Weekly Wilson - Blog of Author Connie C. Wilson

Welcome to WeeklyWilson.com, where author/film critic Connie (Corcoran) Wilson avoids totally losing her marbles in semi-retirement by writing about film (see the Chicago Film Festival reviews and SXSW), politics and books----her own books and those of other people. You'll also find her diverging frequently to share humorous (or not-so-humorous) anecdotes and concerns. Try it! You'll like it!

Elizabeth Edwards Near Death

Elizabeth Edwards Stops at Davenport Democratic Headquarters in Poorly-Planned Last-Minute Campaign Stop

(*This article originally ran on www.blogforiowa.com in 2004, when I covered that presidential election for that blog. I am reprinting it at this time because news reports have said that Elizabeth Edwards is near death from terminal liver cancer. To see a newer take on my memories, go to www.AssociatedContent.com and read what I have written about my own father’s death from liver cancer, coupled with memories of this campaign stop in Davenport, Iowa, the day before the 2004 Presidential election. The day after that election, the couple announced that Elizabeth Edwards was suffering from breast cancer and, of course, we all know “the rest of the story.”

R.I.P., Elizabeth.

By Connie Wilson

The last stop.

Elizabeth Edwards is to “rally” the volunteers in Davenport at Democratic headquarters at 1416 West 16th Street in Davenport the night before the most important election of my lifetime. Tempers are short. Nerves are frayed. Tension is high. These sentiments are probably shared by the candidates and their families. Lots of out-of-towners are here to work on election day, which is only hours away now. 

The “invitation” from Kerry headquarters in Des Moines to this event said, “Elizabeth Edwards will thank volunteers for building a surge of momentum for Kerry leading to Election Day.” I had visions of cup-cakes, pizza and beverages for hard-working volunteers. Guess again.

 I knew that the Democratic headquarters in Davenport was nearly unfindable. It has to be possibly the worst location for a Democratic headquarters in the nation. The Chicago volunteer I talked to on the phone, as I sought directions, agreed with me. I lived in Davenport for a year, and I could not find it, from Locust Street, during two previous daylight excursions. The Chicago native on the phone did tell me one thing that helped: “It’s an old school.”  Usually, when you call the place, trying to get directions, you get an answering machine that is full. Why? The Chicago volunteer said, “I don’t even know how you got through.” Me, either.

I remember the very accessible Howard Dean headquarters across from the Kahl Building fondly after seeing this place. And even the first Kerry headquarters, next to Major Art & Hobby was, at least, findable…. although not very large.

Twice before, I had tried to find the Democratic headquarters at 1416 West 16th Street. Not easy. Tonight, Monday, November 1, 2004, it is dark, rainy and cold. As the Red Baron (in the Snoopy comic strip) would say, “It was a dark and stormy night.”

Still, I felt I should set off on my last adventure. I had high hopes that Elizabeth Edwards would sign the front-page photo of the daughter from the Sunday, October 24th, Moline, Daily Dispatch. I especially hoped this, inasmuch as a Daily Dispatch reader from Geneseo had written a Letter to the Editor that appeared in Sunday, October 31’s paper, attacking all the students in the article, calling them all “dumb.”

I had dragged two copies of the front-page story to the last John Edwards rally at North High School in Davenport. Someone named Lisa, a Connecticut native here working for Kerry, offered to take the newspapers and try to see if she could get one of them autographed for my daughter and returned to me. I only had three. I gave her two. The papers disappeared, never to be seen again. Now I am down to one, which I have brought.

Tonight, as I arrive at the old schoolhouse and park a block and a half-away, walking towards the old school on the hill in a light downpour, it is obvious that having any opportunity to meet or greet Elizabeth Edwards is not going to be easy. The school does not lend itself to any sort of large group gathering. It is a long narrow corridor with small rooms off the corridor. (Think Catholic schools of old….rabbit warren….maze).

 Although, at one point, I caught a glimpse of Elizabeth Edwards, the Secret Service and local police are keeping everyone at bay. It does not appear that it is that “crowded,” but there are no risers, no room in which to gather. As a site for something like this, the place is, quite simply, a disaster. (“It was a dark and rainy night.”)

I did not bring my Press Pass credentials. I did not think this was a “formal” Press opportunity. I was wrong. The Channel 4, 6, and 8 people are taken back, separately, one at a time, as are a couple of print people.

I ask “Matt,” the advance man, if I can take ONE photo of Mrs. Edwards, for www.blogforiowa.com. He nervously ignores me, not even bothering to answer, busily taking a variety of other reporter types through the hallway, past me.

I ask again. And again. I have seen this guy at the last three to four rallies.  I know him on sight, now, as he does me. Perhaps he views me as a pest, at this point. I am not “important” enough. I am sure that Mrs. Edwards is “busy,” but I am also sure that this sort of treatment is what one would expect of the Republicans, not the Democrats. It is intrinsically unfair and “elitist,” and, also, out of touch with the times, since “blogs” are the wave of the future, according to a recent “New York Times” Sunday article.

My advanced degrees are in journalism and English. I have written for five papers over the span of 49 years. Why or how am I “less important” or “less skilled” than those being given access, while I am being told to “keep the aisle clear” and “make sure that this door closes”?

The obvious answer is “readership” or circulation, but, in some ways, OUR readership, at this point in time, is more important, as we are the Democratic “loyalists” that have helped bring this campaign this far, as Paul Eiger so eloquently put it in an e-mail I recently received. We may have started out in Howard Dean’s camp, (and we still believe in Howard Dean), but we have swallowed our pride and worked hard to help this ticket. None of that matters this night. (*Note: the less obvious answer was that Elizabeth Edwards was a very sick woman and had just found that out.)

