Monday, January 18, 2010

BEAUTY: Clothing--Ferragamo

Ferragamo has never been one of my favorite houses (not that I disliked Ferragamo, it just wasn't on my radar), but after this past weekend's Milan Fashion Week, I have been won over, BIG TIME. The venerable house, founded by master shoe designer Salvatore Ferragamo in the 1920s, showed a plush and poetic F-W '10-'11 collection that made my jaw drop. This is definitely what I want to be wearing next winter and--oh, hell, who am I kidding? I mean EVERY winter: I'd never want to take these clothes OFF! Ferragamo showed a heady mix of 1) dashing winter wear that included luscious leather boots (what look almost like magnificent riding boots as well as some slouchy suede boots) with romantic and fantastically VOLUMINOUS knit scarves and 2) rich evening wear in the form of paisley velvet jackets with Bohemian-styled and extravagantly tasseled silk scarves, some peeking out from under said sumptuous jacket. And everything is designed in savory autumn colors like plum, cranberry, burnt pumpkin, blueberry and oatmeal. Spectacular.

http://www.ferragamo.com/

BEAUTY: Clothing--Vivienne Westwood

At Milan Fashion Week this weekend, Dame Vivienne Westwod showed a F-W '10-'11 collection true to her imaginative form. In the collection was one of her favorite menswear pieces, the kilt. I never tire of her fantastic re-imaginings of this marvelous garment. I also love the day-glo orange shoes, the fascinating knit tasselled socks worn with the kilts, and the argyle tights (!).

BEAUTY: Clothing--Missoni

At Milan Fashion Week this weekend, Missoni showed classic earthy, Italian colors and gorgeous textures for Fall-Winter '10-'11. I really like the presentation too: instead of a traditional runway show, the models were simply lined up on a shallow stage.

Wednesday, January 13, 2010

"And the Angel Said..."

And the Angel Said...

“I have a secret message for you:
your father is not God;
there is no Trinity;
there will be no Judgement Day;
there is no heaven;
instead, you are all children
of the Universe itself,
parents to yourselves;
instead, there is Infinity—
not Three but All, pouring into
a bowl of Emptiness; instead,
you must wake to yourselves,
and live with each moment and
deed and thought as they occur.
These things are not above
or beyond you but around you
and within you, not after death
but now, during life and forever.”

©JEF 1998--2010

BEAUTY: Art--Betsy Youngquist

I recently discovered the work of Betsy Youngquist, an amazing artist who uses porcelain bisque doll faces and beading to make bizarre and disturbing zoomorphic figures.



Visit her site for more images.
http://www.byart.com/

BEAUTY: Man--Green Gartside

Green Gartside is the mastermind behind, and the founding member of Scritti Politti, a musical group that has been around since 1977. Back in the 80s, he sported a head of beautiful golden hair and looked like an angel (top two pictures). He took a step back from the public spotlight but re-emerged in 2006 with a new release. Although I miss the long golden tresses, I was pleased to see him looking as he should--older, wiser, with some life and experience in his handsome face (bottom two pictures).

He sings like an angel too--still does. One of Scritti's biggest hits was 1984's "Wood Beez (Pray Like Aretha Franklin)" seen below. His breathy, processed delivery combined with a unique interpretation of an American funk/soul sound made for a danceable yet intelligent song.

http://www.scritti.net/
http://bibbly-o-tek.com/

DREAM 1.12.10 Lakshmi and Leo

I am looking around at a metaphysical bookstore. There is a little stage with 4 or 5 guys who are going to play music. I don’t pay much attention until the music actually starts. It is Indian and although the guys appear to be white, the name of the group is Lakshmi and Leo. A customer joins me. We are both very impressed with and totally entranced by the music. It is spiritual and powerful, peaceful yet joyful and moving. It is magical, like nothing I have ever heard. We look at each other and marvel. I say that I want to find out more about them.

