Wednesday, April 19, 2017

Remember


A parent dies and suddenly there is one fewer person to remember.

I lose another source to confirm how hard I cried when the nurse jabbed the needle into my thigh or how proudly everybody cried when I graduated from college. One fewer voice laughs now when we remember that crazy vacation. One fewer mind sharp enough to tell me who I was back before I knew.

We are at half power now and holding. But the day will come, as it must, when my mind, my memory, will be on its own, the sole witness to a past that recedes into the distance without any safeguards.

Monday, April 17, 2017

Presented Without Comment


The complete filmography of Michael Caine. 

A Hill in Korea
Panic in the Parlour
How to Murder a Rich Uncle
The Steel Bayonet
Blind Spot    
Carve Her Name with Pride
The Key
Passport to Shame
The Two-Headed Spy
A Woman of Mystery
Danger Within
The Bulldog Breed
Foxhole in Cairo
The Day the Earth Caught Fire
Solo for Sparrow
The Wrong Arm of the Law
Zulu
The Ipcress File
Alfie
Funeral in Berlin
Gambit
The Wrong Box
Billion Dollar Brain
Hurry Sundown
Woman Times Seven
Deadfall
The Magus
Battle of Britain
The Italian Job
Play Dirty
Simon, Simon
The Last Valley
Too Late the Hero
Get Carter
Kidnapped
Pulp
Sleuth
Zee and Co.
The Black Windmill
The Marseille Contract
The Man Who Would Be King
The Romantic Englishwoman
The Wilby Conspiracy
The Eagle Has Landed
Harry and Walter Go to New York
Peeper
A Bridge Too Far
California Suite
Silver Bears
The Swarm
Ashanti
Beyond the Poseidon Adventure
Dressed to Kill
The Island
Escape to Victory
The Hand
Deathtrap
Educating Rita
The Honorary Consul
The Jigsaw Man
Blame It on Rio
The Holcroft Covenant
Water
Half Moon Street
Hannah and Her Sisters
Mona Lisa
Sweet Liberty
The Whistle Blower
The Fourth Protocol
Jaws: The Revenge
Surrender
Dirty Rotten Scoundrels
Without a Clue
Bullseye
Mr. Destiny
A Shock to the System
Blue Ice
The Muppet Christmas Carol
Noises Off
On Deadly Ground
Then There Were Giants
Bullet to Beijing
Blood and Wine
Midnight in Saint Petersburg
Curtain Call
Little Voice
Shadow Run
The Cider House Rules
The Debtors
Get Carter
Miss Congeniality
Quills
Shiner
Last Orders
Austin Powers in Goldmember
The Quiet American
The Actors
Quicksand
Secondhand Lions
The Statement
Around the Bend
Batman Begins
Bewitched
The Weather Man
Children of Men
The Prestige
Flawless
Sleuth
The Dark Knight
Is Anybody There?
Harry Brown
Inception
Cars 2
Gnomeo & Juliet
The Dark Knight Rises
Journey 2: The Mysterious Island
Mr. Morgan's Last Love
Now You See Me
Interstellar
Stonehearst Asylum
Kingsman: The Secret Service
The Last Witch Hunter
Youth
Now You See Me 2
Coup d'Etat
Going in Style                                        

Thursday, April 13, 2017

The Americans S5 E6: Crossbreed


Is this the real beginning of Paige’s indoctrination? Being introduced to Gabriel was sort of jaw-dropping and means she’s in it deep now, having met someone from the Center. The whole end scene had the feel of “You are finally ready.”

Paige’s readiness to be brought into some aspect of the spy life also comes from her reading of Das Kapital, as she identifies with a lot of Karl Marx’s arguments (except on religion). Elizabeth points out the capitalist exploitation of the worker but does not seem to realize she’s been exploited her whole life for a cause that will, though she cannot know it, ultimately fail. And she’s the lucky one—look at William, who had no kind of life for himself and died for essentially no reason. Elizabeth isn’t even aware of the exploitation happening in her estranged home country, where Oleg plays along reluctantly, throwing the grocery profiteer in prison.