Finally, desperately, I take pictures of the other people with me  who are standing in the hall without a prayer of laying eyes on Elizabeth Edwards, let alone being “thanked” or “greeted.” (“All of you keep this aisle open. Everyone away from the door. One line, only, please. Make sure that we can open that door.”).  I feel like I’m back at the Cheney rally on Saturday night, when they wouldn’t let us leave the building!

One of these no-luck individuals (pictured) is Samantha Pieczynski, of Davenport. I tell Samantha that I am going to label her smiling photo  as “Mrs. Edwards.” We laugh.

The other gentleman, Norm Bower by name, also of Davenport, asks if I want a quote. “Sure,” I say. His quote: “It is of paramount importance that George W. Bush not be re-elected so that he not be allowed to appoint Justices to the Supreme Court of the Land.” Good quote, Norm.

A young woman in corn rows (obviously an out-of-towner working for the campaign) passes, acting like she feels she is very important (they often do). I ask her if I can get a picture of Mrs. Edwards now. (All other press people have pretty much had their shot …pun intended…, so it would seem that perhaps, now, it is “my turn.” But no 

The oh-so-important volunteer says, airily, “Oh, she’s already left the building.” As soon as this campaign worker descends the staircase and is out of hearing range, the young man next to me says, “She’s not out of the building .She’s RIGHT THERE!” And he gestures towards a classroom or cubbyhole less than 10 feet from where we are all mashed against “the door that must be able to be opened and closed.” In other words, we have just been told an outright lie.

I finally see the writing on the wall. We are never going to get so much as a look at Elizabeth Edwards. We can all forget about the sentiment where it said, “Elizabeth Edwards will rally volunteers .. thank local supporters…Mrs. Edwards will greet local volunteers and speak about the importance of getting out the vote on Election Day.” (Ha!)

None of this is Elizabeth Edward’s fault, of course, but this is the least-well-planned event on the campaign trail, so far. As I leave, I see the corn-rowed worker, and I say, sarcastically, “Thanks for all your help.” She looks at me, puzzled. I add, “I didn’t think that the Democrats would take up where the Republicans left off , blatantly lying to us, quite so quickly.” She scurries for cover. I am angry.

Matt sees this. I have not been treated this poorly at any time during the past 9 months. Matt says, “Why don’t you go see Lisa?” He sees that I am mad enough to tear up, which I am.

Lisa is, apparently, the “smoother-over” person. At this point, I haven’t put a face with the name. It doesn’t really work, Matt. I am still pissed. I gave up my college teaching job to work long and hard as a volunteer for 9 months, only to be shoved aside as “not important enough” for ONE photo. And I have been lied to, both in the same night. I have already voted for Kerry/Edwards, but the “driving to the polls” duties I signed up for, months ago, seem like adding insult to injury, right about now.

Naively, I think that Lisa might be someone who can still assist me in getting  a picture of Mrs. Edwards. Or, maybe Lisa has one on HER digital  camera that she can send me?  Possibly she can help me get that elusive Edwards autograph, an autograph of the front-page picture of the daughter holding the “Hot Chicks Dig Edwards” button. I already lost two copies of these papers at the LAST Edwards appearance (North High School) when I gave it to a campaign worker

. When I find Lisa, I realize that SHE is the woman I gave the two Dispatch front pages to at Davenport North High School, who was “going to try to get it to the candidate”.  Obviously, that didn’t happen; so much for THAT plan!

I have also brought my book Both Sides Now, as a gift, for Elizabeth Edwards. I leave it with Lisa.  I might as well. It is obvious that I am never going to get within 100 yards of the woman. She is probably already speeding down the highway. This entire “event” has been so poorly-organized, planned in a poor location, and, as far as I am concerned, conducted very unfairly. I see a Happy Joe’s. I think, “Ice cream. That’s what I need. Ice cream.”
People like Linda Thieman (who has been working hard, 24/7, for 9 months, without a day off, 90 hou

rs a week, free and gratis, to put this blog together and keep it updated) and me, for that matter….who gave up her fall semester of college teaching to pursue the campaign with a vengeance (both of us on our own dime)…matter as much as Channel 4, 6, 8 or the “regular” newspaper(s). Have these people not read the articles (New York Times, most recently) that trumpet that “blogs” are the newspapers of the future? Are we not getting like 200,000 “hits” a month. Are we not telling it like it is, when mainstream media often has not? Is Iowa not an important “swing” state? I think we all know the answers to these questions.

But, Linda, tonight, www.blogforiowa.com is treated as a second-class citizen. As am I. And I am  upset about it.

Tonight, rather than being “thanked” or “rallied,” I leave almost in tears, feeling very, very disappointed in the entire evening. I am just glad that I didn’t make my daughter leave her homework to seek the long-sought-after elusive autograph of any member of the Edwards family on the front-page photo. Maybe I can get the cute kids, Jack or Mary Claire, (I think her name is)…the smallest Edwards children….to scribble something on this paper. You think? [Not likely, either, I’m thinking].

My entire evening is ruined. All the good vibe(s) of the previous ten rallies or so are crashing and burning..  I am NOT a happy camper. I probably feel about like Ralph Nader did when his poster fell down as he was speaking, in Ames. Disappointed. Dejected. Sad. Unfairly put upon.  It is good that, quoting the refrain in “Apocalypse Now,” “this is the end.”

It sure is.

Book Signings Coming in December

Ava (Wilson) and I sign books on October 30th at Barnes & Noble in Davenport's Northpark Mall.

