Category: Blog Post

  • Cookies and Cream. Go hear my one friend Andrea sing.

    Have ya’all heard about that insane 3-Day Walk thingamajig? It’s a fundraiser for the Susan B. Komen Breast Cancer Foundation in the form of an intense athletic event, not unlike the old AIDS Ride, for which women strap on running shoes and walk twenty miles each day for three days straight. (And many–most–of these women are not very athletic to begin with.) Folks take this thing very seriously; they log insane mileage, all the long fundraising like madwomen, because participating in these walks requires a hefty “down payment.”

    Some walkers get pretty creative about their fundraising efforts, and among them is local songstress Patty Matthews. She’s throwing a concert tonight to compliment her 3-Day fundraising efforts, and she has invited some of the best local singers to join her onstage. Among them: Patty Nieman, Christina Baldwin (Jeune Lune’s Carmen!), Erin Duffy, and my best friend Andrea Leap. See it at 7:30 p.m. at Loring Playhouse. No reservation necessary.

    Coming soon, when I’m not so swamped: my thoughts on Ballet of the Dolls and The Elephant Man opera.

  • The Ironic Plague?

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    The Americanization of Emily, 1964. Directed by the hack Arthur Hiller, written by the decidedly unhackneyed Paddy Chayefsky. Starring James Garner, Julie Andrews, James Coburn, Melvyn Douglas, Joyce Grenfell and one of the great character actors, Keenan Wynn (most famous as Major Bat Guano in Dr. Strangelove).

    When Paddy Chayefsky died in 1981 of cancer (he was young, just 58), the world lost one of its greatest screenwriters, and certainly Hollywood’s foremost satirist. Chayefsky’s career was fascinating, moving from such chest-pounding dramas as Marty (a piece that works both as the searing television drama and the somewhat saccharine film version) to some mind-blowing comedies that skewer some of America’s favorite sacred cows: the military in Americanization, the medical establishment in The Hospital, and television news in Network. That last sentence is a horrible summary of that trinity, for The Americanization of Emily is not just about tripping up the stuffed shirts of the Navy–Chayefsky pokes fun at war widows, at the noble dead, at subjects that no one has been willing to touch since then. That The Americanization of Emily is a severly flawed and poorly cast film doesn’t take away from the fact that we live in an age that needs a Chayefsky… though I’m not sure we’re equipped to understand his films anymore. All we can do is laugh.

    The facts: James Garner plays Lt. Cmdr. Charles E. Madison, a ‘dog-runner’ for Admiral William ‘Jessie’ Jessup (played with gusto by now-underrated actor Melvyn Douglas). These ‘dog-runners’ procure all varieties of contraband for their leaders. In war-torn London, a city beseiged by Germans and the harshness of rationing, Charlie Madison has a hotel room filled with Hershey bars, fine liquor, dresses of silk and nylon, and avocados, among much, much more. To get what he needs, he’ll take on an Alabama accent, bribe officials with whiskey, and threaten others with deportment to the Antarctic if they fail to deliver, say, dry-aged steaks for Adm. Jessup.

    The film takes place in the month before D-Day, and Adm. Jessup is slowly going mad from the pressure and gets it into his mind to make a film about the Navy’s role in D-Day. Even better, he wants the first casualty of the invasion to be a Navy man, and in Washington they’ll erect a tomb of the Unknown sailor.

    Charlie doesn’t give a rip about any of this. A self-proclaimed coward, he works alongside Bus Cummings, securing food and drinks and girls for the brass. Bus is played with manic intensity by James Coburn, and he’s easily the best thing in this picture. Coburn is incredible, jumping around, trying to screw every English girl he can lay his hands on, and then veering wildly into patriotic fanaticism with the drop of a hat, and totally convincing. Charlie, on the other hand, slowly falls in love with Emily, played by Julie Andrews and doing her usual ice-queen schtick.

    Emily is a real casualty of war: her brother, father, and husband all died in World War II. She is priggish and unable to enjoy much of the bounty Charlie tries to deliver, but eventually they do fall in love. And along the way, Charlie gets wrapped up in making Jessup’s mad film about D-Day–an act that will eventually have serious repercussions for everyone.

