Leadership note 5

These days in the English-speaking world with a few notable and noble exceptions we can look for leadership only in the past. Below is another instance.  

In the 1930s and 1940s Eleanor Roosevelt concluded that she would damned no matter what she did, so she might as well do as she thought was right. She did, early and often. ‘Eleanor Everywhere’ is what husband Franklin called her. She invited blacks to the White House. Lend her name to early women’s rights groups. Picked fruit with migrant workers.  Signed over the income from her journalism to a children’s charity. Held the hands of GIs dying of war wounds in the Pacific. For all of this she vilified by the Pox News professional haters of the day. 

She is the only First Lady with a statue in D.C. and that seems right.  A biography of Eleanor Everywhere is discussed on my blog. 

A Night to Remember (1942)

IMDb meta-data runtime of 1 hour and 31 minutes, rated 6.7 by 923 cinematizens.

Genre:  ODH wanna be (that is, Old Dark House).

Verdict: energetic clichés.

In mid-career a much published krimi writer seeks inspiration in a change of scene, and reluctantly moves to Greenwich Village with his vivacious and enthusiastic helpmate who has neither a career nor a mind of her own.  Credit Loretta Young’s extraordinary thespian talents to sell such a pretence.  He is the droll Brian Aherne who is reluctant because wanted to live by a lake or stream, not a busy street.

While he has published a lot of krimis, to judge from the piles he moves around, none has been a best seller or satisfying.

The apartment (old dark) House has a cast of boarders from the doleful owner, to the snoopy restauranteur, oily art dealer, the terrified ingenue with an over-protective husband, the hysterical cleaning woman…. but no black stereotype for which omission much thanks, though it meant no pay-check for Will Best.

It is a great cast that includes Charlie Chan Tolar as the police officer come to sort out the body in the garden. Spider Woman is also on hand, though underemployed compared to the turtle.

Good scenes include the bed clothes slowly slipping off….  In 1945 that must have been close the censorship line.  And it happens twice. And that’s the problem with the whole film: repetition.  

The sticking door was amusing the first three or four times but not thereafter, and certainly not at the fifteenth time with musical accompaniment.  The door is never explained and does nothing for the plot. 

The plot holes were many.  It was said that the corpus delicti in the garden was naked; if so why?  Where did the clothes go? What was the motive for that murder?  Indeed what was the whole blackmail narrative about?  How did any of that relate to the cab driver’s opening comment about hauling away two stiffs? Did any of it relate to the missing previous half-owner of the establishment? 

Released on 10 December 1942 there is no reference to war. In that month the Australian 7th Division pushed the Japanese from Buna, trailhead for the purgatory of the Kokoda Track.  More generally, the Afrika Korps was trapped (by forces that included the Australian 9th Division) in Tunisia, the Germans were encircled in Stalingrad, and the Japanese had lost Guadalcanal where Royal Australian Navy ships served). Hindsight reveals that it was the beginning of the end for them.

Literati note. These books were published late 1942. I have read them all.  What’s holding you back?

Le Silence de la mer by Vercors (Jean Bruller)  – an idealistic German soldier gradually realises the fake news he had accepted when billeted with a silent French family.

The Moon is Down by John Steinbeck – an austere dialogue about the time to act set in rural Norway. Completely different from his other novels, a roman à clef.

Crazy Horse by Mari Sandoz – a fictional autobiography of a reluctant charismatic leader.

Go Down, Moses by William Faulkner – the grief of the title figure when his wife dies and the actions of those around him the very Deep South. 

L’étranger by Albert Camus – Meursault stays ice cold under the blinding Algerian sun.

Espionage (1937)

Espionage (1937)

IMDb meta-data is 1 hour and 7 minutes, rated 6.4 by 69 cinematizens.

Genre:  Mystery

Verdict: Snappy

The ingredients are a closed passenger train from Paris to Istanbul with two incognito journalists after the same vanilla scoop.  

The journalists conceal their identities and purpose from each other and from the subject of their inquiries played by Paul Lukas.  I never did grasp what the newshound were after from Paul, and neither did they I suppose.  

Since there seemed to be no point, instead we have an incompetent assassin in Sascha bested by a bumptious bodyguard.  Musical interludes lighten the tone, as the journalists collide.   There are disguises, mistaken identities, a cake, a tandem bicycle, yodelling, and more.  

An agreeable distraction from the news of the day.  

Dido and Aeneas

We festivaled again last night: ‘DIdo and Aeneas’ at the Lyric Theatre in Star City (wasn’t that the name of the Soviet space exploration site) Casino.
Dido-and-aeneas.jpg
Before show time we walked around looking at the glitz, and there is a lot of it. But mostly what strikes the observer is the ranks of ATMs for quick cash! They are everywhere by the ranks, well not quite everywhere, none in the bog. (Probably next time.)
http://www.sydneyfestival.org.au/2014/Music/Dido-Aeneas/
We entrained from old Macdonaldtown Station, rather than Newtown, seeking as always a new sensation, and then took the tram from Central Station, all on our blue tickets! Smooth sailing, oops, smooth railing is more accurate.
Time came take out seats and the show began, and what a show! The water tank at the beginning was beguiling, fascinating, confusing, metaphorical, and appropriate. I am sure if Henry Purcell (1659-1695) could have done in his day, he would have. He loved a show himself. The combination of dance, opera, drama, and some slap-schtick worked for us.
It took a moment to realize that Dido and Aeneas had two representatives on stage, a singer and a dancer. Purists fainted at that I am sure. But I recalled Luis Buñel once cast three women as a single character in a film, saying he wanted to make the character complex and he could not decide which of the actresses could do that best, so he used all three!
The energy, the spectacle, the wit, the movement, the pathos, the drama, and that water tank were all good.
By the way, the program notes, which are all too often as banal as sports talk, are very cogent about the aim of the production — to balance the three major components of drama, dance, and song — and to return to Virgil’s story of exile and the synthesis of love and hate. And most of all, of course, the choice of Aeneas to accept his duty, his fate and leave Dido for Rome.
Pedants note, The Aeneid has always left me cold from my first effort to read it in college to a couple of repeated attempts including an audio version bellowed out by Simon Callow, who always seem to bellow even when whispering, something about voice projection. While I enjoyed this show, it did not inspire me to try Virgil again.