Why exactly is Gabriel leaving? Is he just tired, as he says? Is lying to Philip just too unbearable? Is his throwaway line to Philip and Elizabeth, that they’ve seen too much and done too much, a hint of something darker to come? Does he see the end of the USSR in sight? (There was a hint of this in his lines: “He was a nobody. We were all nobodies. It’s been over for a long time.”)

Gabriel seemed to have a profound experience at the Lincoln Memorial, a beautifully shot scene. It seemed like a twisted mirror of Jimmy Stewart-eqsue movies in which a disillusioned American goes to the memorial to let the sight of Lincoln reaffirm his belief. For a Soviet, maybe a visit to the memorial is something demoralizing that makes one abandon the cause.

Lying to Philip about his son and his father have taken their toll on Gabriel. Philip finds out that his father was not exactly a logger, as he’d always heard, but a guard at a logging camp. (The word “camp” is never anything good in this type of context.) It sinks in for Philip that his capacity for coldness and cruelty must be in his blood, and it makes him unravel a little bit more. There is also a parallel between him and Mischa, since Mischa’s father only knows Philip is a travel agent in America, which is about as technically true as Philip’s father being a logger. He reflects that his family used to have nothing, but “now we have everything. It feels strange sometimes.” I thought that line was haunting and I’m not sure why. As usual, Matthew Rhys knocks himself out with that performance.

As usual, Keri Russell does, too, balancing a range of subtle emotions. At first it seemed like she really needed to unburden herself while casing the psychiatrist’s office and telling him about the mugging, but her eye roll subverted that. It would have seemed too close to the EST storyline if she’d really needed some help, and we know Elizabeth doesn’t go for that kind of therapy (although she did seem to react positively to the tai chi).

Still, Elizabeth does need some sort of outlet for traumas like her abandonment of Young-Hee. I loved the mix of sorrow and anger when the Mary Kay saleswoman came to the door and reminded Elizabeth of her former friend. She stakes out Young-Hee and Don’s home but a year after the betrayal, another family has moved in. They could have patched things up and just moved, but they could also have divorced and sold the house. If Elizabeth was seeking some sort of confirmation that her actions didn’t permanently damage her friends’ marriage, and that the couple is doing OK, she’s not going to get it, and that must eat away at her.

I assume we’ll soon find out where certain vague plotlines are going, like Stan and Aderholt meeting that Russian woman in the park, Elizabeth stealing files from the psychiatrist, and Philip staking out a woman at work. Meanwhile, with Gabriel telling Paige about her real background, next week looks to be meaty as hell.

Tuesday, April 11, 2017

Winter Clothes


You had your starburst of popularity. Fifteen minutes, more or less, bursting from drawers. During 5 p.m. twilight, you were all I sought. The gray zip-up sweater. The voluminous snowman hoodie. The deep flannel of the pajama pants. You were the superstars everytime the wind whipped the gutters loose and snowplows whirred in the sleet.

Now look at you all. Sudden April balminess eases windows open. The breeze eases over me and I open drawers and you look like relics. Wool and fleece chafe my fingertips. I need diaphanous cotton or feather-light linen or something nylon with chlorine-proof lining. I am done with everything else.

Your time is over and now you’re just embarrassing yourselves.

Friday, April 7, 2017

Lowering the Bar for Icons


For months in the lead-up to the Oscars, I kept hearing about how the yellow dress Emma Stone wore in La La Land was “iconic.”

I looked at a photo of the dress and it sure was lovely, and quite yellow. But isn’t it a stretch to call something iconic when it’s only been around for a few months? The movie got a lot of critical acclaim but relatively few people saw it. I can see calling the ruby slippers from The Wizard of Oz iconic, but that’s because generations of people know them on sight. That yellow dress just isn’t there yet. Check back in a few years and see who remembers.

