Monday, April 30, 2012

Gimmie A Break!

Isaiah's The World Today Just Nuts "Celebrity In Chief"

Celebrity In Chief

I love that comic and wonder what the hell Lindsay Lohan was doing at the event Saturday?  That was really stupid on the White House's part.  I won't join in Rosie O'Donnell's attacks on the young woman but I will note that her very public problems should have precluded her being near a president.


"TV: Factual distortions only 'honor' lying" (Ava and C.I., The Third Estate Sunday Review):


Live TV for sitcoms ended (and ended quickly) because of syndication -- specifically because of the money to be made in syndication.  Once it ended, that was really it for decades.

It was NBC that brought it back to sitcoms or, rather, that carried the program that did.  This is a story of someone with strong comic timing and great skill.  However, it's a woman so you know that means it's a story that's rarely told.  We warned you throughout the 00s that the sitcom wasn't dead and that this nonsense had been paraded before in the first half of the 80s.  At that point, there were few sitcoms on TV and few that got any kind of an audience.  One that did was Gimmie A Break! which starred Tony and Emmy Award winner Nell Carter.

NBC suits realized she was a star when she was stuck in a supporting role on the network's The Misadventures of Sheriff Lobo.  She managed to shine in that and went on to shine, from 1981 to 1987, as Nell Harper on Gimmie a Break! -- earning Emmy and Golden Globe nominations.  Nell's story is not any different from most women in sitcoms.  Like Roseanne and Cybil and so many others, everybody 'knew' better than the actress playing the lead. Coleman Mitchell and Geoffrey Neigher 'knew' what was funny.  Often what they found 'funny,' Nell found sexist and racist.  She did not appreciate being given lines to make Nell Harper come off dumb or unintelligent.  She refused to say those lines.  She also didn't understand why Nell  was the only Black character in the whole town.  This was among the reasons the actress started using cocaine heavily.  She fought and resisted efforts to play women, and especially African-American women, as stupid.  She was right and she won in the end but don't for a minute think that it was easy for her.

Telma Hopkins would join the cast (after Mitchell and Nigher were gone) as Addy Wilson.  And from her first episode, where Addy and Nell clashed and then made up, it was obvious that Nell Carter and Telma Hopkins had that rare form of chemistry that Lucille Ball and Vivian Vance first brought to a large TV audience.   In one episode, Nell is upset that Addy's going to Hawaii without her.


Nell:  Look, I really want you to go to Hawaii.  And I want you to have a good time.  I want you to enjoy that beautiful room that we picked out together.  You know, the one with that beautiful view of the ocean.  I want you to have that view so you can get a good look at that tidal wave that I'm hoping will hit that hotel, knocking a palm tree against the door, trapping you in just before that volcano erupts blowing hot lava all over your open-toed shoes.


That's from "Cat Story" (written by Tom Biener, Mort Lachman, Ron Landry and Sy Rosen) which aired February 23, 1985 and which was the first live broadcast of a sitcom in decades.  Nell knew the move would attract attention to the show, she was proud of the work everyone was doing and glad that the changes she wanted had been incorporated into the show.  The show was on a winning streak (one that would continue through the end of season five) and she'd been doing interviews non-stop for months.  NBC was iffy on the prospect of a live show.  What if something went wrong, what if someone forgot a line, what if someone froze, what if, what if, what if.

Nell pointed out that she was a Broadway actress, she was used to live audiences and she'd just, the year before, put together a cabaret act that went over well.  She didn't see anyone having problems -- certainly not Telma who was use to live audiences from her time in Tony Orlando &  Dawn  and Dolph Sweet was not only a Broadway veteran, he'd also done live television. NBC needed to 'think about' the proposal.  Three months later, they were tentatively for it, but they wanted a simple show in terms of production.  The scenes of "Cat Story" all take  place in either the Kanisky kitchen or living room.


It was a funny episode, it was a strong episode, it drew new attention to the show and, more importantly, let more people know that 'look at the funny talking Black maid' wasn't what Gimmie A Break! was about.

It was a triumph.

Nothing about 30 Rock on Thursday could qualify as a triumph.


This is a great piece and does such a service.  No one else reviewing 30 Rock's live episode brought up Nell Carter's show, let alone told you about her problems with the producers.

This is such a great article because Ava and C.I. tell the stories no one else will tell.

Nell and Telma Hopkins did make a great comedy team and how great that two women (Ava and C.I.) took the time to honor and remind America about two other women (Nell and Telma).


"Iraq snapshot" (The Common Ills):

Monday, April 30, 2012.  Chaos and violence continue, the SIGIR releases a major report on Iraq, Tareq al-Hashemi's now being charged with the murder of six judges (among 300 charges against him), Saturday saw a big meet-up in Erbil that Nouri wasn't invited to, Bradley Manning's semi-secret trial gets some media attention, and more.
 
Starting in the US with Bradley Manning.  Monday April 5, 2010, WikiLeaks released US military video of a July 12, 2007 assault in Iraq. 12 people were killed in the assault including two Reuters journalists Namie Noor-Eldeen and Saeed Chmagh. Monday June 7, 2010, the US military announced that they had arrested Bradley Manning and he stood accused of being the leaker of the video. Leila Fadel (Washington Post) reported in August 2010 that Manning had been charged -- "two charges under the Uniform Code of Military Justice. The first encompasses four counts of violating Army regulations by transferring classified information to his personal computer between November and May and adding unauthorized software to a classified computer system. The second comprises eight counts of violating federal laws governing the handling of classified information." In March, 2011, David S. Cloud (Los Angeles Times) reported that the military has added 22 additional counts to the charges including one that could be seen as "aiding the enemy" which could result in the death penalty if convicted. The Article 32 hearing took place in December.  At the start of this year, there was an Article 32 hearing and, February 3rd, it was announced that the government would be moving forward with a court-martial.  Since then the court-martial has been scheduled to begin September 21st.  Recent weeks have seen a flurry of pre-court-martial hearings.
 
On this week's Law and Disorder Radio -- a weekly hour long program that airs Monday mornings at 9:00 a.m. EST on WBAI and around the country throughout the week, hosted by attorneys Heidi Boghosian, Michael S. Smith and Michael Ratner (Center for Constitutional Rights), topics explored include Bradley Manning. 
 
Heidi Boghosian:   We continue our updates on the Bradley Manning trial.  Senior staff attorney Shane Kadidal from the Center for Constitutional Rights recently returned from one of the hearings in Fort Meade, Maryland.  Welcome, Shane to Law & Disorder.
 
Shane Kadidal: Thanks for having me, Michael.
 
Michael Smith:  You know, Heidi and I, were down at the Mumia demonstration in Washington, DC yesterday.   We took the train down from New York.  We're sitting on the train, passing the Fort Meade exit on the train, you were sitting in that courtroom, in that semi-secret trial of Bradley Manning.  And we thought about, 'Well we'll get to talk to you today about what's going on in that semi-secret trial? And what do you think's at stake?
 
Heidi Boghosian: [laughing]  Are you allowed to talk about this, Shane?
 
Shane Kadidal: [Laughing.]  We are. It was funny sitting there to contrast, for instance, to Guantanamo occasionally classified hearings and every word of what's said in there is presumed classified until you get told otherwise.  It wasn't like that, but it was odd in other ways.
 