After over 6 years of hard work, 3 publishers, and many other aggravations, my new nonfiction book It Came from the ’70s: From The Godfather to Apocalypse Now is nearly ready. Advanced reader copies have arrived and only Quad City residents will have the opportunity to see the book “up close and personal” at a benefit for the Midwest Writing Center to be held at Barnes & Noble bookstore in Northpark Mall on Saturday, December 4th, 2010, from 1:30 p.m. until whenever everyone else has left. I am arriving late, due to an appearance at the East Moline Public Library that will start at Noon and end about 1:00 p.m….just when the other E.M. authors are arriving. It is always thus.

I’ll be there with copies of my new movie book of 50 reviews written for the Quad City Times between 1970 and 1979, with 76 photos, major cast and trivia.  The book is not self-published, but put out by a small independent publisher in Rhode Island (“The Merry Blacksmith) and you can see  it on Amazon.com with a “peek inside” feature there.

It’s really a sweet book, if I do say so myself (and I do) and, after the appearances at the library and bookstore, I’m going to be traveling with the book to a Family Video store near you.

First appearance will be on Friday, December 10th, from 5 p.m. to 7:30 p.m. I’ll be there signing books and, if you buy one, your name, address, phone number and e-mail will be entered into a drawing for $50 of free movie passes at the local theater of your state (Rave or Escape). The drawing for the winner(s) (one per state) will not take place until just before the Academy Awards (Feb. 27).

Why such a long delay? Because I hope to visit still more Family Video stores after we return from Florida, which will be for 2 weeks in February, before the Oscars.

Other appearances between now and Christmas that will earn you a spot (one entry per book purchase) for the free ticket drawing will be held on Saturday, December 11th, from 1 p.m. to 4 p.m. at the Family Video store in Moline (12th Avenue) and Saturday, December 18th, from 1 to 4 p.m. at the Family Video store on North Division in Davenport, Iowa. I have been assured that the video stores, themselves, may have some “specials” for you, as well. So, come on out and get an autographed copy of this unique book for that movie buff in your family.

The book is not (yet) available as an e-book. We’re working on it, but it will not have as many pictures as an e-book, so this is the book you want. Again, take a look at the “peek inside” feature on Amazon.com and you can see, for yourself, the quality of the contents, including about half new articleson movies like “One Flew Over the Cuckoo’s Nest,” “The Godfather” (1 and 2), the films of Woody Allen, etc. There were so many great films in the ’70s that I can’t begin to list them all here, but the Table of Contents on Amazon will give you an idea.

I will have my other books with me…everything from “Hellfire & Damnation’ (www.HellfireandDamnationtheBook.com) to the three-book trilogy of ghost stories set along Route 66 (www.GhostlyTalesofRoute66.com).

But you can only get the book signed at one of the events listed above, and it is nominated, right now, for 3 awards (to be awarded in late May.)

“Love & Other Drugs” Review

The new Edward Zwick (“Thirty Something,” “My So-Called Life”) film “Love and Other Drugs” is based on a novel entitled Hard Sell: The Evolution of a Viagra Salesman by Jamie Reidy. That, alone, should tell you that you’re in for a polemic on the world of pharmaceutical sales.

It is also a love story about a 26-year-old Parkinson’s patient in 1996 (Anne Hathaway as Maggie Murdoch) who is screwing her way through stage one of the disease. I say “screwing her way through” because one of the things this movie will be most remembered for are the many and numerous sex scenes. They are plentiful. For the most part, they are quite good, although the first scene in Maggie Murdoch’s (Anne Hathaway’s) apartment is, as Entertainment Weekly phrased it “particularly carnal.” (“Naked Truths” by Dave Karger, November 26, 2010).

Anne Hathaway was just announced as the co-host with James Franco of this year’s Academy Awards. I wonder if there will be jokes aimed at her boinking the living bejesus out of co-star Jake Gyllenhaal—lately rumored to be getting it on with the much-younger Taylor Swift (Gyllenhaal will turn 30 on December 19th, while Swift will turn 21 on December 13th).

The first thing I noticed about the film was Jill Clayburgh, playing Jamie Randall’s (Jake Gyllenhaal’s) mother. Clayburgh was voted one of the 25 best actresses in Hollywood by Entertainment Weekly in 1999 and remained a beautiful woman until the day she died at age 66 on November 5th of this year. “Love and Other Drugs” is not her last movie (that distinction goes to the still-in-production “Bridesmaids”) but I remember thinking how great it was to see her onscreen after such a long time. And how sad I feel knowing that she is gone, never to light up a movie screen with her intelligence and her beauty again.

But times have changed. And how!

Now we have the gorgeous Jake Gyllenhaal and the less-gorgeous Anne Hathaway screwing like mink onscreen every chance they get. Because, you see, the heroine is ill (with Parkinson’s disease) and brittle and fragile and extremely cranky and controlling.  Hathaway is quoted in the Entertainment Weekly piece mentioned above this way: “So, for me, this role was pretty out-there in terms of the way I usually am in public concerning my body.  So, I thought, ‘Okay, I’m going to be in control.  I’m going to do everything properly, disrobe at the last minute, and in between shots get the clothes back on.’ But then I found that every time I put my robe back on, it rubbed all the body makeup off, and that added 20 minutes to filming.  As with all things in life, the second you stop making it about you and you make it about everyone else, it just got, dare I say, fun.” I got kind of tired of her cranky, cynical act and wanted to smack her a few times, but I’m sure that’s just me.