    The Americanization of Emily was a turning point for Chayefsky, who, along with Charlie Kaufman, is the only screenwriter in Hollywood history whose work consistently overshadows the director. With Emily we can see the transition from a guy with a somewhat ham-fisted view of relationships–the courtship between Garner and Andrews veers on embarrassing–and into the edgy dialogue that would later typefy his work… although it took until The Hospital for Chayefsky to incorporate his barbs into a working script, as there are numerous speeches that bring Emily to a grinding halt, even if they are thought-provoking (such as the suggestion that cowardice is better for humanity than bravery). There’s also scene after scene of free-swingin’ early 60s humor, such as daffy girls who stand at attention buck-naked while Garner and Coburn yak on. It’s a man’s picture, certainly, offensive to intelligent women like so many of that era’s pictures.

    The Americanization of Emily, along with Preston Sturges’ Hail the Conquering Hero, are two films that I think everyone could stand to watch today, as they were brave commentaries on our response to soldiers and war, and our tendency to hero-worship (though if you had to choose one, definitely go with Hail, thus far tragically unavailable on DVD). These movies would also make lovely remakes–if you could find a decent screenwriter unwilling to yank their teeth. Though Emily ends on a soft note–Chayefsky wouldn’t pull out all the stops until a few years later–there is still enough barbed wire to leave an audience bloodied with humor we could stand to hear today.

    But I wonder: would we even care? Would we be shocked, alarmed? When Chayefsky wrote Emily, and The Hospital and Network, he did so to entertain, to make people laugh, to make them think. I believe it was David Thomson who argued that films in the 70s were cynical because we were still somewhat innocent. We could see Network and the Parallax View and still have some faith that our system would work, and our values prevail. In an era where we get The Onion each week, where “The Daily Show” is seen as a legitimate alternative to news, would a new Americanization of Emily move us? Or would it just be another comedy, a night at the suburban stadium theater, or a self-congratulatory evening at at the Lagoon? If we don’t get mad as hell anymore, what good is satire?

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  • Uncle Jumbo's Playground

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    –Illustration by James Dankert

    People have been wondering what happened to Uncle Jumbo. That is, of course, the million dollar question, and a question whose answer apparently lies somewhere far in the man’s distant past.

    All I can tell you is that something did indeed happen. There’s no doubt about that. And something always seems to be happening to Jumbo. One consistent thing that happens is that he disappears for long periods of time. It would be hard, you might think, for such a large object to disappear so completely from the radar, but he nonetheless has a knack for doing just that.

    I’ve always liked to think of these disappearances as sulking retreats. I can also generally assume, I’ve learned, that he’s pissed about some imagined slight. Other friends have diagnosed him as suffering from depression, social anxiety, or kidney failure. I believe it’s nothing more complicated than pure misanthropy.

    Jumbo’s always been a pain in the ass, but in his younger, presumably happier days this quality could often be both endearing and entertaining. Not so in recent years, I’m afraid. Back when we were both younger he used to routinely fret about the day when there would no longer be a single Major League player who was older than he was. That, Jumbo always claimed, would be a form of death, and the end of his days as a fan.

    Despite the existence of Julio Franco on a Major League roster, I’m almost certain that long-feared nightmare is now staring Jumbo in the face, and I stopped hearing from him about two-thirds of the way through last season. For various reasons (mainly because he’s such a pain in the ass) I also stopped trying to initiate contact with him.

    Before his disappearing act last year I was engaged in almost constant wrangling with Jumbo over the terms of what he insisted on calling our “contract,” which was never really anything but the vaguest of arrangements. He insisted that we needed to renegotiate, and made what were increasingly ridiculous and wholly unreasonable demands.

    Jumbo wanted a company car, for instance. It’s true that I do have access to what is technically a company car –a 1986 Chevette with 149,000 miles on an odometer that hasn’t worked in two years– but I share the piece of shit with Brian Sandberg, another member of the Rake’s brain trust, and I seldom get to actually drive the thing.

    Jumbo also spent months bitching about the computer that was provided him –free of charge, I should mention– by Rake management. He claimed that the computer was a prehistoric Radio Shack PC, the Tandy 2000, and that it was full of bugs and cluttered with advertising spread sheets from the late-eighties. That was nonsense, of course. The machine was actually an IBM 5150, an older but perfectly serviceable computer.

    In apparent protest Jumbo began typing his columns on a manual typewriter and faxing them to the Rake’s offices from a Mail Boxes Etc. outlet in St. Louis Park (“Real Men Work Manual,” was always scrawled on the cover sheet). These documents –consisting as they did of pages of single-spaced text with scads of hand-written corrections and digressions– were virtually, if not entirely, illegible, and a decision was made (not, I must admit, by me) that we wouldn’t post them.