Michael Smith: Well it's odd because it's not like you can't say what you want to say but because  you don't have access to the court pleadings, you don't have access to the off-the-record discussions with the judge, you don't have access to court orders so a lot of this trial is a secret trial which I always thought to be against the First Amendment of the Constitution.
 
Shane Kadidal:  Right. It's interesting to note two things about that.  You know, first of all, people think about this First Amendment right to access to judicial proceedings being about basic Democratic values.  It's good to have government in the sunshine just as a philosophical principle.  But that's not what the Supreme Court says about it.  What they said about that very clearly in a number of cases in the late seventies and the early eighties, you know, openness actually helps the truth finding function of trials.  It gives a disincentive to witnesses to commit perjury.  It lets new witnesses come out of the woodwork and so forth.  By having the factual basis for legal ruling sort of exposed to the light of day and having the legal arguments exposed as well, it means that the court is less likely to make mistakes.  And that makes a difference when it comes down to accuracy.  And you can imagine how this might play out in a case like Manning's where an awful lot is riding, for instance, on the testimony of a supposedly quite drugged out and unreliable informer whose name actually happens to be redacted from the few public documents that we do have.  So that's one point, that openness helps the accuracy of judicial proceedings -- and it's especially important in cases like this.  The other is sort of a meta-point about media coverage.  While I was down there, there were only about two or three reporters that came out of the media room  during the breaks and sort of milled about and talked to us which I think was a little bit shocking giving the significance of this case.  You know, supposedly the largest set of leaks in American history, a set of leaks where the documents dominated news coverage globally for a good year-and-a-half.  And yet there are only two or three reporters there.  And I think it shows that when the government manages to choke off the flow of interesting detail about a case by redacting it out of documents or not releasing documents or holding proceedings off the public record, that is almost more effective at diminishing press coverage of an issue than completely barring the press from the courtroom as happens in classified hearings.  Because completely barring the press piques the press interest but simply blacking out all the colorful detail or the stuff that kind of makes a story interesting just results in boring coverage and eventually people sort of give up.  And I think that might be what's happening here.
 
Heidi Boghosian:  Well, Shane, since the media wasn't there, can you give us a sort of nutshell version of what happened?
 
 
Shane Kadidal:  You know, at the Tuesday hearing which I was at, one of the first issues up actually was around our letter to the court -- CCR's letter demanding that the court release its own orders including the protective order that governs what can be sealed off from public access and what can be released and what should be redacted.  So the court's own orders, then all the government's motions and the government's responses to the defense's motions.  And then a third subject which is an awful lot of the argument happens in what are called 802 conferences where the parties can agree to discuss anything in chambers and the public never has any sense of the legal arguments that are made or the conclusions that happen which is kind of different from a lot of public access issues because it means both parties can collude to keep something out of the public sight.  A little different from the usual situation where it's usually the government trying to keep something out.
 
Michael Smith.  Especially in a shocking case like this with, for example, one of the things that Manning was allegedly accused of releasing was a 39 minute video called The Collateral Murder Video where you've got US soldiers in a helicopter murdering two Reuters journalists and then seriously injuring two children.  It's all on video.  It's a War Crime.  They're trying to cover this up in this semi-secret trial. It's really shocking.  I remember the famous Judge Damon Keith saying, "Democracy dies behind closed doors."  So what do you think your chances are of prying open those doors?
 
Shane Kadidal: Well I think maybe on appeal they'll be good.  But what we learned on Tuesday was that this judge [Col Denise Lind] doesn't really want to hear it.  So the first thing she said was, 'You know, the Center of Constitutional Rights has sent a lawyer down here and asked for permission to address the court and asked for all this release including making all of these documents public and that motion which is essentially a motion to intervene -- is denied.
 
Michael Smith:  Reporters Committee for Freedom of the Press which I think is 45  press organizations did the same thing which is the same thing you guys did at the CCR
 
Shane Kadidal:  Right.  They wrote some letters as well.  And, you know, the letters kind of the court had disappeared into a black hole so we sent a second letter to the defense council so that he could kind of read it out in open court.  The judge revealed yesterday that she had, in fact, received both letters, which I guess was good news.  But the bottom line is this allows to go up the chain to the two courts of appeals in the military system  that stand above this judge and demand that we get immediate public access to these documents. And it was a First Amendment case so I was very clear that being deprived of public access to judicial proceedings even for a short period of time is irreparable injury and that kind of principle goes back to the Pentagon Papers case really.
 
Heidi Boghosian: What did Michael Ratner say in his piece last week in the Guardian?
 
Shane Kadidal:  A terrific piece which is worth reading.  But, you know, a couple of things. First that Manning's revelations including that the Collateral Murder video you know really were made in the face of military lies about what had actually happened.  You know, the military's initial response was that there was no question that that gunfight involved a hostile force when it turned out that two children and a bunch of journalists were among the people who were shot.  But I think that the bigger picture, I think it's ironic that the government's heavy handed approach -- as Michael said in his piece -- really only serves to emphasize the motivations for whistle blowing of the sort that Bradley Manning is now accused of. It's this kind of blanket approach on the part of the government to secrecy that forces people to reveal things by going outside the letter of the law.
 
Michael Smith: Shane Kadidal, who is the senior attorney at the Center for Constitutional Rights has been down at Fort Meade, Maryland on behalf of the center at the Bradley Manning trial.  We'll keep checking in on you, Shane.  Good luck with your appeal.
 
Ann Wright spent most of her life in government service.  In the army, she rose to the rank of Colonel.  In 1987, she went to work for the US State Dept and she continued serving there until her March 19, 2003 resignation, the day before the Iraq War started and she resigned in protest of that war.  At The Daily Progress, Wright pens an article on Bradley:
 
I recently inadvertently and fortuitously ended up at a meeting with a U.S. State Department-sponsored group of young professionals from the Middle East who were brought to the United States to learn more about our country. I mentioned that I was attending the hearings for the alleged WikiLeaks whistleblower Bradley Manning.
The reaction of the group was stunning. Immediately hands for questions went up. The questions began with a comment: Without WikiLeaks, I would never have learned what my own governments was doing, its complicity in secret prisons and torture, in extraordinary rendition, in cooperation in the U.S. wars in the region. WikiLeaks exposed what our politicians and elected officials are doing. Without WikiLeaks, we would never have known!
And that is what Bradley Manning's trial is all about and what the charges against six other government employees who face espionage allegations for providing information the government classified to protect its own wrongdoings -- to silence other potential government whistleblowers.
 
 
Today the Special Inspector General for Iraq Reconstruction released April 2012: Quarterly Report To Congress. From the introduction of the report, we'll note this:
 
As of April 3, 2012, DoS reported that 12,755 personnel supported the U.S. Mission in Iraq, down about 8% from the previous quarter.  Current staffing comprises 1,369 civilian government  employees and 11,386 contractors.  In February, Deputy Secretary of State Thomas Nides said that DoS will continue to reduce the number of contractors over the coming months in an attempt to "right size" Embassy operations.
As currently constituted, the U.S. reconstruction programd evotes the preponderance of its financial resources to providing equipment, services, and advice to the Iraqi Security Forces (ISF).  The Office of Security Cooperation-Iraq (OSC-I) manages U.S. security assistance to the Government of Iraq (GOI), OSC-I is staffed by 145 U.S. military personnel, 9 Department of Defense (DoD) civilians, and 4,912 contractors.  DoS's Bureau of International Narcotics and Law Enforcement Affairs (INL) administers the Police Development Program (PDP) whose 86 advisors mentor senior police officials at the Ministry of Interior (MOI).
 