DREAM 1.11.10 Nameplates From the Future

I am with some people near a body of water, to investigate some odd happenings: things keep flying up out of the water. Since the objects fly out at random, no one really sees exactly what they are. Finally, I follow one and see that it is not a natural item at all--we had assumed they would be creatures, parts of shells, or rocks. They are actually metal plates with writing on them--from the future. I find one, pick it up and am excited to read it. It might be English. It needs to be studied.

Sunday, January 10, 2010

Just finished reading...

...BLUE HEAVEN by Joe Keenan.

The cover of the book is rather confusing. I have a trade paperback with the name of the book in a classic Art Deco font and a cast of 1930s characters, as seen above. I was therefore surprised to discover, early in the novel, references to life in the 1980s (it was published in 1988). Okay, so I adjusted my perceptions, but the writing style only continued to reinforce the sense of another era. The book jacket likens author Joe Keenan’s first novel to the work of British comedic author P.G. Wodehouse (who was writing in the 20s and 30s), but I found the writing to be a little Noel Coward-esque. Keenan can be clever, and has a way of setting up a joke so that the punch line can be delivered in an arch and urbane way. When not setting up a joke, his writing is smoothly sufficient.

But the story and characters fall short. The premise of the book—a gay man and a female acquaintance decide to enter into a sham marriage solely for the money and gifts they expect to receive at the wedding—is pretty wobbly to begin with. Neither of them like each other, even platonically. And the narrator, who seems to be a normal, intelligent man, is dragged—unbelievably so—into this silly, greedy plot. It seems like the story could be a fun, light-hearted romp, but it quickly becomes tedious, adding one ridiculous, implausible scheme onto another, and nothing ends up happening. The addition of a drag queen and the mafia do nothing to alleviate the monotonous and tiresome “hijinks,” and the last-minute “deus ex-machina” ending is fairly anti-climactic.

The characters themselves are rather thinly drawn, making it difficult to form any attachment to anyone. They are either “caricatures” or “types” and behave exactly as one would expect from a form where zaniness is supposed to abound and hilarity is supposed to ensue. The entire thing feels like an excruciatingly long half-hour sit-com, which made total sense once I discovered that Keenan writes sit-coms for a living ("Frasier" and "Desperate Housewives").

Recommend? Although the writing is good, and there were a few “laugh-out-loud” lines in the book, ultimately I would say don’t bother with this one. Skip it; you’ll live your life just fine without it.

Sunday, January 3, 2010

Currently listening to...

...the tender and gossamer-like "Clowns" by Goldfrapp. (I'm on a kick.)
I adore how this song becomes more and more transparent until finally all that's left is the strings...


The visuals are enigmatic and nostalgic, perfectly reflecting the texture of the song.

http://www.goldfrapp.com/

Currently listening to...

..."Monster Love" by the transcendently lovely Goldfrapp: gorgeous, gauzy, heartfelt, and a heavenly, breathy chorus so beautiful, it hurts.

"Everything comes around/
bringing us back again/
Here is where we start/
and where we end."


And check out this lovely live version on a promo tour for the album. Smaller but just as beautiful...



http://www.goldfrapp.com/

Just watched...

..."Shortbus" directed by John Cameron Mitchell.


In 1998, John Cameron Mitchell directed and starred in the hilarious, poignant, and hard rocking "Hedwig and the Angry Inch" based on his stage musical of the same name. For a 2006 follow-up project, he did something completely revolutionary—and that pushed buttons for a lot of folks: he made a film that showed actual sex. Full-on oral sex and penetration, gay and straight. But after seeing “Shortbus,” I can assure you that the result is anything but pornographic. Despite the graphic sex scenes (yes, to a “finish”), this film is decidedly UN-erotic.