Jamie is the bright ne’er-do-well son of a doctor (George Segal) and his wife (Jill Clayburgh) and his overweight, unattractive brother Josh (comparisons to Jonah Hill abound) is a dot.com millionaire…although his wife has just thrown him out of the house, for reasons we never quite understand or learn. Mostly, we don’t understand why someone worth $35 million finds it necessary to impose on his handsome bachelor brother for long periods of time—except that, otherwise, all the opportunities for loutish “Hangover” style humor would be missed. When he moves in with Jamie, Josh (Josh Gad), the unattractive brother, says, “If you could make money f******, you’d be even richer than me.” Probably true.

The smart part of the movie is the part denouncing pharmaceutical firms like Pfizer (which is featured prominently, by name, at all points, so go figure) with lines like, “They’re turning complex medical decisions into commercialism.” Oliver Platt, who plays Jamie’s boss in pharmaceutical sales notes, “They’re even starting to hire strippers.” Platt has decided that the good-looking Jamie is his ticket to ride back home to Chicago, the Promised Land, from Pittsburgh. (“I’ve got an idea that you and your swinging dick might be my ticket to the Big Leagues.”)

The “meet cute” portion of this love story is handled in cynical fashion, as the two meet in a coffee shop and the extremely brittle Ms. Murdoch (Hathaway) says, “This is about finding an hour or two of relief from the pain of being you.” She admits she wants the same thing. So, the two, not unlike Woody Allen and Diane Keaton in “Annie Hall,” …who merely kiss to “get it out of the way” in innocent 70’s style…go to Maggie’s apartment and have at it. Watching this sex scene was like watching an episode of “Wild Kingdom.”

Gyllenhaal, when asked about this particular first love scene, admitted that, in love scenes, “I’ve always felt, particularly with women, it’s good to have a dance, like choreography.  ‘I’m going to turn you here, then that’s going to happen…We were like, fake having sex and being like, ‘Knock the pot off, knock the pot off.’ I was not focusing on her at all and instead focusing on knocking the f***** pot off for Ed (Zwick, the director).” [It should be noted for the record here that Gyllenhaal played Heath Ledger’s gay lover in “Brokeback Mountain,” where Hathaway was his wife, so he has some experience in love scenes with both genders.]

The pot was definitely knocked off in the carnal kitchen love scene.

When Viagra hits the market in 1996, Jamie begs his boss (Oliver Platt) for the chance to sell it, saying, “Who can sell a dick drug better than me?” He has a point. Jamie takes on his arch-nemesis, Trey Hannigan (Gabriel Macht), an ex-Marine who was once Maggie’s very-married lover. He is always trying to best him at getting key doctors to prescribe Prozac rather than Zoloft.  Now, he will beat him with a dick drug. The Trey Hannigan subplot started and then died aborning, with no real resolution as to exactly what happened when, why or where. Just another lost thread or another lost opportunity. There are many threads…too many, really, for one movie to adequately follow.

Another reviewer (Trisha Leigh) warned her readers not to see it with their parents. (Trisha Leigh on www.Poptimal) I went with my daughter (age 23) and I liked the film better than she did, so what does that say about us? Not sure. Pretty sure it means I’m not a prude about hot sex scenes. I know this to be true, because, one summer vacation, my college roommate and I rented every hot sex scene we could think of and watched them all, rating them from “1” to “10.”(Another article, perhaps?)

The sex scenes in this film are superb. The drug rant: likewise timely. The obnoxious Jonah-Hill-like brother: not as well-received. The sentimental love story? I’ll let you decide where you stand, judging some actual lines from the film:

Oliver Platt to Jake Gyllenhaal, on using Jamie Randall’s sales and bedroom prowess to earn his way back to Chicago (“the Big Leagues”):  “It takes a talented eye to spot talent in a colossal f***-up such as yourself.”

Jake Gyllenhaal, to Anne Hathaway:  “You’ve got to understand that you’re still there…still yourself.  And life is beautiful.” (Maybe a little too Pollyanna-ish?)

Anne Hathaway, to Jake Gyllenhaal, discussing her Stage One Parkinson’s disease:  “It’s not a disease.  It’s a Russian novel.”  Later, she tells Jamie, “This is the first time in my life that I’ve never not felt alone.  That someone is there.” (Bi-polar mood swings? I think there’s a drug for that.)

Anne Hathaway to Jake Gyllenhaal:  “Apparently, you need to know I’m going to get better in order to love me…Nobody wants to be the one who runs away.”

Maggie Murdoch (Anne Hathaway) on the sex tape the two lovers make, when she’s in one of her rare non-brittle, non-cynical moods:  “It doesn’t matter if I have 10,000 more moments or just this one, because I have this one.” (OK. Pollyanna rules.)

Anne Hathaway:  “I have never known anyone who actually believed I was enough.  Until I met you.” (Awwwwww).

Or there’s this line:  “Sometimes the thing you most want doesn’t happen. And then you meet one person and your life is changed forever.” (Jack the Ripper comes to mind.)

Now that I’ve given you the treacly stuff (Line: “What is this? An episode of ‘General Hospital’?”), here are the good things about the movie and the bad things about the film:

GOOD:

Acting: good.

Sex scenes: good.

Ranting against pharmaceutical companies: good.

Old guy warning Jake that, if he had to do it over again, he wouldn’t marry the wife he loves: good.

BAD:

Younger brother in film: bad. Wrong movie for this.

Logic in many spots and in general: bad. (What does this Maggie person do for a living? All we ever see her do is sit around trying to control scissors so she can do something artistic in her bohemian apartment? Where does she keep coming up with these phenomenal boyfriends? [Please share that information with all the single girls in Pittsburgh/Ohio/Chicago; they want to know.])