Eli Lake (Daily Beast) notes, "A 2012 audit conducted by the Special Inspector General for Iraq Reconstruction (SIGIR) and released to the public on Monday found that 76 percent of the battalion commanders surveyed believed at least some of the CERP funds had been lost to fraud and corruption." There's so much in the report.  We'll note more of it tomorrow.  Right now we'll note page 59 demonstrates how the US government repeatedly subsidizes the weapons industry.  The US government thinks Iraq needs weapons.  For some reason -- despite having billions in oil money -- the US government seems to feel they need to 'assist' -- provide US government welfare -- to weapon makers.  So $2.54 billion will be spent, by the US government, on weapons for the government of Iraq.  Some of the sales are pending and the US tab right now is 'only' $968.4 million.  It's really something to read the report and find that, among other US agencies, Homeland Security remains in Iraq.  Remember, there was a drawdown, there was no withdrawal.
 
 
 
 G.W. Schulz (Center For Investigative Reporting) reports, "California continues to lead the nation in fatal sacrifices made to the conflicts, according to an analysis of the most recent Defense Department data available. The figures, which include both hostile and non-hostile casualties, cover three major operations across the two wars: Operation Enduring Freedom, Operation Iraqi Freedom and Operation New Dawn."
 
Turning to Iraq, Alsumaria reports a Baghdad roadside bombing has left 6 people dead and a Ministry of Health official's wife and 3 children were killed when unknown assailants slit their throatsAl Rafidayn says the wife and children were killed by blunt objects.
Over the weekend, a major meet-up took place in Erbil.  Before we get to that, let's recap the political crisis.  Only instead of me doing it, let's refer to the Special Inspector General for Iraq Reconstruction released April 2012: Quarterly Report To Congress.  And, please note, the Erbil Agreement is in November 2010 -- not December.  It's implemented in November. It's briefly implemented.  (Refer to the November 11, 2010 snapshot about Parliament meeting finally and the agreement that allowed it to.)
 
 Along with the serious threat posed by terrorism, an array of interlocking governance and economic issues endanger the health of the Iraqi state.  Foremost among them is the lack of reconciliation among the many political blocs, which stems from disputes over the March 2010 Council of Representatives (CoR) election and its unsettled aftermath.  The so-called "Erbil Agreement," reached in December 2010, ostensibly crafted a road map for resolving these disputes, though the map has not been followed.  Prime Minister Nuri al-Maliki thus sits atop a fractious coalition government wracked by internecine rivalries. 
Last December's events, including the Prime Minister's attempt to oust Deputy Prime Minister Salih al-Mutlaq and the Higher Judicial Council's (HJC) issuance of a warrant for the arrest of Vice President Tariq al-Hashimi, continued to cause turmoil this quarter.  Al-Mutlaq did not attend Council of Ministers (CoM) meetings (and called the Prime Minister a "dictoator"), while al-Hashimi remained outside the effective jurisdiction of the HJC, primarily in the Kurdistan Region.  Al-Mutlaq and and al-Hashimi are both Sunni members of the al-Iraqiya political bloc, a heterogeneous union of political parties dominated by Sunni interests.  In early April, efforts by Iraqi President Jalal Talabani and CoR Speaker Osama al-Nujaifi to convene a national reconciliation conference to address the issues dividing the government foundered, and the April 5 meeting was abruptly canceled.  The disputing factions have yet to agree on a new date.
Vice President al-Hashimi's decision to seek refuge in the Kurdistan Region aggravated an increasinly troubled relationship between the GOI and the Kurdistan Regional Government (KRG).  This dispute was also worsened by ExxonMobil's decision to pursue contracts with the KRG, despite GOI threats to exclude the company from further operations under its contract for work in southern provinces.  The GOI appears to have sidestepped the issue for the moment, announcing that ExxonMboil had "frozen" its dealings with the KRG.  But the relationship between the centeral government in Baghdad and the KRG remains tense with the flames recently fanned by the KRG's April 1 shutdown of all oil exports leaving its territory in retaliation for the GOI allegedly withholding about $1.5 billion from the KRG.
Iraq's political strife continued in mid-April with the arrest on the corruption charges of Faraj al-Haidari, the head of the Independent High Electoral Commission (IHEC).  Al-Haidari, who previously clashed with the Prime Minister after the 2010 CoR elections, stands accused of improperly using state funds.  Members of al-Iraqiya, the Kurdistan Alliance, and the Sadrist Trend immediately questioned the arrest.  The IHEC is responsible for administering Iraqi elections, including the upcoming provincial elections in 2013 and CoR elections in 2004.
 
 
Saturday, Al Mada reported on that day's big political meet-up in Erbil.  Among those attending were Iraqi President Jalal Talabani, KRG President Massoud Barzani, Ayad Allawi (head of Iraqiya) and Speaker of Parliamen Osama al-Najaifi.  Alsumaria reported on the meet-up and publishes a photo of the meet-up -- Moqtada al-Sadr is seated between Talabani and Allawi.  The consensus was that there must be a national partnership and that the Erbil Agreement must be implemented.

This wasn't at all surprising.  They and others have been calling for the Erbil Agreement to be implemented for months and months. Nouri al-Maliki is the one who agreed to the agreement and then trashed it when he got what he wanted out of it.
Lara Jakes (AP) called the meet-up a "mini summit" and feels that the participation of a wide range of groups -- including Shi'ites -- "underscored the growing impatience with the Shiite prime minister." Dar Addustour quoted from a press release noting the Erbil Agreement and the power-sharing and that the participants stress the need for things to be done logically (that may be "scientifically," I think it's logically), fairly and that the needs of the Iraqi people are paramount, they must be served and there should be no disruption of services.

The paper also notes that Ammar al-Hakim (head of the Islamic Supreme Countil of Iraq) was not present.  And it notes various reasons for that.  One common trait is he was not invited.  Why he was not invited is in dispute.  One explanation is that al-Hakim is seen as too close to Nouri, another given is that his stand is known and that those present were calling for possible solutions and debating their potential. 

Alsumaria noted that there's also a call to implement Moqtada's 18 points.  That's apparently on the same level of importance as returning to the Erbil Agreement.  Moqtada's 18 points were presented Thursday in Erbil.  There's been talk of them in the press; however, there's not any publication of the 18 points themselves.  They have been said to support the Erbil Agreement, they're supposed to guarantee judicial independence and be good for Iraqis but that's from statements made on Moqtada's behalf and not from anyone working with the 18 points.  Here's AP reporting on the 18 points on Thursday:


On Thursday, Moqtada Al Sadr offered an 18-point plan to solve the Iraq crisis, mostly through dialogue and political inclusiveness. The plan calls for having good relations with neighbouring nations, but to not let them meddle in Iraq's affairs. That appeared to be a reference to Iran, which is close to Nouri Al Maliki's Shiite-dominated government.
In a nod to Kurdish President Masoud Barzani, Al Sadr said Iraq's oil must be used for the benefit of Iraq's people, "and no individual has the right to control it without participation from others".

