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.

Oh My Godard, What a Deal

In these recessionary times, we're all looking for good deals. And while I often snicker when I hear the cultural backwater that is San Francisco referred to as the "Paris of the Pacific", I was pretty pleased that last week when our humble Castro Theatre hosted the first screening in the U.S.A of Jean-Luc Godard's (ironically) Made in the U.S.A. Sadly, travel prevented me from catching the screening, but I suspect a Criterion DVD is just around the corner.

And, speaking of Godard, our local rag The Believer magazine has just released their 2009 film issue. This magazine is really hit or miss, but this issue is worth its $10 cover price for the magazine alone, but inside is an amazing little jewel of a DVD dedicated to Godard in the U.S.A. There are two Dick Cavett interviews, an interview of him on the beach in a bikini in Del Mar with Alice Waters, and several other extras.

I got my copy at the 826 Valencia store for $8.26 (go figure) including tax.

And while I was out on Valencia, I was thrilled to see that Dog Eared Books had several copies of the dear old Horizon magazine, a periodical published from the 1950s to the mid-1970s. This arts quarterly -- like American Heritage magazine -- arrived boxed and in a hard cover. I almost teared up as I thumbed through the familiar pages of this magazine that was on coffee tables of several of my relatives as a child and formed many of my early impressions about art, taste and aesthetics. How fitting that two issues featured favorite artists of Catalonia -- Gaudi and Miro.

We can't put a price on things that bring us happiness, but having Horizon and Godard on a Saturday afternoon is pretty close to bliss.

Know Your Necessities

"Take care of the luxuries, and the necessities will take care of themselves," a certain, fey friend told me once. She also spoke of the "conspiracy of the weak over the strong." I'll lead it to you to ferret out her alleged source of those quotes and determine if you agree.

All I can say as that one of the obvious, positive balancing acts that comes with the passage of a certain number of years is the reversal of defined and attainable and valued necessities. Booze, boys, fast cars and other fleeting pleasures seem to be replaced by increasingly extravagances that were once defined as bland and assumed presences that now have greater nuance and price tags -- shelter, clothing, food, even water that comes in its many variations.

Shelter, in fact, can take on such a starring role as I've enjoyed Alain de Botton describe in his book The Architecture of Happiness, its title suggesting that design and form extend to far more abstract and defining aspects of life than just four walls and a roof.

He takes time to wax poetic on Casa Malaparte in Capri, a structure that in Godard's Contempt some might argue upstaged Bardot who is now a 70-something, wrinkled, hobbling racist while the villa has far outlived its Fascist creator, Curzio Malaparte. It stands today, looking ever youthful and pristine, apolitical and in harmony with the Meditteranean.

As Botton explains:

With its proud isolation, its juxtapositioning of ruggedness and refinement its unblinking, hardy defiance of the elements, and the aesthetic debt it owed to Ancient Rome on the one hand and Italian modernism on the other, the house did indeed pick up on key traits of Malaparte's character. Fortunately for visitors, however, it turned out not to be a slavishly faithful portait of its owner in all of his faces -- a difficult prospect for any house, certainly, but particularly so in Malaparte's case, for that would have necessitated the inclusion of pretentious furnishings, dead-end corridors, perhaps a shooting range (he was a Facisct until 1943) and a few broken windows (he liekd a drink and then a fight). Rather than reflecting the author's many foibles, Casa Malaparte, like all effective works of idealisation, assisted its gifted yet flawed proprietor in orienting himself towards the noblest sides of his personality."

Is it telling that I live in a long, skinny Edwardian with rich-hued rooms filled with remnants of travels and past lives in other parts of the world, anchored by two rooms with a wall of curving windows as their centerpieces -- one looking out on the bustling, sometimes tawdry corner of urban life, the other glimpsing onto a pristine garden filled with lilies, sterling silver roses and succulents.