    I still have some of these columns on my desk, and many of them have absolutely nothing to do with baseball. In one of them –“The Kiosk King”– Jumbo writes of his attempt to work at every kiosk at the Mall of America. He recalls being fired from a calendar kiosk for barfing into a plastic bag and getting hired less than an hour later at a kiosk that sold (or so he claimed) nothing but rocks.

    He also submitted a column in which he recounted in horrible detail his colonoscopy, and claimed that his older brother, Rich, had been “Born Again, no less than eight times.”

    I tried for a time to reason with Jumbo, and to steer him back to the topic of baseball. The final straw, I suppose, was when he submitted a fantasy in which he was driving a lawn tractor and dragging a naked John Gordon around the infield of his old high school stadium in Blooming Void. This spectacle, if I’m not mistaken, was supposed to be some sort of fundraiser for kids with disabilities.

    When I refused to post that column Jumbo disappeared on me, and the entire baseball season proceeded to go straight in the toilet.

    As much as he has tried my patience, and as difficult as he can be, I have to admit that I miss Jumbo. I started trying to get back in contact with him in March, and managed to eventually track him down through his mother. When I finally talked to him he sounded under the weather, said he had severed all ties with the Rake, was working happily at Cracker Barrel, and directed any further inquiries to “his lawyer.”

    I told him to call me if he changed his mind, and I came into the office on Monday and discovered that he had left a message on my machine at three o’clock Sunday morning. He was, he said, ready to “talk turkey,” and requested a meeting with the publisher and the Rake’s team of attorneys.

    Such a meeting proving impossible, Jumbo settled for a brief phone conversation with Domenic Cossi, the Rake’s manager of New Business Development. As a result of this abbreviated negotiation, I am told, Jumbo has agreed to make “the occasional contribution” to this space in exchange for “an undisclosed amount of credit at Chipotle, a Da Vinci Code coffee mug, and a copy of Rudy Perpich: The People’s Governor, warmly and personally inscribed by Deputy Editor Julie Caniglia.”

    I’m told that I might expect Jumbo’s first contribution by as early as Friday, but I’m not holding my breath.

  • Maternal Appetites

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    Nothing quite says “Thanks Mom” like a giant fruit peacock.

    Screw brunch.

    Seriously, don’t you think you’re pulling a fast one on your Mom by taking her out for brunch? First of all, there’s little or no effort put by YOU personally into the meal. Secondly, by making it the morning meal, it’s like you’re trying to “get it over with” so that you can finish your Sunday as you wish.

    Plus, what do you get with brunch? Eggs? Pancakes? Fruit and whip cream? Yawn. When you’re celebrating your birthday, do you stand up and shout “Hey, let’s go out for brunch”?

    For the woman who has spent countless hours of her life pondering how to make a new and surprising meal from chicken: Make her dinner. Make her something special, something expensive with fresh ingredients you actually have to work to find. And clean everything up.

    For the woman who acknowledged her lack of culinary talent and made the Chinese take-out restaurant on the corner very rich: Take her out for dinner. Go somewhere she would think was way too expensive, give her the opportunity to wear nice shoes.

    As for gifts, flowers and perfume are so blah. What do they say about the hours she spent in cold hockey arenas at 5 am? What do they say about the trust she bestowed upon you the first time she let you run around The State Fair with your friends? What do they say about every time she slipped you the last twenty bucks in her wallet? Nothing, other than “You’ve raised an unoriginal kid”.

    Obviously, every Mom is different, and what one might truly appreciate, another will suffer silently. But you might consider finding something she loves, and upgrading it.

    No clothes, but maybe a beautiful apron for the cook.
    Never a vaccuum, but maybe some aroma therapy for the neat freak.
    Not just an hour away from the house, but a whole day.
    Forget cooking classes, hire her a chef for a week.
    A box of chocolates from SuperAmerica is dirt compared to these.
    Upgrade her sneeky-peek.
    Cheese. For a year. At least that’s what I want.

  • When Will We Look to the East?

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    “Water”, 2005. Written and directed by Deepa Mehta; music by Mychael Danna and the famous (and unbelievably prolific) A.R. Rahman. Starring Sarala, Lisa Ray, Seema Biswas, John Abraham, Manorama, Raghuveer Yadav, Vidula Javalgekar, Kulbhushan Kharbanda, and Bollywood stalwart Waheeda Rehman (in a small role).

    Now showing at the Uptown Theater.