Constant bitchiness of the female lead: bad. Maggie has good cause to be bitter, but the line Ms. Hathaway gave about being “in control” in the Entertainment Weekly interview certainly came through in her really cynical, mean girl performance. She is afraid that she will be a burden, so she wants to live in the moment and enjoy all the sex she can for now, because tomorrow is on the horizon and who knows what tomorrow will bring? We get it.

Ms. Hathaway:  I may be the only theater-goer in America that does not find Ms Hathaway that appealing physically. The over-large mouth (a la Julia Roberts), the anorexic frame, the big brown eyes. Dare I say that she reminds me of a preying mantis, when apparently every “boob man” in Reviewland has remarked on her complete baring of her breasts (and almost everything else.) (Her breasts are small; it ain’t no big thing, as was muttered in another film with sex scenes.)

Jake Gylenhaal also gives it up and does near-total nudity for his art, but not to the extent of Kevin Bacon in “Wild Things” or Richard Gere in “Breathless.” While it was great admiring his toned body, there were a few bits that the film hedged on and kept covered. Let’s have the Full Monty if we’re going to go to these lengths for this many sex scenes, in the future.

Therefore, the advice about going with your parental unit, while cute and relevant if you’re very young, was unnecessary. There have been films with a lot “hotter” love scenes than this film, (and, if you want a list, I’ll write one up for you.
There just haven’t been many films that had this many love scenes that co-opted the entire film and almost ruined the message for young lovers and pharmaceutical companies.

Thanksgiving, 2010

Ava & Elise Dancing

More Piano Highlights

Wilson Family Thanksgiving 2010

Thanksgiving Day, 2010, saw 22 Wilsons or Casteleins gather in East Moline, Illinois, for the 42nd straight year.

Here is some film of the youngest members of the clan, Ava & Elise Wilson and Sofia Castelein playing the piano on Thursday, November 25th, 2010.

Chicago Film Fest: Encounters of the Famous Kind

During the Chicago Film Festival (Oct. 7-21) I had the opportunity to meet and greet several famous folk.

One was Guillermo del Toro, who was very sweet and sincere. Another was Ron Perlman, in town to give Guillermo an award. Then there was Forest Whitaker, Cecile DeFrance (the Belgian star of “Hereafter”), David Schwimmer, Alan Cumming and the assorted stars of “Trust,” a David Schwimmer-directed film. There was also Danny Boyle, the director of “Slumdog Millionaire ” and “127 Hours.”

Ron Perlman in the background and Guillermo del Toro on the Red Carpet at the Chicago Film Festival.

Director Danny Boyle ("Slumdog Millionaire," "Trainspotting") after the premiere of "127 Hours."

Danny Boyle and I chatting after "127 Hours;" I gave him a copy of my new book "It Came from the '70s: From The Godfather to Apocalypse Now."

Cecile DeFrance, female star of "Hereafter" and me, after the Chicago premiere of Clint Eastwood's new film.

Chicago critic Richard Roper and Cecile DeFrance, star of Clint Eastwood's "Hereafter."

Ed Burns, Director of "Nice Guy Johnny" and "The Brothers McMullen," hits the Red Carpet at the Chicago Film Festival.

Ed Burns at the Chicago Film Festival.

Guillermo del Toro onstage.

Lianna Liberato, who won as Best Actress for her part in "Trust" at the Chicago Film Festival.

Alan Cumming on the Red Carpet at the Chicago Film Festival.

Alan Cumming, who plays Eli Gold on "The Good Wife," gave interviews only to television.

David Schwimmer directed "Trust" at the Chicago Film Festival; he's better-known from his "Friends" role of yesteryear.

Halloween Has Come…and Gone

It’s been quite a while since I’ve been here, writing about anything going on in my world. That is because I was in Chicago covering the Chicago Film Festival for nearly all of October, at Bishop Hill with other authors, and am now getting ready to launch promotional things for my newest nonfiction book, “It Came From the ’70s: From The Godfather to Apocalypse Now.”

But, first, a look at the signing on October 30th, the day before Halloween, for the final “Ghostly Tales of Route 66” book in the trilogy of “Ghostly Tales of Route 66.”

Find me next on December 4th at Barnes & Noble at Northpark with my nonfcition movie book and stay tuned for news of some other local signings, with the possibility of winning movie passes if you purchase a book.

The young duckling doing the signing is granddaughter Ava, whose twin sister, Elise was off on an “enjoy and destroy” mission of Barnes & Noble at Northpark Mall in Davenport on October 30th.

Wall Street: Money Never Sleeps

“Wall Street: Money Never Sleeps” opened and it is, indeed, a fitting sequel to the 1987 film. Oliver Stone’s revisiting of greed and corruption on “Wall Street” comes to us at a time when we have just dodged the bullet of a second Great Depression (or have we?)

The film opens with a scene of Gordon Gekko’s (Michael Douglas’) release from what is billed as Otis Federal Prison (actually Sing Sing) in 2001, after 8 years behind bars for insider trading and other financial misdeeds while working on Wall Street. When Gordon’s personal belongings are returned to him, the huge cell phone is the most anachronistic object. It is huge, by today’s standards. He walks outside to find no one waiting for him. One imagines the scene to be analogous to what would occur if Bernie Madoff were ever to be released from prison.

The backstory involves Gekko’s purported desire to reconcile with his daughter, Winnie (Carrie Mulligan). He says several times, “Winnie’s all I got left.” Unfortunately, Winnie has not talked to Gordon in several years, apparently the result of her feeling that, had Gordon been there, her brother Rudy would not have died of a drug overdose.