Al Rafidayn noted that the Saturday meeting was closed-door and took place at the headquarters of the Patriotic Union of Kurdistan. That's the political party Talabani heads. They also note that the meeting lasted three hours.  Also Al Rafidayn notes that Ibrahim al-Jaafari (leader of the National Alliance) declared Friday that Iraq needs to hold a national conference and needs to do so next month, the first week.  The previous deadline Nouri was working with came from Massoud Barzani.  The KRG will hold provincial elections in September and Barzani's made clear that if the political crisis isn't solved by then the issue of what the KRG does next can go on the ballot.  al-Jaafari just moved the deadline up and moved it up signficantly.

Like Ayad Allawi, Ibrahim al-Jaafari has held the post Nouri al-Maliki currently does, prime minister of Iraq.  In fact, Ibrahim was the choice of Iraqi MPs in 2005 and 2006.  The US refused to allow al-Jaafari to be named prime minister again and insisted that their pet Nouri be named.
 
 
Today's big news was  Vice President Tareq al-Hashemi.  The political crisis was already well in effect when December 2011 rolled around.  The press rarely gets that fact correct.  When December 2011 rolls around you see Iraqiya announce a  boycott of the council and the Parliament, that's in the December 16th snapshot and again in a December 17th entry .  Tareq al-Hashemi is a member of Iraqiya but he's not in the news at that point.  Later, we'll learn that Nouri -- just returned from DC where he met with Barack Obama -- has ordered tanks to surround the homes of high ranking members of Iraqiya.  December 18th is when al-Hashemi and Deputy Prime Minister Saleh al-Mutlaq are pulled from a Baghdad flight to the KRG but then allowed to reboard the plane. December 19th is when the arrest warrant is issued for Tareq al-Hashemi by Nouri al-Maliki who claims the vice president is a 'terrorist.' .

al-Hashemi was already in the KRG when the arrest warrant was issued.  He did not "flee" there.  He remained there with the approval of Iraqi President Jalal Talabani and KRG President Massoud Barzani until April when he left the country on a diplomatic mission. Nouri and his flunkies insisted that Qatar, Saudi Arabia and Turkey hand him over.  None did.  They also insisted that INTERPOL arrest him when he was in each of the three countries.  INTERPOL cannot take part in political arrests, it's against their charter.  They have to look impartial, per charter.

Alsumaria notes that May 3rd is when the Baghdad court intends to officially try al-Hashemi.  "Officially"?  Baghdad judges held a press conference in Februrary insisting al-Hashemi was guilty of the charges.  Having insisted that publicly -- in violation of the Iraqi Constitution -- they now want to have a trial?  The Baghdad courts are controlled by Nouri and a joke.  Al Rafidayn notes that al-Hashemi is still in Turkey and that the trial will take place in absentia.   Alsumaria reports that al-Hashemi and his bodyguards are now also charged with the murders of 6 judges.  Still having not learned what a joke they are on the national stage, the Baghdad judges sent their spokesperson Abdelsatter Bayraqdar out to make a statement about how "confessions were obtained on them, including the assassination of six judges, mostly from Baghdad."  The judicail system is corrupt and ignorant in Iraq.  They have confused the role of the judge with the prosecution and their actions betray their country's Constitution.  They should all be immediately removed from office.  They won't be, but they should be.


Al Sabaah notes that there are 300 charges in all, according to the spokesperson, and that there will be 73 defendants on trial and, in addition to being accused of murdering judges, al-Hashemi and his bodyguards are also being accused of mudering military officers.   Dar Addustour reports rumors that al-Hashemi will be stripped of his office prior to the start of the trial.
 
 
 
 
 
 

MAY 2012 MOVIE PREVIEW

Notwithstanding the good and necessary habit that the cynical filmblogger must practice of regarding all Hollywood franchise fodder as contemptible and inartistic, I will share a dirty secret with all of you, because we are all about trust: I am more excited about this summer movie season than I have been in years: certainly since before I started this blog. Most of the reasons why are coming up later than May (which, truth be told, looks faintly awful), but it needed confessing: I plan to eat the popcorn and cheerfully, readily shut down my brain, and watch things a-splode, and enjoy it. And I've been waiting for it for months now.

I will do my absolute best to continue delivering the haughty, withering reviews that you have learned to expect of me.

That admission out of the way, let's take a quick spin through May, light as it traditionally is on wide releases.

4.5.2012

There are only two real candidates for Big Film of the Summer, and the first of them comes right at the start: The Avengers, which once, four years ago, was going to be the grand culmination of Marvel's multi-year, multi-studio attempt in creating a franchise out of bits and pieces grown in isolation, and now feels more like one more stop along the road to whenever superhero movies burn out: I, for one, had a much easier time being enthusiastic before Iron Man 3, Thor 2, Captain America 2, and, undoubtedly, The Avengers 2 were all in the pipeline. That being said, it's still been an impressive example of corporate willpower, and love it or find it all somewhat distasteful, there really is no precedent for it in the history of big studio filmmaking. Besides, if even half the hype and enthusiastic reviews are true, it's going to be well above par for superhero movies, possibly - fingers crossed - up to the still-unsurpassed standard set by the very first movie in this puzzle, 2008's Iron Man.

Counter-programming having been impossible, there are no other big releases, though of the limited releases, I must admire the perseverance of The Best Exotic Marigold Hotel, which seems to be unaware that it's no longer 1996, and glib, charming British movies are no longer beloved by audiences nor awards-granting bodies.


11.5.2012

The second week in May, traditional home to movies that are going to shrivel up and die. That is clearly not what the studio hopes for Dark Shadows, the latest Tim Burton/Johnny Depp collaboration, this time with vampires. If it turns out to be the particularly dopey broad culture-clash comedy promised by the trailer, shriveling up and dying is the most it deserves


16.5.2012

Sacha Baron Cohen having exhausted the limitations of improvisational assault comedy, The Dictator is fully scripted; it is also, apparently, the second fish-out-of-water comedy in a row, this time with a repressive Muslim dictator stripped of his power and thrown into New York. Hopefully there's more to it than that, and it's not like there's any particular reason to mistrust Cohen, but something about it seems... off?


18.5.2012

I have one expectation and one hope for Battleship, and they are the same thing: that Liam Neeson growls "you sunk my battleship!" before shooting an alien in the face. If this does not happen - or worse, if the line is given to Taylor Kitsch - I intend to hate this boardgame-to-movie adaptation even more than I already have pencilled it. Because, seriously, if your only idea for making an exciting action movie about battleships is to put aliens in it, then fuck you.

Speaking of adaptations that shouldn't be, the second 2012 movie based on a self-help book is going to be What to Expect When You're Expecting. I expect regressive gender stereotyping and blandly fuzzy "family is best!" themes.


25.5.2012

Men in Black III is a thing now. And all the wishing in the world won't make it not be a thing.

Low-budget horror film about the fallout from Chernobyl: ingenious, or tasteless? Return of the Living Dead: Necropolis instructs us that it is not the former, but that hasn't kept producer Oren Peli from throwing his weight behind Chernobyl Diaries, and I'll admit this much: the trailer is a bit atmospheric. Summer horror isn't usually a good bet, but I will reserve my judgment.