The story follows a group of New Yorkers through their lives and psychological trials and tribulations which happen to involve their sexuality, hence the sex scenes. The result is a peripherally sexy but ultimately heavy journey through some crippling self-doubt and despair. Mitchell has said about the sexual content of “Shortbus,” “In the old days, when you couldn't show sex on film, directors like Hitchcock had metaphors for sex (trains going into tunnels, etc). When you can show more realistic sex, the sex itself can be a metaphor for other parts of the character's lives. The way people express themselves sexually can tell you a lot about who they are. Some people ask me, 'Couldn't you have told the same story without the explicitness?'. They don't ask whether I could've done Hedwig without the songs. Why not be allowed to use every paint in the paintbox?”

I did enjoy it and was pleasantly surprised to find more in it than simply the sexual controversy that was stirred up for its theatrical release. The actors are mighty brave for showing us everything and performing sexually. But their talent obviously goes farther than that because Mitchell gave them a lot to feel and to struggle through, and the cast handled it well. I understand the actors worked with Mitchell on each of their characters, workshopping backstories and traits, and incorporating a lot of the actor's own personal history into the film.
And the computer-generated “cardboard box” model of Manhattan and all the burroughs is a delightful sight.

Recommend? It is NOT for everyone—I will recommend it only to those who feel they can handle such a film. Forewarned is forearmed.

Saturday, January 2, 2010

Just RE-watched...

...“The Royal Tenenbaums” directed by Wes Anderson.

After encountering the delightful “Fantastic Mr. Fox” a few weeks ago, I was happy to have a chance to re-watch one of Wes Anderson’s early films, “The Royal Tenenbaums.”

As I mentioned in the post about “Fantastic Mr. Fox,” Wes Anderson films are quirky, sweet, touching and honest and this one is no exception. “The Royal Tenenbaums” is also smart and unflinching. The characters, each so unique, strange and fragile in their chosen “uniform” of ill-fitting and out-of-date clothing, are presented in such a deadpan way. We approach each one head-on, honestly, and accept each flaw and absurdity. We also approach many characters and scenes head-on as well. Anderson has a penchant for filming scenes not over-the-shoulder but face to face. It is a disarming tactic which feels raw and intimate.
The cast is phenomenal. No one plays “absurd,” no one plays “funny,” which grounds the film. If anyone had played anything other than the total reality of the situation, it would have been demeaning not only to the audience but also to these characters and their souls. Each actor completely honors who he or she is. Although everyone is marvelous, I particularly want to point out Anjelica Huston who is awesomely and beautifully subtle and understated as the matriarch of the Tenenbaum family.

The story itself feels very literary, aside from the fact that many characters are authors, academics or playwrights. Indeed, there is a book motif that runs through the film: we see pages of a book open on to chapters, the first few sentences of which describe the action we are about to see. It is a device that feels almost like we are reading a children’s story. There is a “fable”-quality to this film. There is even a piece of back-story—Margot and Richie running away and hiding in a museum—based on an actual children’s book, FROM THE MIXED-UP FILES OF MRS. BASIL E. FRANKWEILER. (That is why it felt like a perfect fit for him to adapt Roald Dahl's FANTASTIC MR. FOX for the screen.)

The entire package of this film is charmingly askew and tenderly forgiving.
Recommend? YES!

Friday, January 1, 2010

Just watched...

...“Les Enfants Terribles” directed by Jean-Pierre Melville and Jean Cocteau.

I have been a passionate Cocteau fan since I first saw “Belle et Bete” and “Orpheé” in film school many, many years ago. I even own an original Cocteau pencil sketch from one of his notebooks. So I find it curious that this is one Cocteau film I had yet to see (along with “Les Parents Terribles” which was made two years before this).

Based on Cocteau’s novel of the same name, this 1950 film lists Jean-Pierre Melville as director, but it seems that he was there mostly as a technician. The film is completely steeped in Cocteau’s sensibility—not so surreal as other works of his but "real life" off kilter just enough to make us slightly dizzy. The story of an intense relationship between a brother and a sister, it is claustrophobic and simmers with a dangerous, repressed mania. Nicole Stéphane is amazing as the sister who slowly comes unhinged until, in the final scene, she is literally tearing the hair from her own head in madness. There are only a few moments of Cocteau’s famous special effects (in one, we are pulled away from a scene, along with an actor, to show how removed he is from the action) but the film abounds with odd camera angles and quick pans.