These scenes must have cut very close to the bone for the veteran actor. His brother Eric died of a drug and alcohol overdose on July 6, 2004 at age 46. Couple that with the recent incarceration of Michael Douglas’ only son Cameron for trafficking in meth and you have a man who can relate to the scenes he plays opposite Academy Award nominee Carrie Mulligan as his daughter Winnie

With the recent announcement (Aug. 16, 2010) that Michael Douglas has Stage 4 throat cancer many of the movie’s lines take on added significance, such as this one: “Time is the priority, not money.

Shia LaBoeuf as Jake Moore is in love with Gordon’s (Michael Douglas’) daughter Winnie and has proposed marriage to her. She has accepted. He is a trader on Wall Street and she runs a left-leaning liberal blog called “The Frozen Truth.” To a veteran movie-goer like myself, I consider it noteworthy that, when Jake (LaBoeuf) wants to break news to the world, rather than going to the “New York Times” like Robert Redford did in “Three Days of the Condor” or to the “Washington Post” in “All the President’s Men,” he goes to his girlfriend Carrie and lets her break the story on her blog. (Maybe there’s hope for my www.WeeklyWilson.com blog, after all!).

The best thing about this film is the script, written by Allan Loeb and Steven Schiff, based on the original characters from the 1987 film created by Oliver Stone and Stanley Weiser. With the excellent lines that have been scripted for them, all the actors give tour de force performances. All are genuinely convincing right down the line, starting with Douglas, LaBoeuf and Mulligan and moving on to Josh Brolin as  bad guy trader Bretton James, veteran character actor Eli Wallach as “Jules”, Frank Langella as Jake Moore’s elderly mentor, and too many other veteran actors and actresses to mention each by name (Oscar-winner Susan Sarandon plays a small part as Jake’s mother and Sylvia Miles has an even smaller part as a real estate agent.

Here are a few of the lines from the film that will give you its flavor:

Frank Langella, as Lou, the old trader at the fictional firm Keller Zabel, which seems to have been modeled on:  “It’s no fun any more.  It’s just a bunch of machines telling us what to do.”

On September 15, 2008, IRL (in real life), Lehman Brothers filed for bankruptcy following the housing and credit crash on Wall Street. It was the largest bankruptcy filing in U.S. history, with Lehman Brothers holding more than $600 billion in assets. The U.S. government turned a deaf ear to pleas for help from Lehman Brothers to help it remain afloat. Later, however, the government decided that AIG was “too big to fail’ and bailed out that financial institution (and several others), using U.S. taxpayers’ money. In this fictional account of recent history, Lehman Brothers is represented by the fictional firm of Keller Zabel, whose shares plummet from $79 to an offer of $2 made to old hand Lou (Frank Langella), a low blow, which, in filmdom, is engineered by bad guy Josh Brolin portraying trader Bretton James. There are many pseudonyms for real Wall Street firms in the film. There is the fictitious Churchill Schwarz (Goldman Sachs?) and the nefarious Locust Fund, as well as Hydra Offshore Oil, which is LaBoeuf’s pet project to turn water into a substitute for oil.

At one point in the movie, Jake Moore (Shia LaBoeuf) asks Michael Douglas’ character of Gordon Gekko, “Are we going under?” Douglas responds, “You’re asking the wrong question.” Jacob says, “What’s the right question?” And Gordon responds, “Who isn’t?”

Telling old hand Lou (Frank Langella) that “Your valuations are no longer believable” drives him to commit suicide, and much of the rest of the film is about Jake’s desire to exact revenge for his mentor’s death.

The scene in the college auditorium where Gordon Gekko (Michael Douglas) is lecturing has been in heavy rotation on televison ads for the film, and it is a good scene. Among other things Gordon says (courtesy of scriptwriters Loeb and Schiff), is: “You’re the NINJA generation:  No income. No job. No assets.” Gordon also repeats his mantra that “Greed is good” and says, “Now, it seems, it’s legal.” He says that “Only 75 people in the world know what they are talking about” regarding Wall Street traders and says, “Greed got greedier…The beauty of the deal; no one is responsible because everybody’s drinking the same Kool Ade.” He also says, “The mother of all evil is speculation” as he comments on “borrowing to the hilt.” Listening to the cancer-stricken Douglas (Stage 4 throat cancer) call the Wall Street situation “systemic, global…it’s a cancer” hits home.  Phrases like, “He’s (Lou) one of the toughest guys who ever wore shoes” also resonate, as Shia LaBoeuf relates how Lou (Frank Langella) saw to it that he got a scholarship to Fordham.

Another great soliloquy:  “Money’s a bitch that never sleeps, and if you don[t keep one eye on her, you may end up with it gone forever.” Susan Sarandon is run in as a nurse-turned-realtor who has been making money flipping houses and is constantly turning to her stockbroker son to bail her out as the market crashes.  At one point, Shia says to his mother, “What’d you think:  it was just going to shoot up in perpetuity?” as he writes out checks to his mother for $200,000 first and, later for $30,000 he barely has, at that point. When Shia LaBoeuf reveals that Bretton James has just offered him a job with his firm, Douglas says, “You just rocketed to the center of the Universe.” A later stunt by Jake to get even with Bretton which involves spreading rumors that are not necessarily true leads Douglas to warn LaBoeuf that, “You induced others to trade on information you knew to be false,” warning him that this, too, is a crime punishable by the SEC (Securities and Exchange Commission).