Somehow the new Wes Anderson film, Moonrise Kingdom, isn't getting a wide release, but it starts its American run here. I sort of wish he'd have stuck with animation for a bit longer, but I'm trying very hard not to pre-judge this one off of the sour flavor his last two live-action films left in my mouth. At least, there seems to be no chance of this one having the same uncertain racial politic as The Darjeeling Limited, so there's that comfort.

my ideal vintage dress and an autumn thursday

orange collar vintage dress buttons borange collar bowred platform jc shoes seamed dear gladys tightsorange collar cardiganorange collar vintage cardi borange collar vintage dress buttons
When it comes to dresses, I definitely have a type. Well, I have a few, of course, but one major type incudes a peter pan collar and button details. These prim little dresses catch my eye every time, and I have to make an effort not to buy dresses that are too similar! I've done pretty well, so far, and have a nice amount – although there is, of course, room for more.

This is what I wore last Thursday, a cold, rainy day that was also very dark, and I found it hard to take photos. I think I need to experiment with some more photo-taking spots..! It'll mean I can share more of my home, too, which I would like to do. The dress is vintage from etsy, (and has a matching mini cape and I'll wear both soon – just not when it's windy because the cape blows up and delivers a pert little slap to the face, which I do not care for), the cardigan is from asos and I should have bought two because it's been so useful, the bow at the neck is from a package (hooray for online shopping!), the shoes are Jeffrey Campbell and super comfortable, and the back seam tights with the flower detail at the ankle are from one of my favourite Melbourne shops, Dear Gladys in Northcote.

I am sure this is, you know, a thing with lots of people, but tell me, do you have recurring types when it comes to clothing?

HOW TO STUFF A ROBOT BIKINI

I've been in a Vincent Price mood lately, and Turner Classic Movies just so happened to come along to scratch that particular itch for me last week, and that is why today and tomorrow are given over to a pair of "Why the hell not?" reviews - something I frankly don't do enough of, and will not have a terrifically good chance to do again for some time.

Dr. Goldfoot and the Bikini Machine is the movie you think it is. With a title like that, anything else would have been a severe disappointment, though with a title like that, the foggy line separating "good because it is campy" and "good because it is bad because it is campy" becomes very, very foggy indeed, and so disappointment or the lack thereof becomes a particularly nasty, tricky thing to quantify. At any rate, the film boasts one of Vincent Price's most archetypal performances - which may or may not mean the same thing as one of his best - which is all the more that it needs to stay alive these many decades later after the films it was largely spoofing and ripping off has faded into an obscurity even darker than the one covering up Vincent Price B-sides.

And since one can hardly even discuss the film's plot without explaining its context, permit me to do so: in the early to mid-1960s, American International Pictures, that legendary home of the best tacky B-movies no money could buy, fell ass-backwards onto an exciting new series, the Beach Party movies starring teen idols Frankie Avalon and Annette "The Busty Mouseketeer" Funicello, consisting of five movies released between 1963 and 1965, along with assorted spin-offs. Also in the early to mid-1960s, United Artists and Eon Productions started releasing the James Bond movies, which were about as far removed from the Beach Party pictures as you can get, prestige-wise, but occupied approximately the same position among the majors studios as Frankie and Annette did on the drive-in circuit: slightly garish wish-fulfillment fantasy with a genre wrapped around it (farcical teen musicals vs. spy thrillers), that made a tremendous amount of money relative to their cost.

The beach movies are really goddamn weird; I don't know if that was always the case, or if what seemed like routine teenybopper tosh back in the day simply proved unable to survive outside of the protective bubble of the '60s. At any rate, they're hybrids of all sorts of characters and situations that don't seem like they should fit properly into bubblegum pop musicals, filled with cameos and in-jokes referring to AIP's various other properties, most of which were some manner of horror film; let us say merely that Vincent Price showed up in these movies in some odd places, pimping out his contemporaneous Poe movies. And that starts to bring us around to where we need to be.

In relatively short order, the franchise began devouring its own tail, and that's where Dr. Goldfoot comes in: it's one of those spin-offs I mentioned, but while something like Ski Party is a fairly obvious variation on the formula ("it's a beach party, but in the winter!"), Dr. Goldfoot is more of a theoretical, even conceptual spin-off, owing in part to the film's own awareness that the beach films were on their last legs, and in part to the intention that it should be a sort of parody of the James Bond films that had turned into such a cultural watershed just ahead of AIP's own far more modest franchise. The closest I can come to describing it - and it is not very close - is that the film is a Bond parody set in the thematic universe of the beach movies, but it is not itself a beach movie. And despite being a strange amalgam of all sorts of things, AIP honchos Samuel Z. Arkoff and James Nicholson had enough faith in the project to give it the highest budget - over $1,000,000 - of any AIP project to that point.

All of which I admit, makes the film sound more interesting - or at least more difficult - or at really least, more problematic - than it actually is. I would dearly love to be able to slide an "under-appreciated classic" or some such phrase into this review, but it wouldn't belong there. Dr. Goldfoot is, bless its heart, pretty darn stupid, which is not at all an impediment to it being a terrific lot of fun, until it stops being much fun at all. And that's sort of the problem, but we'll get there soon enough. Meanwhile, the film: after a fun opening credits sequence animated by Ar Clokely, the creator of Gumby, with a title song provided by the Supremes, of all strange possibilities, we land in San Francisco, "the day after tomorrow". Here, a daft young man named Craig Gamble (Avalon) meets an obnoxiously gorgeous woman who calls herself Diane (Susan Hart), though by the time Craig and Diane first bump into each other in a dumpy little restaurant, we already know that something is hugely off about her: she was filled up with bullet holes by the cops without so much as losing her stride. The reason, we quickly find out, is that she is a robot controlled by a devious supervillain Dr. Goldfoot (Price). She, or it, identified as No. 11, is his finest creation in an army of gorgeous female robots designed to seduce the wealthiest men in the world, marry them, kill them, an bring their fortunes back to Goldfoot's lair beneath a cemetery. Craig was misidentified by Goldfoot's incompetent assistant, Igor (Jack Mullaney), himself revived from the dead by the mad doctor, as being Todd Armstrong (Dwayne Hickman), an extravagantly rich son of San Francisco privilege; and this turns out to be bad luck on two counts, first because Craig fell in love with No. 11 pretty much on the spot and is now dedicated to finding her; then, because Craig works for his fussy uncle Donald J. Pevney (Fred Clark) in the San Francisco office of the Special Intelligence Command. This means that the phrase "I'm/you're a SIC man!" is used many times - fewer than it feels like, I am sure, but more than I was comfortable with.

Price may be the draw, and the top-credited name, but Avalon is the lead, and that makes a lot of difference: he's good enough at being goofy in a relaxed, "aw shucks, me, a sex symbol?" way that the film never actively suffers for his presence; he was AIP's top male lead of teen movies for a good reason, which is that he actually had a sense of humor and a game willingness to make light of himself. But his was still a B-studio contract player stuck in dippy comedies in the 1960s, and that puts a relatively firm ceiling on how good at anything he could actually be, and crucially, how much of his charm remains applicable almost five decades later. It means that a lot of the actual plot of Dr. Goldfoot is taken up by a comic lead about whom the nicest thing we can say is that he's awfully pleasant and unserious, but never really laugh-out-loud funny; and everything about his interplay with sideckick Hickman relies on our appreciation of their work together in previous AIP movies, and this is something that most of us are not so very likely to have.