I saw the Criterion Collection version which is newly restored and features Around Jean Cocteau (2003), a short video by filmmaker Noel Simsolo discussing Cocteau and Melville’s creative relationship (the conclusion is that Melville’s role was as a sort of assistant to Cocteau), as well as a moving 2003 interview with Nicole Stéphane. This is a must for Cocteau fans or those who study the history of cinema.

Recommend? Yes.

Happy New Year!

All good things for the planet and all of us in 2010.

Thursday, December 31, 2009

What will 2010 bring?


?

Goodbye 2009

You can go now, 2009. It is time. It's not your fault--you just got filled up with a lot of ugliness and what seems to be the beginning of some kind of New Dark Ages.

Thursday, December 24, 2009

"Christmas Eve, 1944"

Christmas Eve, 1944

I wanted something
to warm me up.
I asked the waitress
for a cup of coffee.
There is none.
Then I asked her
for a cup of tea.
None.
“But it’s on the menu,” I said.
“There’s a war on Mister,
ain’tcha heard?”

The man on the radio
with the RKO voice
reports that Glenn Miller
is still missing--
not a scrap of the plane
can be found.
Where is he?
Somewhere with
Amelia Earhart
having tea.

©JEF 1986


Christmas Eve Mass at the Vatican, 1944

American soldiers at Christmas Eve Mass, the Vatican, 1944


Christmas Eve letter from soldier, 1944, via Macy at Picasa Web


On Christmas Eve in 1944, the war in the Pacific Theater was raging. I said goodbye to my husband, Steven Turner, at the train station in Los Angeles, California. We had been married only a year. A photographer and chief petty officer in the Naval Air Forces, he was off to San Diego for his next assignment aboard an aircraft carrier.
Amid a horde of people—men in uniform and women crying, hugging and calling goodbyes—I stood, holding back tears and panic as he stepped on the train. He turned at the last minute and shouted above the din, “I’ll be home for Christmas, I promise.” “Promise,” I mouthed. Steven smiled his lovely honey smile and nodded.
I went back home to Vicksburg, Mississippi, and took up my job at the local welfare office. I lived with three other “war brides” in an old antebellum home presided over by a dear, elderly lady.
I waited for his letters, letters that often told of distant islands under a different sun, of Japanese suicide plans that missed their mark, of loneliness and longing.
The “brides” and I felt blessed to have one another, sharing our fears and loneliness, offering comforting words when letters didn’t arrive, keeping one another company at the movies or on long walks, keeping a radio vigil when news came of battles in far-off places.
Suddenly, the war was over—Japan had surrendered! We laughed and yelled and ran down the street, talking to strangers and even hugging them. Then we settled down to wait.
Time passed, and the letters came telling me about Japan and POW camps they flew over, dropping food and supplies. This was good work, I knew, but I wanted my husband home.
And then it was December and Christmas Eve. I stayed late at work, packing food baskets that would be distributed the next day to some of our clients. I returned to an empty house. The “brides” had gone to their homes for Christmas. I would go south tomorrow to have dinner with my family.
My landlady and I ate a solitary meal together, and she spoke of Christmas past, and I thought of Christmas last. Finally, sadly, I climbed the stairs and went to my room. Later, listening to the radio, I heard Bing Crosby singing I’ll Be Home for Christmas. The music made me weep.
It was almost midnight and still I could not sleep. I moved over to the window seat and looked out at the street. The icy moon seemed to light up the world.
A car turned the corner and came slowly down the street. It was a taxi, which stopped in front of my house. Curious, I leaned against the window. A tall figure emerged from the back. The driver came around the car and shook his hand. Suddenly, I knew.
Miraculously, I knew.
Forgetting my feet were bare, I ran down the stairs, out the front door and down the sidewalk, not even feeling the freezing concrete beneath my feet. He turned, opened his arms and picked me up. I was laughing and crying. He asked the cabbie, “Will you please bring my bag into the house? This lady has begun to go barefoot in freezing weather.”
Then he whispered to me, “I promised, remember?”
And the year we’d spent apart vanished like a fleck of foam.
—Dean Harding McGarity
Duncanville, Texas