There are several metaphors for the fragile yet brutal nature of Wall Street trading, including a framed tulip photograph and a painting that is supposedly by Goya. As a seasoned movie-goer you know that, sooner or later, one character or the other will smash either the framed tulip picture or the Goya.

I enjoyed the line that Douglas has when Jake Moore comes to him and tells him that Bretton James “screwed me.” Douglas replies, “Shocker.” Not too heartening is Douglas’ line, “They (greedy traders) never die. They just come back in different forms.”  Here’s another good one from Gordon Gekko (Douglas):  “When choosing between 2 evils, I always like to try the one that I haven’t tried before.”

I genuinely liked this movie (although it didn’t hold my interest nearly as well as “The Town” that is out now), but there were 2 things that I didn’t like that much. One was the music, with original music by Craig Armstrong and Bud Carr as the Executive Music Producer. (The music in “Up in the Air” with Rick Clark supervising was infinitely more appropriate). At the end, the song playing over the credits is reggae-influenced, which seemed somehow out of synch with the world of Wall Street. The other thing that disappointed me was one of two reconciliations that takes place at film’s end. I don’t want to ruin the film for those who have not yet seen it, so I’ll just say that one seemed appropriate and consistent with the character portrayed and one seemed contrived.

A recent line from George Clooney’s “The American,” scrawled on my notepad, seemed to fit this movie, too. “You are Americans. You think you can escape history. You live for the present.” Too true.

Hasselhoff Bites the Dust on DWTS

www.associatedcontent.com/article/5813450/the_hoff_dancing_to_sex_bomb_didnt.html

That is the link I posted in advance of the elimination of David Hasselhoff on “dancing with the Stars” on Tuesday, September 21, 2010.

As a postcript to Monday, September 21st, 2010 “Dancing with the Stars” elimination round, David Hasselhoff was cut from the dancing competition. I think the headline of the article I posted (prior to the actual results being announced) said it all. The Tom Jones “Sex Bomb” song selected for David to gyrate to was just embarrassing. Yes, he’s a good-looking older guy, but both he and Florence Henderson seem to be trying too hard to be “hip” and “with-it.”

As he was announced as the eliminated contestant, the Hoff declared that he felt this might be some sort of “pay-back” for his stint on “America’s Got Talent.”

The performances by Santana, at one point accompanying Daughtry and at another, when playing “While My Guitar Gently Weeps” accompanying guest vocalist India were quite entertaining and the opening dance number by the pros was worth watching.

My favorite moment: when Mike “the Situation” Sorrentino announced to no one in particular that he didn’t even know there were roads from Alaska to Los Angeles. As the host said later, “We’re not just a dance show; we’re a geography lesson.”

It’s quite apparent who has the talent in this show. It’s hard to believe that weeks and weeks of votes are going to be required to select the “best” dancer. Of course, let’s not forget the year that Mario Lopez lost to a football player who was infinitely inferior in dancing ability, so “Let the best man (or woman) win” doesn’t always pan out on these competitions.

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The Tall Ships in Chicago at Navy Pier

These three ships were lined up alongside the dock a few days after the arrival ceremonies.Recently, 30 to 50 “Tall Ships” sailed to Chicago and assembled at Navy Pier. It is an event that happens infrequently—-not for at least 4 years or more— and, when these old-fashioned sailing ships all assemble, tourists flock to the site to take their pictures, as I did. I know from my friends in Pub Quiz Trivia Room on AOL that some had set out from England to make the journey.

Unfortunately, to actually stand alongside the ships will cost you $15. To climb onboard, as you see happening with one ship, will cost you even more. To park your vehicle for a weekday in the Navy Pier parking garage will cost you a flat rate of $20 and, if it’s a weekend, it will cost you $24.

Red Sails in the Sunset.

I rode my bike to Navy Pier and you will have to forgive the fact that the shots are from further away on the Pier where we freeloaders could take the shots without ponying up $39 just to park and take a couple of photographs.

You can see the passengers aboard this Tall Ship.

Ship with Chicago skyline in background. A replica of the Mutiny on the Bounty ship was among the Tall Ships, but not on display this day. The ships stayed only 4 days.

Summer Movies: 2010

With Labor Day in the rear view mirror, we can officially say that summer is over. I went to a lot of summer movies, but here I will try to separate the wheat from the chaff. In some cases, I couldn’t get to a few that I really wanted to see (Winter’s Bone, The Pat Tillman Story).

Early in the summer, I missed an opportunity through CinemaChicago to see The Kids Are All Right for free. I regretted it then and I regret I now. It seems to have become the only pure breakout independent hit movie of the summer, and I am much more about small, independent character-driven films than giant Transformer type fare, (although I did trek down to the Chicago River and do some on-the-spot reporting from the Chicago sets of that film sequel shooting in the Windy City.)

George Clooney in "The American" shoots and misses.The last film-of-summer I hurried out to see was George Clooney’s The American. Contrary to the good review Roger Ebert gave this Anton Corbijin (a Dutch director) film, it was a total dud. Unless you like interminable shots and discussions of weapon assembly that go on for hours (which feel like days), pass on this one. I got the feeling that Clooney…who, as we all know, has an estate in Italy…just wanted to stay close to his Lake Como digs and make a few bucks filming in places with names like Castelvecchio and Castel del Monte. Those of us who are big Clooney fans (count me among that number) and really enjoyed “Up in the Air” and “Syriana” and “Michael Clayton” and “Good Night and Good Luck” were sucked into the vacuum that this film represents.  “Rolling Stone” magazine (September 16, “Arthouse Vs. Grindhouse”) described The American as “a film of startling austerity” (read boring) and “remote to a fault” (read boring). There were 5 of us who attended this movie together, 3 of them male. The snoring began almost immediately. George’s anguished driving scene merely made him appear constipated; not his finest acting hour Very disappointing film.