We water down the word iconic when we attach it to any passing fancy. An icon should stand the test of time and be easily recognizable. Sometimes it seems like people use the word “iconic” when what they really mean is “I’m so into this right now.”

Some other questionable examples that I Googled:

“Actress to reprise her iconic role as Jackie Kennedy.” This isn’t Natalie Portman, who was nominated for an Oscar last year. This is Katie Holmes, who once played Kennedy in some bad TV movie that no network would touch and that eventually went to some channel like Reelz or TeeVee that nobody ever heard of. (There is apparently a sequel with a laughable-looking portrayal of Ted Kennedy by Matthew Perry.) Jackie Kennedy is an icon; Katie Holmes playing her in a movie nobody saw is not. Not at all. (The syntax of the headline seems to me like it’s calling the part iconic and not Kennedy.)

We deem lot of things “instantly iconic” but I think you can’t judge something as iconic unless it stands the test of time. Otherwise, you’ll look pretty stupid when nobody remembers these things. I saw this headline: “25 instantly iconic moments from the Scream Queens trailer.” Oh, right, that show from a few years ago that hardly anybody watched (we turned it off halfway through the first episode). Really, how many iconic moments can you get from any trailer? How long is it, two minutes? This wasn’t Star Wars. It was a really dumb TV show and the person who wrote this took a chance that people would remember the show and it really didn’t work out.

I assume a lot of people also thought the “Cash me ousside, how bow dah?” girl is iconic. You remember: She went on Dr. Phil or Dr. Oz or whatever piece of crap and she OH GOD I CAN’T EVEN FINISH THIS SENTENCE THE WHOLE INCIDENT IS JUST SO FUCKING STUPID

Your mileage may vary on what is iconic. I realize this is all in fun but if you read so many articles in that BuzzFeed style saying that various things are iconic, your eyes glaze over and nothing is iconic. I think we should reserve the icon label for something the majority of people could name on sight or hearing, not just something you see online six months later and say, “I vaguely remember that.” 



Thursday, April 6, 2017

The Americans S5 E5: Lotus 1-2-3


Philip has always been the wavering soldier for the cause but now he seems closer than ever to breaking down completely. He’s already clearly disillusioned by his overall mission and now the Centre’s intelligence fails significantly: The Agricorp employees are not trying to destroy Soviet crops but developing the technology to feed everyone.

It hits Philip immediately that he killed the man in the lab for no reason, and in fact killed someone who could have helped the food crisis in his homeland. The lab worker is just the latest in a long line of innocents he’s killed: Gene the IT guy, the soldiers in the training camp, the busboy, the guy who walked into the computer lab at the wrong time, and God knows who else.

Elizabeth tries to comfort him, saying they didn’t know when they killed the guy in the lab, but they still killed him. They still killed a lot of people who weren’t actively trying to harm them, who were just cogs in a machine. I had been wondering why season five has been relatively free of murder. Maybe it’s because they want the one murder so far to stand out and really haunt Philip.

“This has been hard for me for a long time,” Philip tells Elizabeth. “You know that, right?” She knows and she has enough empathy now to follow him to the fake house to talk to him. It’s a turnaround from the end of season three when he was breaking down right in front of her and she shushed him to watch Reagan on TV. The Jennings marriage has never seemed stronger, but how sad and ironic that she had to go in disguise to console her husband. “It’s us, Elizabeth. It’s us,” Philip says after she offers to do the dirty work from now on. The Americans has a knack for ending episodes with seemingly simple but heavily weighted dialogue.  

Everything seems to be falling apart but Philip does have his love for Elizabeth to lean on. That phone call from her to the travel agency just to say she misses him was very sweet and given that most phone calls in that situation would discuss business on this show, it was almost startling to see her call just to say hi. (I loved her matching chevron earrings and dress as Brenda Neill.)