from http://www.reminisce.com/

Author Dean Harding McGarity with her husband, Steven, Christmas 1945

Tuesday, December 22, 2009

Stopping By Woods On A Snowy Evening


Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.

My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.

He gives his harness bells a shake
To ask if there is some mistake.
The only other sound's the sweep
Of easy wind and downy flake.

The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.

--Robert Frost

Top to bottom: unknown animated film cell; photo by JEF;
photo by Dutchnatasja, on Flickr; unknown animated film cell.

Just watched...

..."Fantastic Mr. Fox" directed by Wes Anderson.

I love the films of Wes Anderson: "The Royal Tennenbaums," "The Life Aquatic with Steve Zissou," and "The Darjeeling Limited." They are quirky, sweet, touching and honest. So it was a tremendous pleasure to see his filmed version of this classic children's story by the wickedly subversive Roald Dahl, author of CHARLIE AND THE CHOCOLATE FACTORY.

The story, which children will enjoy but which was not neccessarily made with children in mind, is sweet and kooky. But what made it truly memorable was the fact that it was made in such an "old-fashioned" way: in stop-motion and NOT CGI. It is such a beautifullly hand-crafted look, lovingly rendered--so warm, real, rich and full of life. It reminds me of the kind of holiday specials I grew up watching on television, where puppeteers painstakingly moved models with an inner armature one frame at a time. When you watch Mr. Fox move, you can see the fur move on his face and the fabric of his jacket crinkle as he turns. It's a lovely effect, and a nice, welcome respite from the often too-slick blur of CGI.

And the film boasts a stellar voice-over cast: George Clooney as Mr. Fox, and Meryl Streep as Mrs. Fox, along with Jason Schwartzman, Bill Murray, Willem Dafoe, Michael Gambon, and Owen Wilson. Several of these actors are familiar faces from other Anderson films.

The lovely thing about "children's films" is that the story moves right along, from one thrilling event to another. The running time for "Fantastic Mr. Fox" is listed at 87 minutes, but it felt less than half that... it whizzed by.
See the trailers for yourself at the official website:
http://www.fantasticmrfoxmovie.com/
The "making-of" featurettes are fascinating as well!

Recommend? If you like delightful, charming, hand-crafted animation, by all means!



Sunday, December 20, 2009

Early Christmas Memories

Something that always signaled the beginning of the holiday season (Halloween-Thanksgiving-Christmas) was the yearly showing of “It’s the Great Pumpkin, Charlie Brown.” To me, the tone, look and feel of those children and their life and environment was captivating—it was real. It looked like the East coast, like the schools and houses and places I knew. So I would sit, hushed and reverent and watch the bittersweet story unfold. Many weeks later, I watched “A Charlie Brown Christmas” with the same melancholy tenderness. At the end of each program, an announcer would tell me that the show had been sponsored by Dolly Madison cakes and cookies—seeing the logo always filled me with a sort of sadness. It meant they were leaving and I wouldn’t see them again until next year. I just wish I could’ve gone with them, to help them—to cheer up Charlie Brown or to be Linus’ friend.

