Thursday, December 18, 2008
Holiday Inn (Film)
Holiday Inn is one of my favorite movies. It has great music by Irving Berlin. It has performance by Bing Crosby and Fred Astaire; they only appeared together in one other movie. It’s a good romantic comedy, too. The film works in each of these areas.
Berlin originally conceived it as a showcase for his music, with a song for every holiday. He wrote the song “White Christmas” for the film and it went on to become one of the most popular songs ever. All the songs are solid and some are nearly as good as “White Christmas.” I think the song for Washington’s Birthday is the weakest, especially in comparison to the great tune for Lincoln’s Birthday, but in light of where it fits in the movie I feel like cutting it a little slack. I’m especially fond of “You’re Easy to Dance With.”
Crosby and Astaire provide good acting performance, but audiences rightly expect them to sing and dance and they deliver. Two of Astaire’s dance numbers are worth particular mention; the first is supposedly drunk and the other involves firecrackers. These two dances themselves are enough to make the movie worth seeing.
It’s a fair romantic comedy. There is a lot of chemistry between Crosby and Astaire, who deliver clever lines with snap. There is also good chemistry between them and their leading ladies, Virginia Dale and Marjorie Reynolds. The basic plot is boy meets girl, they fall in love, girl is ambivalent about ambitions, conniving friend takes advantage and sweeps away girl, repeat.
The film is an interesting look into race relations at the start of World War II. The film only has three black characters, a female house servant (played by Louise Beavers) and her two children. As if the role of cook-maid isn’t stereotypical enough, she is even called Mamie. The film plainly shows how things would have been done at the time, but seems to have slight moments of reticence about it. Here is an example.
On Lincoln’s Birthday, the white server-performers at Holiday Inn have darkened skin. The actual black people stay in the kitchen, out of sight of the guests. The song for the holiday focuses on Lincoln’s role in ending slavery. The original plan is to play it straight, but at the last minute Crosby’s character decides to change it to a blackface number to hide the identity of a starlet, his love interest, from his rivals. Even in a celebration of the end of slavery, the segregation is so complete that the white guests come no closer to interacting with black people than the make-up darkened skin of white performers.
Even so, the film isn’t about race. It’s a fun love story. It has great music and singing. It has wonderful dance numbers. It’s worth seeing, especially around Christmas or New Year’s Eve.
Tuesday, December 2, 2008
The Thin Man (Film)
This film is based on the excellent Dashiell Hammett book of the same title. It was so popular MGM made five sequels from 1936 to 1947: After the Thin Man, Another Thin Man, Shadow of the Thin Man, The Thin Man Goes Home and Song of the Thin Man. The writers changed, but most of the films were directed by W. S. Van Dyke and all of them starred William Powell and Myrna Loy as the charming couple, Nick and Nora Charles.
It is the charm of the Charles’ that makes the movies such a pleasure to watch. The characters have great chemistry Hammett’s book; Powell and Loy bring it to the screen. Part of their charm comes from their witty banter. I think part of it comes from the happy marriage of the couple. They delight in each other, tolerate each other’s weaknesses and gently push each other to be better. And though they fit traditional gender roles, as you would expect at the time the films were made, and it is clear that Nick is a professional detective and Nora an amateur, they seem more equal than most fictional couples in today’s films and television.
As a series, the films handle the couple in another unusual way. They age. They age naturally. In the first pair if films, as in the book, Nora is a young heiress and Nick older and worldlier. In the middle pair of films, they’re parents of a young son. By the last film, they’re an established couple and even Nora can’t follow the slang of the hipster characters.
The chemistry between Powell and Loy is great. Some other quality actors appear in the films as well, like Maureen O’Sullivan in The Thin Man. The sequels include performances from James Stewart and Keenan Wynn. Some uncredited (and not as great) appearances include Shemp Howard and a guy who I think might be Tor Johnson.