Then there was Get Low, which was almost as slow-moving at times, but done with spectacular attention to detail. How can you not like watching Robert Duvall play a scene opposite Bill Murray portraying a pencil-mustachioed undertaker? The plot, (for most of you who will miss the film), was supposedly based on a true story and involved the eccentric Duvall, who lives in the woods and is considered a crackpot, trying to arrange to host his own funeral while he is still alive. [Be sure to arrive at the beginning so you don’t miss the scene of the unknown stranger jumping out of a burning house.] It is only at the funeral that we learn that Duvall has actually summoned everyone in the county to the celebration so that he can confess to crimes of the heart committed many years ago. With able acting support from Sissie Spacek as a long-ago sweetheart, Lucas Black as Buddy, Gerald McRaney as the Reverend Gus Horton and Bill Cobbs as the Reverend Charlie Jackson, I have to admit that I thought about this film for days after I saw it, appreciating the lovely cinematography (Director Aaron Schneider is better-known as a Cinematographer) and the spot-on period piece music (“I’m Looking Over A Four-Leaf Clover,” “Blue Skies,” a Bix Beiderbeke piece). There are some great lines. Bill Murray: “I sold 26 of the ugliest cars in the middle of December with the wind blowing so far up my ass I was farting snowflakes into July.” Robert Duvall:  “There’s alive and there’s dead and there’s a worse place in between that I hope you never know nothin’ about.”  Murray again:  “That’s one thing about Chicago. People know how to die.  They drown. Get shot.  Whatever it takes.” This film was only showing at 570 sites, according to “Entertainment Weekly” and its take was far below that of the summer’s blockbusters, but it was a fine film from Director Aaron Schneider, who previously won an Oscar for his cinematography work. It shows in this film and I wouldn’t ever count Robert Duvall out in the Oscar acting category.

Big Blockbusters of Summer:

There’s no question that Inception and Toy Story 3 were the films to smile about this summer. Inception will be nominated for numerous Oscars, and has raked in $270.5 million (“Entertainment Weekly,” September 10, The Chart, p. 75).  Toy Story 3 has done even better, with a take of $405.7 million. Both of them great films.

Other films that were enjoyable include The Other Guys with Will Ferrell and Mark Wahlberg as unlikely crime-fighting partners. The fact that Ferrell’s character drives a red Prius (“I didn’t know they put tampons on wheels” is one put-down from the film) and that Wahlberg’s cop is known as the guy who shot Derek Jeter are just a few of the comic touches. Brooke Shields’ husband Chris Henchy and Adam Mckay co-wrote. (Look for Brooke in a cameo appearance, sitting next to Ferrell at a Lakers game.)

Cyrus with Noah Hill, John C Reilly and Marisa Tomei was a nicely acted comedy with some depth. It depicted the unhealthy relationship that has emerged between a divorced mother and her adult son. A great supporting performance by Catherine Keener as Jamie (Who can forget Keener shouting, “Check, please!” in Being John Malkovich after John Cusack’s character tells her he is a mime?) Unfortunately, Jonah Hill also was part of Get Him to the Greek this summer, an attempt to cash in on crass comedy of The Hangover variety. Russell Brand did a good job portraying a prima Dona rock star, but the low humor killed it for me.

I came out of The Switch feeling sorry for Jennifer Aniston…and not just because Angelina Jolie ran off with Brad Pitt. It wasn’t a bad film, depicting, as it does, an unmarried independent career woman planning to give birth by means of artificial insemination. The best thing about the film was co-star Jason Bateman portraying Anniston’s long-time neurotic male friend Wally Mars (Anniston to Bateman:  “You’ve got to hide your crazy at least through the appetizers.”) The plot, as most will know, involves Wally switching the sperm sample Cassie plans to use for making a baby, which gives rise to a little Wally (child actor Thomas Robinson, who didn’t cut it, for me). The inevitability of Jennifer’s character Cassie and Bateman’s Wally eventually ending up together is a foregone conclusion. My husband objected to having to go to “a chick flick.” I have read reviews that trumpeted the film as “the end of Jennifer Aniston’s film career.” I think that is a bit harsh and overly dire for what was a pleasant-but-predictable film with some good acting from the principal characters (including able support from Jeff Goldblum as Leonard, Juliette Lewis as Debbie and Patrick Wilson as Roland, the sperm donor). However, there is no question that it was uncomfortable watching Jennifer Aniston play a more-or-less close to her real life character’s situation: an attractive, independent female who hears her biological clock ticking and is becoming desperate. Desperate is never fun.

I saw Dinner for Schmucks and found it much better than the trailer the advertising gurus chose to use to promote it (see previous Associated Content article).

Here are the films I purposely avoided and am very glad I did:  The Expendables, Eat Pray Love, Sex in the City 2, The Last Exorcism, Prince of Persia, The A-Team, Jonah Hex, The Sorcerer’s Apprentice, Step Up 3D, Knight and Day, Killers, The Twilight Saga: Eclipse.

Here are the films I saw and could just as happily have missed: Iron Man 2, The American, Journey to Mecca (IMAX offering). Count these as disappointing.

Here are the films I caught and am glad I did:  A Piece of Work (Joan Rivers documentary), Toy Story 3, Inception, Get Low, and Cyrus.

Here are the films I am going to make sure I see before Oscar-time:  Winter’s Bone, Despicable Me.

Happy movie-going to us all!

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