My first clear memory of winter is connected to our house on West Main Street. My mother hung wreaths of red, crinkled cellophane with a single tiny red bulb in the front windows. We had a fireplace and my mother and father helped me make a long chain out of colored construction paper to hang from the mantle. Mom made her Christmas butter cookies and I associate their warm, safe smell and luscious, enveloping taste exclusively with Christmas. We mixed white frosting with food coloring to get red and green and I got to frost a few cookies, and then sprinkle on the multi-colored decorations. I ate several before bed each night with a glass of milk and it was heaven. And of course, Santa had to have some on Christmas Eve so my mom and I would leave a little plate for him—and a carrot for the reindeer.

Mom’s Christmas Butter Cookies
Sift together three cups of flour, one teaspoon of baking powder and half of a teaspoon of salt. Then cream together one cup of butter and three quarters of a cup of sugar; stir in one unbeaten egg, two tablespoons of milk and one and a half teaspoons of fine vanilla extract and mix well. Add the dry ingredients a third at a time. Chill the dough for one hour. Roll the dough onto a floured surface with a floured rolling pin. Roll to one-eighth of an inch thickness. Use cookie cutters and place them on an ungreased cookie sheet. Bake them five to eight minutes at 350*, watching carefully. Frost and decorate. Enjoy.


I loved riding in the car at night to see relatives because I got to see the Christmas decorations that covered downtown. Garlands wound up lampposts, jumped from one side of the street to the other and zigzagged up Main Street. Enormous wreaths dotted with colored lights were suspended from the garlands down the center of Main Street. Even the traffic lights seemed to sparkle a little more as though they were part of the holiday show. The biting air mixed with the smell of exhaust from the car, and the brown, wet snow slushed under my galoshes.

After a good snow, my father would ask, “Didja hear the weather report? Chile today, hot tamale.” Then he’d take us to the golf course at the edge of town with its gentle (and a few not so gentle) slopes for tobogganing. He bought me a red plastic sled and we played in the snow, both of us riding down the hills, tumbling, laughing, and me getting the shock of snow in my mittens and down my snowsuit.

One Christmas, my parents took me to Rochester to visit many Santas at many different department stores, ending up at a particularly big, grand department store to see the final Santa. I sat on his lap and like all the other children, I must’ve told him what I wanted but I can’t remember what it was that I asked for. Actually, I don’t remember asking any of the Santas for anything. I had my picture taken sitting on his knee, looking calmly, stoically, with resignation at the camera. I remember all this not because of Santa but because of the surreal event I experienced afterward. I was taken to Santa Land in the basement of this department store and I boarded a small, child-sized train. I saw my parents disappear behind me as I slid down narrow, dimly lit hallways. Now and then the hallways would let out onto a large space that held a tableau of Santa at the North Pole or of Santa and his reindeer or of Santa delivering presents to a house while everyone was asleep. I’m fairly certain this was my first exposure to a ride like this and I was enchanted. I was frozen, watching, taking it all in. It made an indelible impression on me and I’ve been fascinated with rides ever since. I have some electric, visceral reaction to rides that make me hold my breath. It’s the idea of being entertained—someone has plotted an experience to excite or to calm me. It’s a performance really, and I consider it to be a gift from its creator to the ones who are riding. Now, I dream of that basement, the hallways sometimes turning into tunnels that connect different parts of the world, the tableaus becoming sections of rides from carnivals and amusement parks I’ve been to in my life.
©JEF

Holiday Tableaux

Top to bottom: Photo 1: Min Lilla Veranda by Marie Delice Karlsson, http://minlillaveranda.blogspot.com/ ;
Photo 2: unknown; Photo 3: JEF

Thursday, December 17, 2009

Winter Scenes

Top to bottom: Photo 1: Via; Photo 2: Larry Price; Photo 3: JEF

Tuesday, December 15, 2009

Currently listening to...

...the hypnotic, tribal "Apply" by Glasser.


I've had it on repeat for several hours and can't seem to get enough.

I accidentally discovered the music of Glasser through this ethereal, eerie, enigmatic Victorian/ Edwardian fairy tale, "Spell":


http://www.glassermusic.com/
http://lulamag.com/