Over in the USSR, Oleg comes home to a buffet and food and potential wives that his parents have arranged. The staging of this, with people sitting on one side of the table, is common in sitcoms to accommodate the camera but in this case, it emphasized that these women were having some kind of creepy audition for his affection. It must be tearing Oleg apart to watch his comrades threaten the grocery store employee by implying they could send his son into deeper trouble in Afghanistan. That’s really, really low.

Anyway, Philip’s relationships with his kids seem to be strained. When he needs an escape, rather than play hockey with his real son, he plays football with his fake son. Paige is wondering if she’s just meant to be alone, way too young to feel that way. Henry is disgusted that his parents never realized he was so good at math. It’s a combination of people in the early ‘80s not realizing that computers require a lot of math skills and the Jenningses not knowing their own son. This is a great payoff for Henry being left to his own devices for several seasons. I loved how the parents’ lack of recognition paralleled the viewers’ lack of recognition at this kid who was suddenly all grown up. Nobody had been looking at him for years.

Then there is Mischa, the son Philip will probably never meet. I understand Gabriel’s reasoning for sending the kid away: If he went to Philip’s house, there would be no way to explain a Russian son without the pieces immediately and finally falling into place for Stan. Still, how heartbreaking that this kid will never meet his father and the father doesn’t even know it.

It’s episode five and the two big plotlines of the season, the grain threat and Mischa, are seemingly dead. What new horrors await?  


Monday, April 3, 2017

Mike Pence's Erotic Applebee's Fantasy


The vice president’s car stops outside the Applebee’s, brazenly parked in the carry-out spot, and Mike Pence hesitates. He’s breaking his own rule, he knows. He shouldn’t be here in the face of such temptation. The sun shines down on the “Eatin’ Good in the Neighborhood!” sign, the curves of the letters somehow illicit in the ordinary afternoon.

The agent opens his door. “Sir? She’s waiting.”

Mike Pence walks through held-open doors, past the hostess smiling in her crisp shirt, past the fake sunglasses-wearing alligator head on the wall, past the salad bar with hurried DC office workers loading up on bacon bits, to the discreet booth at the back. She rises to greet him.

The eyes of the vice president drink her in, all in one glance. Sensible black flats. Knee-length gray skirt with matching jacket. Light blue blouse. Delicate silver necklace. She extends a hand.

“Mr. Vice President? Thank you so much for meeting with me today.” The deputy undersecretary of the Office of Management and Budget smiles and Pence thinks he hears a lilt at the words “so much.”

Pleasantries follow. He orders an iced tea, no sweetener. She opts for an Arnold Palmer: Just enough off kilter to pique his interest.

“As you know, I wanted to talk to you today about the enrolled bill memorandum. Our office has a number of concerns that we need to hammer out before reconciliation,” she says.

“Of course,” says the VP. “I understand the importance of the issue.”

Drinks arrive and she sips her iced tea/lemonade concoction. Light filters through a hanging stained glass panel and comes to rest on the woman’s ash blonde bob. A halo. She speaks again. He nods at her but has trouble hearing what she says.

The two peruse the menu, each of them coming to a consensus on a lunch special (2 for $20!), and then get back down to business. He focuses.

“Yes,” he smiles in the midst of discussion. “As I recall from my days in Congress, that budget reconciliation process can sure be a bear.”

She laughs. The waiter comes over to take their orders.

“Let’s see,” he says. “I’ll have the tomato basil soup and three-cheese chicken cavatappi.”

“Hmmm … what looks good. I’ll have the southwest steak and black bean soup and the fire-roasted chicken salad wrap,” she says.  

Fire-roasted. The vice president blushes.

“So how about we go over those numbers?” She smiles.

Mike Pence can’t take it anymore. He excuses himself and leaves the table. Near the salad bar, he grabs a phone from one of the agents and dials.

Karen answers. “Hello?”

“Mother?” he stammers. “Mother, I have sinned …”