But Price, now Price is a bit of pure magic. He complained in later years that the film was compromised from its original concept of being a full-on camp musical, some of this footage surfacing in a TV special called The Wild Weird World of Dr. Goldfoot; but on set, at least, he does not appear to have had any reservations about the project at all, throwing himself all the way into playing a terrifically overripe bad guy with an exaggerated everything: evil laugh, imperious treatment of his flunky, sexlessly lascivious attitude towards his robot girls. If there is one thing I have always loved about Price, it is that he never tries to be above the junky material he appears in (this is one of the main reasons I've always preferred him to fellow B-movie legend Christopher Lee), but instead breathes life into the movie by treating it as an equal, and apparently believing with his whole heart that camp can be played just as sincerely and richly and thoughtfully as anything else. In this respect, Dr. Goldfoot is one of his masterpieces: unlike the Corman Poe movies, or even some of his wackier horror vehicles, it's impossible to argue that Goldfoot is a particularly dignified role, but Price respects the character even at his most trivial, and so the various parodic Bond villain tropes he has to embody feel altogether real and honest, and therefore funnier. By no means is Dr. Goldfoot one of the great Bond parodies - though it was a major influence on Austin Powers: International Man of Mystery, which was - but I think there's a real chance that Dr. Goldfoot, the character and performance, is the all-time best parody of a Bondian supervillain. No other actor could get so much mileage from such little material; even his constant berating of Igor remains fresh.

And that is, alone, enough to keep the movie full of energy for quite a long time; whether it would work in the face of a truly bad hero, I cannot say, but as I said, Avalon manages to be harmlessly charming, and when he and Price finally meet face to face, they turn out to have really excellent chemistry, so the film never does end up drifting into "one good performance and a whole lot of shit" territory. Where it does end up drifting, alas, is into "the minute it starts having a plot, it begins to fall apart" territory: so much of the appeal of the movie lies simply in watching '60s thriller tropes set up and then subverted or more often straight-up ignored, that the film's relative inactivity becomes a merit. At a certain point, though, the fact that Goldfoot is a villain and that Craig is a romantic hero becomes important, and so the movie ends with a chase across rear-projections of San Francisco, intercut with second unit photography of people who don't look very much like any of the actors off in the distance. Better yet, it's a comic chase, which means lots of incongruous vehicles are used. And oh, my goodness, does it die a horrible death. At 88 minutes, there's no chance of the film overstaying its welcome, but the last 20 of those minutes feel like at least 75% of the total running time. It is an agony.

It's because activity is not the point of this movie: joking and fooling around are. Director Norman Taurog - I have to wonder how he ended up directing pictures of this sort after becoming the youngest winner of the Best Director Oscar in history, and I imagine he wondered the same thing - is fairly good at that; at letting the camera hang out and watch, keeping the pace up through judicious use of editing around the bouncy performances. But he cannot deal with the movie running around and up and down, for this has not prior to that been part of its vocabulary, and the shift is too drastic to work.

Does it really matter, though? It's not like the film was some kind of masterpiece until that point. It's a fluffy, dumb lark, and absolutely nothing more. A dodgy ending is enough to suck some energy out of the film, but not enough to make it "bad" - it was that already. It's just so fun and silly that there's no real point in noticing that it is bad, and the worst that the ending does is provide an opportunity to stop paying quite so much attention to a film that is already something you kind of pay attention to more than it is something you attentively and fixedly watch. And since it was made chiefly to provide an excuse for teenagers to make out periodically, it's hard to conclude that it's not succeeding on whatever aesthetic level it actually pretends to.

Tribeca 2012: Festival Wrap-up

I caught eight films from the lineup of dozens at this year's Tribeca Film Festival. Two were in person, the others part of the festival's robust online component.

The highlight, without a doubt, was Frederic Jardin's Sleepless Night, which is the best thriller I've seen in years. It's one of the films I caught on demand, which means it's available to you all as you read this. Go watch it. You won't regret it.

Side by Side and The Revisionaries are the other two films I recommend highly. Both documentaries, the former is a thoughtful discussion about the filmmaking process, while the latter looks at the men and women shaping the way our children are taught science and social studies. Both are entertaining and informative, albeit in very different ways, but if they manage to make the rounds theatrically, they've got an early fan in yours truly.

I was also a fan of The Russian Winter, a documentary about musician John Forte, and Death of a Superhero, which followed a teenage boy with terminal cancer. They each have some minor problems but overcome them with complex lead characters and strong production values.

Less successful was Babygirl, a cliche-ridden coming-of-age story, but it has some redeeming qualities (like Yainis Ynoa's strong leading performance). Two films that I wouldn't really recommend at all are Town of Runners (a strong premise wasted by flawed and seemingly slanted execution) and The Giant Mechanical Man (a parade of indie cliches without strong characters to overcome them).

Of course, my Tribeca experience was tiny compared to some others'. Jason Bailey reviewed a whopping 45 Tribeca titles over at the blog Fourth Row Center. Meanwhile, The Playlist features perhaps the best and most comprehensive mainstream coverage.

I wrote back in January my blogging goals for the year. One was to cover three major film festivals. Tribeca was the first, and now, I patiently wait until Philadelphia and NYFF in the fall. Before that, however, we have Cannes, which kicks off in just a few weeks. Tomorrow, I begin my coverage. It's pretty in-depth (and keeping me up at night), so definitely stay tuned.

SOMETHING HAS GONE AWRY

So, I was gone all weekend, and prior to leaving, I set up not one, nor two, but all of three posts to go up in my absence. You have perhaps noticed that none of those have, in fact, published; because fuck Blogger, is why. I will dribble them out over this evening and into tomorrow, so as to avoid stacking everything, but in the meantime my apologies for my apparent demise.

Further apologies: after doing an entire Whit Stillman retrospective just because I had plans to see Damsels in Distress yesterday, I fucked up and did not see it at all, nor do I think that I'll have a chance to see it while it remains in theaters. Because I abhor gaps, and because, frankly, I'm really excited to see it, it shall be reviewed, eventually, when the DVD hits, but till then, I didn't want anyone to sit around, waiting for something that wasn't going to show up.

The moral of the story: don't ever take weekend vacations.

Mother's Day: 4 gifts for new moms

Last week, I featured a Mother's Day gift guide with gift ideas for our own mothers. But I've gotten emails from husbands asking for gift ideas for their wives, since they want to honor the mothers of their own children. How sweet is that sentiment? So, here are four Mother's Day ideas for new mothers...
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About a Little Mole Who Wants to Know Who It Was that Pooped on its Head. (Seriously.)