The crime solving in The Thin Man sticks close to the book, but adapted to work well on film. As crime stories, the sequels vary in quality, complexity and suspense. If you’re looking for a great mystery, you may want to look elsewhere. Crime solving is the backbone of the plots of these films, but the plots are largely an excuse to watch Nick and Nora do their thing.
(Thanks, Roger, for loaning me the box set of these films on DVD.)
Sunday, December 21, 2014
A Professor, a President, and a Meteor by Cathryn J. Prince
Sunday, February 21, 2016
Life's Matrix by Philip Ball
Sunday, April 17, 2016
Technology in World Civilization by Arnold Pacey
Saturday, December 10, 2016
How to Fail at Almost Anything and Still Win Big by Scott Adams
The Powerhouse by Steve Levine
Friday, March 26, 2010
The Invention of Air by Steven Johnson
Joseph Priestly was a man of contradictions. He was an inventive scientist, one of the fathers of chemistry, who somehow clung to an ancient idea his own research undermined. He had the courage to be a heretic, but held on to religious beliefs when many of his peers embraced atheism. He was a proponent of political liberty and the American cause whose views brought him trouble even in America.
Johnson’s Invention of Air is partly a biography of Priestly. It is also an attempt to see how revolutions in ideas occur. Priestly was connected to the scientific, religious and political revolutions of the Enlightenment. As one man’s involvement in all of them suggests, they were not completely separate, nor did the intellectual leaders of the time see them as discreet.
As a biography, the book works well. The sections shift emphasis from science to religion to politics. Though Priestly was a professional clergyman and ostensibly amateur scientist most of his life, Johnson’s framework works well chronologically because of his subject’s shifting emphasis.
Johnson doesn’t hit on a new theory of idea revolutions. He suggests the outlines of one, or maybe the method of discovering it. He finds in Priestly the beginnings of a systems approach to knowledge, especially science, that crosses disciplines and switches from small-scale to large-scale and back again. The model is modern ecological and systems science, which Johnson finds rooted in the coffeehouse meetings of Enlightenment amateurs who the many areas of human knowledge and endeavor as connected and amenable to improvement through reason.
I’m not a great fan of Enlightenment thinking, but I admire that they were serious and that they saw that truth in one realm (science, religion or politics) had ramifications in others. People seem willing to throw up walls and throw up their hands just to avoid the difficulties of struggling with all these things. Science wants to be unfettered from political and religious restrictions, but only thrives in stable and free (political) environments where people see the material world as worthy of study (an essentially religious view). The political freedom we long for needs support from good and available knowledge (science) and institutions that support individual self-government (religion). Religion in particular is walled off from other areas, but scientists and politicians have too readily shrugged off ethics that were based on human sentiment, when they were accountable to no one because no one was stronger.
Stephen Johnson also wrote The Ghost Map.
If you’re interested in this book, you may also be interested in
Einstein’s Clocks, Poincare’s Maps: Empires of Time by Peter Galison
The Science of Leonardo by Fritjof Capra
Steam by Andrea Sutcliffe
Sunday, July 10, 2016
In Memory Yet Green by Isaac Asimov
Tuesday, December 24, 2013
Return of the Thin Man by Dashiell Hammett
Wednesday, June 3, 2020
Lost Connections by Hari Johnson
Depression
and anxiety are growing problems in the West. The model of depression as a chemical imbalance in the brain is breaking down, and antidepressants
are ineffective. (I’m not suggesting you should stop taking antidepressants.
Even if they are not working out for you, discuss it with your physician first.) Where do we turn to find
relief?
The Beethoven Factor by Paul
Pearsall
Change Your Brain Change Your Body by Daniel
G. Amen
The Last Self-Help Book You'll Ever Need by Paul
Pearsall
The Relaxation Response by Herbert
Benson with Miriam Z. Klipper
Switch on Your Brain by Caroline
Leaf
Timeless Healing by Herbert Benson with Marg
Stark