El Artista

¡Hernán el Corsario!

El Veterinario para el Indio?

País de los Juguetes

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What to Wear for Carnaval 1938

El Ventrilocuo

Buenos Aires en Bicicleta

Ay, Salon Marcel!

Ay, Gomina!

Patoruzú y el el Ladrón..de Niños!

Our Inner Mother and Inner Goldie Child

(After a long absence, we're glad to be back with another Sepia Saturday contribution. Check out the others here.)

Of all the challenges of growing older, I think the most difficult and comforting is dealing with the memories of those we will never see again on this earth and how their memories and presence grows stronger.

It should be no surprise to focus on my mother this week for Sepia Saturday after several weeks "out of the game". The last Mother's Day I celebrated with her was in 2003. She died March 12, 2004.

This above picture of her is from around 1927 with my mother in the center, the "sullen" child as she would sometimes call herself and her younger sister Goldie in foreground on the left. They was barely 16 months between them, and my mother often said that they were the mirror opposites of the greater whole. My mother was the serious, cautious, protective, reflective one -- always calculating risk and potential hazards. Goldie was, quite literally, the Golden Child -- joyous, foolhardy, always running, never afraid, and always singing. Her golden locks brought her the name of her maternal aunt.

My grandfather was the conductor of the Alameda line street car in Kansas City at the time. Goldie and my mother would often ride with him. My mother would sit in an obscure corner with good light and read a book. Goldie would prance into the center of the car, delighting my grandfather -- a huge fan of jazz and the Charleston -- as she sang "Birmingham Bertha" or "Sweet Georgia Brown", hands on her hips and she did pelvic twists wise beyond her mere three years.
Here we see Mother and Goldie in the spring of 1931. It was a rainy, sick season. Three weeks later Goldie died of rheumatic fever. The family never recovered on many levels. My grandfather invested hard earned Depression dollars on tap and voice lessons for my mother, who was clearly a book not stage person. They went to Shirley Temple movies at once uplifted and heart sick as the cheerful singing tot reminded them too much of Goldie. Years later, I remember my mother watching Paper Moon with me, but suddenly running out in tears as Tatum O'Neal's tough cookie preteen in a bowl cut reminded her too much of what her sister would have been at that age. This photo of my mother and her parents from 1937 was often called the "wave shot" for obvious reasons. There is poise and happiness in the three but I also see the pain in their faces from the loss of the fourth family member that should have been in the photo. A few months later, my mother's second sister, Barbara arrived. She was a beautiful woman on many levels but had a strained relationship with my mother and her parents from the start. My mother resented a baby coming into the house when she was about to enter her teens and felt she often played the role of the nanny. My grandparents groomed her from the start as the "new Goldie" instead of recognizing her unique, individual personality. She had an aptitude and competence in music, but it was always an uphill, deliberate skill for her. She feigned an effervescence, always cracking rather awkward jokes and laughing but never taking to it intuitively.

At the risk of this sounding like a morbid and downbeat Mother's Day post, I'll qualify why I have, with the passage of time, have come to love and appreciate my mother even more. Sometimes I think what drew my parents together was that both of them came from households that were tortured by the loss of a daughter at a young age. From the outset, they said that they would raise their children with no expectations of who or what they should be but honor their personalities. I can remember being taken aback in high school when my father told me, "You know, I've never raised a son before, so we're both sort of learning this as we go." As a tot, I had a reputation of breaking out in song at family gatherings or in shopping centers , hands on hips and gyrating as I got wrapped up in my own act. My parents -- and even my grandfather -- looked on with pleasure and no judgment, even if I was singing "The Man I Love" or "My Boyfriend's Back" at pitch volume at the Piggly Wiggly. A bit of Goldie did live on in the family, without pain, and I feel blessed to have parents and grandparents who could embrace it coming from the most unexpected of packages.

Beulah's Finest Hour

Though I've never known him as an auteur, I have known the key works of Leo McCarey for years -- Going My Way, Duck Soup, The Awful Truth to name a few. Until this weekend I had never known about what he and many of his champions consider to be his masterwork that is all but forgotten.

Make Way for Tomorrow is credited for being the inspiration of Ozu's masterwork, Tokyo Story. The plots and conclusions of the two films are decidedly different, but the overall impact in both is overwhelming. Starring character actors Victor Moore and Beulah Bondi, it is likely the high point of both of their careers. The final, silent seconds of Bondi at the train station are the most devastating and transcendent I've ever seen in any film. She was in her late 40s at the time and would continue to act for another four decades, winning an Emmy in 1977.

How she captures the emotions of a woman saying goodbye to the man she has loved for 50 years and with whom she must part due to economic realities is not something ever seen in American cinema. It could be dismissed as too depressing, but she does it with such grace that she raises sentimental film to high art.

It dares to be not just sentimental but even more daringly has a very downbeat ending. Such a movie coming out of Hollywood to day would be remarkable, but that it came out in 1937 from a major studio is staggering. Maybe it's cheating to share the final moments, and it's worth checking out the full Criterion reissue that came out last month

Junk Thief Is Reckless

Someone Who DIDN'T Die Today

Luise Rainer, 99 and still at work.