The funniest thing we discovered in Amsterdam was definitely this classic children's book. The title? "About a Little Mole Who Wants to Know Who It Was that Pooped on its Head." Look inside...Read More >

Motherhood Mondays: Biking in Amsterdam

I'd love to share our Amsterdam photos later this week, but in the meantime, want to see some crazy photos of bikes in Amsterdam? Here goes...
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Tribeca 2012: The Revisionaries


Anyone who's watched The Daily Show or The Colbert Report knows there's a humorous side to even the most poisonous political battles. In The Revisionaries, director Scott Thurman skewers the Texas State Board of Education in a similar vein and to great effect. Unless you're a "young-earth creationist" like board member Don McLeroy (pictured above), or a Jerry Falwell/Pat Robertson disciple like Don's fellow board member, Cynthia Dunbar, you'll find The Revisionaries quite frightening. But Thurman thankfully manages to keep things light enough that your blood pressure won't increase—at least not to fatal levels.

Every decade, the Texas State Board of Education meets to set new standards for public school textbooks. Publishers are free to write what they want, but for a book to be sold in the state of Texas, it must be approved by this group of 15 locally elected officials, meaning if you don't follow what the guidelines they set, you're not selling a single book. The implications, however, reach farther than just Texas. According to a University of Texas study, somewhere between 45% and 85% of textbooks in America's public schools come from Texas.

In 2010, the board met once again to review and amend the textbook standards. The board was led by McLeroy, a dentist and (to steal a phrase from Mitt Romney) severely conservative Christian, who subscribes to the school of thought that the Earth was created between 5,000 and 10,000 years ago and that man walked with the dinosaurs. Unsurprisingly, then, one of the most fervently debated issues at the first set of hearings is how to teach the theory of evolution. Don and his closest allies, including the aforementioned Dunbar, want to include the words "strengths and weaknesses". They think not including these words is tantamount to intellectual censorship, though they're careful not to call for the inclusion of any sort of intelligent design or creationist language.

Opponents to this group includes a number of moderate and liberal activists, as well as scientists, writers, and professors that come to testify at the public hearings. They believe the "strengths and weaknesses" standard is a slippery slope that can ultimately lead to teaching intelligent design, despite the absence of such explicit language. They also don't equate a hole in the theory of evolution to a "weakness". Just because science hasn't uncovered the source of life doesn't mean Darwinism is a weak or flawed premise.

Ultimately, a "compromise" is reached by the board members, but for all intents and purposes, it's a loss for those on the Left and Center of the political spectrum. But the evolution debate is only the beginning. Months later, the board turns its attention to American history, and things, if it's even possible, get even uglier than they did the first time. But the hearings are now on the public's stream of consciousness, and McLeroy must balance his dental practice and board duties with a heated re-election battle.

The Revisionaries is just flat-out crazy. As is my policy with documentaries, I'm not giving the film a star rating, in order to leave me free to editorialize. So I don't feel conflicted saying Don, Cynthia, and most of their colleagues are out of their minds. Don is quoted saying education is too important not to politicize it, while Cynthia wrote in her book, One Nation Under God, "The establishment of public schools is unconstitutional and even tyrannical." Their American history debates are truly maddening, what with their insistence that discussing racial discrimination in America be removed from the standards, references to hip-hop music be replaced by country, and the 44th President of the United States be consistently referred to as "Barack Hussein Obama" (really, will you be requiring all American presidents to go by their middle names? Also, fuck you.)

Writing about The Revisionaries isn't as fun as watching it was because the Thurman's playful style (particularly when it comes to music) is sadly absent from this post. But he and his team manage to make dull-as-dishwater C-SPAN fodder interesting and entertaining. The cuts to the more rational board members are always deliberate and, nine times out of ten, they elicit laughter. Don, too, is such an unusual guy that you can't help but begrudgingly admire his earnestness while simultaneously being scared to death by his power and influence. Still, when he (spoiler alert!) loses his seat on the board, you'll feel a twang of sympathy for him. He means well. He's just extraordinarily misguided.

The Revisionaries is fascinating if for no other reason than you get to see how far some of our fellow countrymen and women are detached from reality. Their scorn for "science" and "experts" is comical but bizarre and very real. Having faith is one thing but having faith at the expense of logic, fact, and ironically enough, compassion is another. The two schools of thought can be reconciled easily enough if one has an open mind, but the people depicted in The Revisionaries do not. I'm happy Thurman and company have shed some light on them in an amusing way, but in the process, he scared me shitless and made me angry. His film is one that will undoubtably stir you on some level, and though you the feelings might not always be pleasant, at least we still have seven years before this process must start up again.

Sunday, April 29, 2012

Today's Critique


Today's first page critique is entitled: DEAD ON THE VINE. My comments follow, but overall I think today's piece raises issues specifically dealing with voice, setting and tone...more on that after the piece:


            Chief TR Henderson tried to maintain an appearance of competence and dignity as he approached the conference table for the meeting, but the chair groaned when he sat down, and Commissioner Dale Kirkpatrick flashed him the stink eye. Splendid. He was still at the top of her Stink List.
            “You’re late.” Commissioner Rick Petit didn’t bother looking up from his notes.
            “My apologies,” TR replied. “I stopped to help a disabled on Second Ave.” The smell of coffee and croissants called to him, but he resisted. Instead, he tried getting comfortable on the metal folding chair. It wasn’t going to happen. The commissioners all sat in padded chairs, forming a firing squad on the other side of a conference table the size of Rhode Island, and they stuck their mammoth chief of police in a folding chair. Classy.
            Kirkpatrick maintained her narrow-eyed glare, now directed at the fresh spot of motor oil on TR’s shirt.
He couldn’t be more delighted with the attention.
            Petit finally looked up. “Thanks for coming. You know this isn’t easy for any of us.”
            TR nodded.
            “The drug problem is growing worse.” Petit glanced at his notes before continuing. “We want to know what you’re doing about it.”
            Simple enough question. “Officer Mendoza is—”
            “What are you doing about it?” Kirkpatrick demanded.
            “I put my best officer on it,” he responded. “Mendoza’s got fifteen years of experience dealing with—”
            “That’s great,” Petit said, “but what’s he doing now? When’s he going to arrest Lester Rowley?”
            TR sat back and fought to keep a smile from cracking. “We have no proof that Lester Rowley has anything to do with the drug trade at the high school.”

My comments:
Overall, this first page didn't grab me. I found the tone a little inconsistent and the humor unsure of itself. The use of 'stink eye' and 'stink list' and asides like 'classy' are, I assume, designed to create a slightly smart-arse/wise guy tone but I didn't really get that - instead it seemed a bit juvenile given the caliber of the men in the room (all police commissioners). I also didn't really understand where we were - it sounds like a board room, with coffee, croissants and a massive conference table - yet all the commissioners are in comfy chairs and TR gets a metal folding chair (? really? I couldn't picture this) and it was a metal chair that groaned when he sat down in it (which seems a very un-metallic word - wouldn't it squeak, clang or grind?). 


The dialogue also seems unsure of itself - why does Petit say "You know this isn't easy for any of us"? Surely a drug problem at a high school is hardly an overwhelming issue and also why does TR fight to keep a smile from cracking when he says there's no proof Lester Rowley has anything to do with the drug trade? Again, as a reader I am unsure whether this is supposed to be serious, slightly tongue-in-cheek or what. So far the author's voice and tone aren't clear to me. Nor is the setting (apart from a generic conference room that I couldn't really picture). I need to be able to visualize the setting as well as the characters not merely be told that the Chief of police tried to 'maintain an appearance of competence and dignity' - how? What did he do? Did he straighten his jacket, look wisely over his glasses?? I had a hard time picturing him or the other commissioners in the room.


