!!!!!