Screaming Eyes, Ice Screaming

I make no apologies for having a great love for Eddie Cantor. His 1934 opus Kid Millions tops both versions of Willie Wonka in my book. It's amazing that three strip technocolor looked this amazing in that year, and even more odd to see Ethel Merman looking so young and girlish.

It's a Zelma Weekend

Aging, Paris, Kentridge, Basenjis, Revolution, Caffeine, Hemispheric Incongruence

Sometimes I bemoan the fact that I live in a cultural backwater that has the audacity to call itself the "Paris of the Pacific" (sorry, that's Santiago), but then I am sometimes surprised by the offerings right here in this little berg by the bay. This weekend has been a good example.

This morning I dashed down to be early in line for the SFMOMA presentation of William Kentridge - Five Themes that so many of my friends have been raving about. (And most of my friends are raving, raging or some unseemly combination of both). I had a good feeling about the show when, as I was Twittering on my TREO as I advanced in line, I looked to the right and saw a basenji walking by and looking up at me as if she knew she was peering into the eyes of one of the cult of guardians of the African dingos. The Kentridge show is worthy of all the hype -- a heady mix of drawrings, short films (that include homages of that superb Parisian George Melies and that benign German Lotte Reiniger), assemblages, puppet shows, constructions, musings on aging and other stuff).

It was a great show, but there was no time to doddle and I rushed off to MUNI to that charming arrondissement footsteps away from the Pacific, West Portal, where I ventured to catch the matinee of Faubourg '36. I went to get my ticket early and asked the agent if I should return quickly to ensure I got a seat. He rolled his eyes and said, "Uh, that's probably not going to be an issue." (Confirmed later when the lights went down on me and the three other people in the theater. I guess I over estimated the appeal of musical comedies about the clash of Fascists and Leftists in the first third of the 20th Century Paris.)

So I headed over to Fresca (which bills itself as Noveau Peruvian Cuisine) for a nice Peruvian crab salad. However, instead of Twittering, I got into a sort of nasty argument via IMing with one of my exes in Park Slope over my distaste of the clash of cultures at Fresca. Granted, the food and service were good, but they were playing salsa music and served me chips and salsa. Wrong hemisphere and continent. "Oh, it doesn't matter, it's still Latino," W___ in Park Slope texted back. "Would you say that if you were in a restaurant in Tokyo and got bruschetta while they played polka music but defended because it was all from the Northern Hemisphere?"

"Oh, GB, you obsess about things that just don't matter," W___ texted back.

"Oh, and by the way -- noveau Peruvian Cuisine? Excúseme, si no es: ¿el nuevo cocinar de los Peruvian?"

Well, at least Faubourg 36 (marketed in the U.S. as Paris '36 since apparently the distributors thing people in the U.S. are so dumb they barely know where Paris is, let alone being abl to locate one of its better known arrondissements) did not disappoint and was what it should have been: a sentimental two-hour tale of peasants occupying a theater taking it out of the clutches of a Fascist landlord. The number just kept getting bigger and loonier. And, like any self respecting musical, it had big number about going to the sea.
While its charming yet infirm middle-aged male stars were in long swim trunks and tank tops, they outfitted male (sexily Leftist) star Clovis Cornillac in a revealingly thin strip of brief beachwear. Only then did it connect of who he reminded me of -- gay porn legend Jeff Strykker.

Though Cornillac was cast as the "fetching young male lead" he is nearly 42. And it reminded me (going back to Kentridge's themes on aging and Melies) that the French have long had a history of allowing both male and female stars to play such roles into a time when, well by comparison in the U.S. , they'd have Cloris Leachman on Dancing with the stars. I could not help but think ofArletty at nearly 50 playing the "babe" in Les enfants du paradis. Or consider Mistinguett in this clip at 60 playing a young mother singing to her "baby". Perhaps they felt that by casting a nine-year-old girl as the baby, no one would notice that more than one spring had passed since her coming out debut.

These thoughts filled my had as I hopped on the K-train from West Portal (a neighborhood that is surreal to me like most western San Francisco Arrondissements because they feel so non-San Francisco) and then to the Balboa Park BART and then up to Ritual, where it has become a ritual for me to meet up with Friendatella Saturday afternoons to gossip and share insights on the meaning of life and culture. We've debated about the meaning of this roasterie's logo. Is it the flag of Turkey or the hammer and sickle or a gangland razor swung upon the throats of hypocrites. I used to despise this place because of the long lines, abundance of 20-something hipsters pecking away on their iMacs with the self-righteous grandeur of the cult of the Apple/Fuhrer Herr Jobs, and disdain for those of us with speckles of natural highlights in our hair. But Friendatella and I have discovered a row of three tables in the back near the bathrooms and with a scenic view of the burlap bags filled with the beans from Lago Atitlan and Vietnam where our elder faces will not diminish the views from the wall-to-wall windows in the front. Sitting their with my legs crossed in the European male way and nibbling my Madeleine, I felt the spirit of Mistinguett take over me the desire to put on one more show before the fogs of the summer return to Topeka on the Pacific.

Music! Revolution! Peasants! Paris!

I have the day off tomorrow and plan to see this. I'm getting a bit excited already.

Today I've Been Watching the Films of...

Interactive Monday Assignment: Watch, Disconnect

Hello my dear ones. Watch, laugh, enjoy your egg nog and yule logs not blogs, come back soon!