Though this first page had references to some kind of ongoing issue between TR and  Commissioner Dale Kirkpatrick I don't get a sufficient sense of tension to care - nor am I really compelled to read on as yet. In short, I think this first page needs a clearer voice and tone, a stronger sense of place and character and a big dose of drama and tension. At the moment it feels too uncertain and too passive to be compelling.


What do you think?

my makeup kit on saturday

lipgloss blipglosslipgloss c
Happy Monday! I didn't expect to disappear over the weekend but it ended up far busier than planned. It was good, though. How was yours? Here is my makeup from Saturday. I felt like something different; I always have red lips – unless I have dark pink lips, every now and then, ha – and I decided to try pale pink lips instead. And lip gloss, no less! This one is by Bourjois and I really like it. I thought John would hate kissing it but apparently, I was wrong. Mwah!

Famous Crashes of NASCAR History (Number 3 Donnie Allison v Cale Yarborough)


Donnie Allison and Cale Yarborough /// Daytona /// 1979







Rubbin' is racin'.



And so is punchin'.



I'll bite your damn leg off, Yarborough.


Not before I kick you in the paunch, Allison.


Heck with that. Let's all just get drunk and play Twister.




A TRIP TO THE SOUTH AND BACK IN TIME: CASERTA

You know that, from time to time, I like and need to escape to survive to my rather stressful life style. I'm lucky enough to have quite grown-up children, an understanding husband and very special girlfriends who make that possible. This time we left from Rome by train and went  to Caserta for a couple of days, guests at one of our friends'.  She,  her lovely mother and her sister were our impeccable, generous host ladies and we had a great time! 

First of all, we visited Caserta 18th Century Royal Palace and its park,  roaming around the crowded fields and gardens for hours.


The sunny spring day was warm and slightly windy so perfect for trips and picnics. In Italy it was a national holiday (we celebrate the liberation from Fascism  every year on 25 April), so the place was full of joyful groups of friends and families.

Created by the Bourbon king Charles III in the mid-18th century to rival Versailles and the Royal Palace in Madrid, the complex is exceptional for the way in which it brings together a magnificent palace with its park and gardens, as well as natural woodland, hunting lodges and a silk factory. It is an eloquent expression of the Enlightenment in material form, integrated into, rather than imposed on, its natural setting.

The Palace as film location
Out of curiosity and of ... "my one weakness",  can you believe that the Palace was used as the location for Queen Amidala's Royal Palace on Naboo in the 1999 film Star Wars Episode I: The Phantom Menace?   In that movie the TDH Brit actor (my one weakness, in fact) we often mention here at FLY HIGH! was a fighter pilot. Does that mean  he was there while shooting the movie? Nobody knows for sure but he may have been there. If he actually did,  I hope he liked it as much as I did.
This scene of The Phantom Menace was shot at Caserta Palace
The Palace was then used again in the 2002 film Star Wars Episode II: Attack of the Clones as Queen Jamilla's palace. The same room was also used in Mission: Impossible III as Vatican City. In fact, the square where the Lamborghini is blown up is actually the square inside the Palace. The main staircase is also used in Angels & Demons as the Vatican's staircase. 
These are the international productions shot here you may have seen, but many other films, especially Italian ones have Caserta as their location. For instance, Ferdinando and Carolina (1999) or Il resto di niente (2004).

Historical Description

In 1734 Charles III (Carlo Borbone), son of Philip V, became King of Naples, a self-governing kingdom that was no longer part of the Spanish realm. He decided in 1750 to build a new royal palace, to rival, and perhaps outdo, the palace of Versailles, as the symbol of the new kingdom. It was designed to be the centre of a new town that would also compete with the leading European cities. He employed the famous architect Luigi Vanvitelli, at that time engaged in the restoration of the Basilica of St Peter's in Rome. The tist stone was laid in 1752 and continued throughout the reign of Ferdinand IV, Charles's successor, until Vanvitelli's death in 1773.

The Bosco di San Silvestro (Wood of St Sylvester), on the two neighbouring hills of Montemaiuolo and Montebriano, was covered with vineyards and orchards when in 1773 Ferdinand IV decided to enclose it, together with some adjacent land, and create a hunting park. The building there served as a hunting lodge on the upper floor, the lower being used for agricultural purposes.
The hill of San Leucio takes its name from the Lombard church at its top. A hunting lodge, known as the Belvedere, had been built at its foot in the 16th century by the Acquaviva family, Princes of Caserta. The fief had been purchased by Charles Ill, and in 1773 Ferdinand IV initiated work on the socalled Old Hunting Lodge, to be abandoned after the death of his son. Between 1776 and 1778 the Belvedere was restored, the main hall being converted to a church.

In 1778 the King decided to begin the production of silk. His architect, Collecini, converted the building for this purpose, as the centre of a large industrial complex, including a school, accommodation for teachers, silkworm rooms, and facilities for spinning and dyeing the silk. He issued a series of laws in 1789 to regulate the San Leucio Royal Colony: this laid down piecework rates of pay, abolished dowries, and prescribed similar clothing for all the workers, in what has been described as a form of protosocialism. During the decade that followed, plans were made for enlargement of the village, and Collecini produced designs for a town, to be known as "Ferdinandopolis," but this dream was not realized because of the French occupation.
The fishponds in the gardens of the Royal Palace, the Royal silk factory, and the planned new town all required large amounts of water, and so the Carolino Aqueduct was built (completed in 1769) to bring water from the Fizo spring over a distance of 38km to the top of Montebriano. The final stretch runs through the Tifatini hills, where the medieval village of Casertavecchia, with its Romanesque cathedral, forms part of the panorama visible from the Royal estate.


Up the hills: Casertavecchia
And could we resist the charm of that little medieval village up there on the Tifatini hills? We couldn't and we didn't, of course.  So, though a bit tired for wandering for kilometres around the park and the huge halls of the Palace, we decided to travel even farther back in time, to Casertavecchia and to the Middle Ages!
Pictures from Casertavecchia

 

How did we end the long but pleasant walking trip? In a typical pizzeria where I ate one of the most delicious pizzas in my life, accompanied by our nostalgic chats about drama and period drama we used to watch on TV when we were younger (sigh!) and finally discussing our proposals on what to watch from our "portable archives" before sleeping. Gorgeous, flawed action hero on a mission in Africa? Yes!!!

The next day, in the morning, we visited a wonderful site,  S. Angelo in Formis , the amazing Benedectine Abbey at 4 km from  Capua. The place was incredibly solitary, silent and ... impressive. Among the  ancient frescoes of the Abbey and the incredible  remains of Frederick II's great empire in town , our morning flew away in a while. Some shopping,  a delicious lunch - our diets had to be interrupted for ... irresistible temptation - and it was time to get on the train back to Rome,  proudly carrying the new addition to our luggage,  a tasty souvenir: mozzarella di bufala campana. Yummy!

Pictures from S. Angelo in Formis


Many thanks to my friend K/V for granting me the permission of using the pictures she took
My gratitude to E. and her family  for the generous hospitality  &  for the great time we had together.
Till next meeting, trip or journey!