    Once upon a time, in 1937, a young child named Chuyia rides on the back of a horse-drawn cart, indifferent to the world around her, absorbed in devouring a banana. A man lies next to her, riddled with fever, sweating, attended by a pair of women. Eventually this poor fellow dies of his illness. As night falls, Chuyia is brought to the edge of the great Ganges River and her hair is shorn, she is dressed in a flowing white robe, and brought to an ashram by her father. Though all of eight years old, Chuyia is expected to spend the rest of her life mourning the dead man, who was her husband. So begins the incredible story of Water.

    Here we are at the dawn of the summer blockbuster season, where Mission: Impossible competes with Poseidon which competes with Da Vinci Code which itself will fight the new Pixar film Cars and the Pirates of the Caribbean sequel (which is no match for the lovely Burt Lancaster vehicle The Crimson Pirate), and the list goes on and on and on. And yet, tucked modestly away for a pair of weeks (at most) at the enormous Uptown Theater, Deepa Mehta’s Water outshines them all. How could it not? The story of these widows, forced by society to mourn for eternity is the stuff of Dickens, of Mafouz, the clay of the greatest storytellers in history. That it has come to us after six long years of battle, banned in its home country and recast with a young girl who can’t even speak the language it’s written in, makes it that much more remarkable.

    The facts: Chuyia (played by Sarala, a wonderful actress we’ll probably never see again) begins her stay in the creaky ashram rebelling against the rules that she cannot comprehend. She scurries about fighting against the other widows, all of whom, for the most part, have given up any hope in their lives. There’s the head widow Madhumati (played by Manorma) who is addicted to ganja and loafs in her bed, a humble and devout widow named Shakuntula (Seema Biswas), and a gorgeous young woman who the ashram rents out as a prostitute to ease their financial burdens. This girl, Kalyani (Lisa Ray) is the center of the story. She will fall in love with a young man Narayan (John Abraham), a follower of Gandhi who does not care that Kalyani is a widow.

    First of all, you can’t keep your eye off this assembly of women–each one of the aforementioned actresses sank their teeth deep into these roles, filling even the worst character–Madhumati–with pathos and humor. The supporting characters, including a poor old woman named “Auntie” (Vidula Javalgekar) is equally wonderful, spinning tales of her childhood wedding over and over, licking her lips at the sweets she remembers enjoying decades back. There’s the gossiping Gulabi (Raghuvir Yadav), a hermaphrodite who also helps ferry the unfortunate Kalyani to the Brahmins across the Ganges and is good friends with the corrupt Madhumati. Many of these characters are cruel, but it is to Mehta’s considerable credit that they are never caricatures, and are often given scenes of great pity.

    Water is not a musical, in spite of pedigree of the songwriters (Rahman is one of the masters of the Bollywood musical, with over a hundred movies to his credit), at times simply slipping into a snappy tune that plays over a plot-advancing montage. The film chronicles, somewhat clumsily, the rise of Gandhi, and its not entirely clear how he would rid India of ashrams, especially since they exist to this day. But the romance, Chuyia’s struggles, and the spiritual conflict Shakuntula engages in makes for one hell of a fascinating–and entertaining–picture.

    Amazingly, Water raised the volcanic ire of fundamentalist Hindis, who destroyed sets and threatened the cast and crew with violence, so much so the film was cancelled in 2000. Surreptitiously, Mehta moved the production to Sri Lanka (from the original site of Varanasi) years later, and recast the film. For Chuyia, they discovered the young Sarala, who couldn’t speak Hindi or English and had to work with the crew via sign language. One conservative legislator has claimed that he would allow Water to come to India over his dead body.

    That jerk isn’t dead, and since the bright folks at the Academy leave the nominations of Best Foreign Film to each country, Water hasn’t a chance to win that Oscar, though it’s a perfect candidate. I suppose it doesn’t matter, though it’s always nice to see a deserving film get a spike in rentals thanks to the auspices of our Academy of Motion Picture Arts and Sciences.

    But I digress: Water is worth seeing, by God, if only because it’s a film that seeks to tell a story, a great story that has significant meaning, tells it well, and is filled with beautiful performances, with good music, and is directed with flair and an eye for all these elements. A note to the Muckity-Mucks who run the dream factory: if you’re having difficulty finding stories, finding directors and actors, look to the East. Between Water and the films at the Walker’s Global Film Initiative, you’ve got a dozen titles that put our output to shame. At the dawn of our own industry, we imported our filmmakers from Europe: Hitchcock, Lang, Billy Wilder, Lubitsch, to name but a few. Water is a great film, a movie with considerable meaning, that doesn’t wreck its story with its earnestness, nor ruin subtle performances with a heavy-handed script. Like the best classics, it is in the grandest Hollywood tradition, and if it had been American, everyone would see it.

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  • Weekend Rundown

    Tonight: Doors Opening: A Symphony of the Dolls. This is the big opening night for The Ritz Theater in northeast Minneapolis after many, many dark years. I toured the space a while back–probably about two years ago. It then struck me as a long, cavernous room. So I’m looking forward to seeing what the Dolls have done with the place tonight, at the gala. (Eeeee!) If you want a smidgen about the Dolls’ long-running show, here you go.

    Tomorrow night: I’m going to see The Elephant Man opera. I have an unhealthy fascination with contemporary opera, and I’m at a complete loss as to why. I make it a point to see every contemporary opera that I can, in any case. But here’s an interesting tidbit about this one: In hopes that there might be a gargantuan, impossibly heavy elephant-man costume worn by some peanut of a tenor, I called the Minnesota Opera a while back to find out more about this show. Turns out, the deformities are mostly being conveyed via choreography. I pledge to report back on the whole palsied affair.

  • I can't resist saying "dude"

    I find it so frustrating that I, on occasion, regress into these high-school speech patterns. Perhaps you can’t empathize with this little dilemma, you being so sophisticated. But that’s probably not the case, lest you be social outcast or graduate of SPA. In any case, I find I’m reverting to adolescent patois quite often these days, with “awesome” and “dude” being the junior high-isms that have best survived in my adulthood. Some of my friends theorize that I am particularly afflicted, being as I’m from Circle Pines and all–a place they regard as being particularly backwards. But I happen to know plenty of refined, educated folk–many of them writers even–who do this exact same thing. At a meeting just the other day, for example, one of our editors was talking about our upcoming “Restaurant Week Package,” to which another editor responded, “Heh. You said package.” That counts!

    My best friend Andrea, a classically-trained singer who has also lived, worked, and dated among the German and French “operati,” says “dude” a lot, just like me. My other friend, Adam, a graphic designer and artist, is probably the most formal person I hang out with. He’ll send you a thank-you note if you go to his birthday dinner. One time I asked him out for school-night drinks, and he responded, “I oughtn’t.” But get him excited about something really manly–say, a vintage BMW motorcycle or a Rick Bass essay–and his eyes glisten as he says, “Aweeeeeeeeeeesome.”

    Dude, there’s just one thing worth checking out tonight, and that’s The Spyball, a hip, surveillance-themed fundraiser for–count ’em–five highly experimental arts organizations, most of them being performing arts organizations, my specialty; one of them being the Soap Factory, a kick-ass art gallery that I quite like. (BTW, their 8x8x8 exhibition totally rawks!)

  • A Brief Primer In Dream Interpretation

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    This persistent image you mention, the masked man in the mirror that you have been routinely encountering in your dreams –I don’t mean to make light of your problems, but certainly you don’t need to pay me to explain something that is so painfully obvious that it is almost an insult to my profession.

    Please don’t misinterpret my words; I recognize that you are in real distress, and I’m not trying to be difficult. It does seem to me, however, that the obvious symbolism of this dream –what it means, if you will– would be apparent to a man of your intelligence.

    What I would like to ask you to do is this: I want you to go home today and give this matter a little more thought. I think it will be much more satisfying if you arrive at a personal and convincing interpretation of this dream on your own. I’ve typed up a few other common and in some ways similar dream scenarios, and I’d encourage you to spend some time this evening looking over the list. Consider this a little homework assignment.

    If you take a quick look at that sheet of paper I think you’ll have some idea of what I’m getting at here. Number one, for instance: Suppose you were to have a dream in which your mother appeared at your bedside naked or in the archetypal guise of a vampire; what might you make of that? Or consider number five: You have a nightmare where your wife is trying to prevent you from re-entering a boat you have fallen from, and is furiously striking at you with an oar.

    I feel confident that with a bit of thought this brief exercise will assist you in arriving at a satisfactory and therapeutic interpretation of your own dream.

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  • Historical Concrete

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    I need a helmet to keep the bullshit from flying out of my head

    I always cringe just a little when I find myself agreeing with Joe Soucheray, but I guess I’m just getting older. Today he has a great column on the DeLaSalle-Nicollet Island NIMBY crowd and their attempted use of historic designation for a strip of road for the sole purpose of stopping the building of DeLaSalle High School’s football field.

    Since we do need occasional reminders of what a self serving politician looks like, here’s Phyllis Kahn’s picture. I bet she just finished biking the entire length of Grove Street.