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!

Trump Is Ineligible to Be President, Say Legal Scholars

According to a recent publication by two Constitutional scholars, Donald J. Trump is ineligible to be President of the United States, because of the Constitutional prohibition under Section 3 of the 14th amendment, which bars anyone from elected office who has “engaged in” or “given aid or comfort” to an “insurrection or rebellion.”

The scholars—William Baude of the University of Chicago and Michael Stokes Paulsen of the University of St. Thomas—argue in a law review article that Trump’s attempted coup d’etat “automatically” disqualifies him.  The scholars say that “every official, state or federal, who oversees elections has the authority to bar Trump from the ballot.

Baude and Paulsen are not Biden-loving partisans, according to Matt Ford in “The New Republic.” They belong to the Federalist Society, the powerful right wing organization that helped stock the Supreme Court with conservatives.

Section 3 addressed the problem of Southern states sending Confederate official to Washington D.C. after the Civil War.  The terms “insurrection” and “rebellion” should apply to “only the most serious of  uprisings against the government.”

Baude and Paulsen’s “powerfully argued” case reaches the “obvious conclusion” that Trump tried mightily in several extra-legal ways to overturn an election he had clearly lost.  Thus, he “engaged in insurrection and rebellion and gave aid and comfort to other who did the same.”

Legally, the argument is “very compelling,” said Zack Beauchamp in “Vox.” However, MAGA Republicans might well react with violence to a Supreme Court that might agree with Article 14, Section 3, making January 6th into a prelude to more disaster.

Underground Independence

“Underground Independence” Takes Us On A Stroll Down Memory Lane in Independence, Iowa on Aug. 19, 2023

Independence, Iowa, was named as the seat of Buchanan County in June of 1847.  A second town, New Haven, and its mill, were located on the west bank of the river.  In 1854, the State Legislature merged the two towns.  Ten years later, in 1864, Independence was incorporated. Quasqueton, then called Quasquetuk, which I wrote about as the location of a Frank Lloyd Wright home, is quite near Independence (located on what is often referred to as the Independence/Quaskie diagonal). Quasqueton was originally the county seat, but that distinction was moved to Independence in 1847 at a time when there were only 15 residents in Independence.

The bridge connecting the East and West banks of the city had become impassable.  Built just above river level, the bridge was at the mercy of floods and frost. A flood in 1865 finally swept the bridge away entirely.  [I’ve heard stories about an elephant falling through the other downtown bridge, while in town for a circus, but I’ve never been able to document that interesting bit of trivia. I will say that, on my visit there for the Mini Reunion on Aug. 11th, we had to use this secondary bridge because the city fathers had blocked off Main Street for something called Music on Main.]

How Underground Independence Came to Be:

It was decided to raise the bridge to make it less vulnerable. In doing so, the level of the street on the East side would also need to be raised, thereby changing the grade of the entire street.  A massive project began. Retaining walls were constructed.  Dirt was hauled from further up the hill to the East to raise the street from the river to beyond 3rd Avenue N.E.  As it progressed, the entrances to stores fell below street level.  A walkway was maintained so that merchants and customers could still do business. I’ve been told that the revelation of this “buried” level of the city was not fully realized until about 2011. I grew up there and knew nothing of it, but the Episcopalian minister of St. James Episcopalian Church, Sue Ann Raymond, whose father owned Raymond Printing Company for years, said she was aware of this subterranean nature of the city, because part of it was located beneath her father’s store.

By 1866, the new bridge was completed.  Samuel Sherwood began to make plans to erect a new, much larger woolen mill, which is now known as the Wapsipinicon Mill. The 1867 mill, now called the Wapsipinicon Mill, was a source of electrical energy from 1915 to 1940. Some structural restoration occurred in recent years, and the mill now functions partly as an historical museum. We visited the Mill, the Loft Chamber of Commerce at 112 1st St. E, the Gedney Bakery at 116 1st St. E, the Sanity Room at 117, 1st St. E, Eschen’s Clothing at 211 1st St. E, and Quilter’s Quarters at 213 1st St. E. Tours are self-guided and stairs are steep: be warned.

A courthouse was built in 1857, on the east side of the town, on a site described at that time as “the highest tract of land in the neighborhood,” which offers “a fine view of the city of Independence, the valley of the Wapsipinicon, and the surrounding Country”. The original courthouse was replaced in 1939 by a Moderne or Art Deco structure. My father was then the Democratic County Treasurer of Buchanan County (partially a fluke, as his Republican opponent died before he could be sworn in, and they offered the post to my father, who was re-elected for a total of four terms. Dad helped lay the cornerstone of the new County Courthouse. He was 37 years old.)

Dad began thinking about establishing a second bank in town as his term was coming to a close, contacting the bank examiners and being put in touch with investors from other parts of the state like Mason City. Security State Bank opened in 1941. I have the first check that cleared the bank framed on the wall of my study. Check Number One is dated October 8, 1941, between the  Federal Reserve Bank of Chicago and Security State Bank in the amount of $971.97.  I learned that what is now called NSB (Northeast Security Bank) now has deposits of $421,617,000 with branches in Independence, Dysart, Fredericksburg, Decorah, Fairbank (my dad’s home town, where he began in banking as a cashier), Sumner, Rowley and Fayette.

In November of 1873, a fire started behind what is now Hartig Drug Store and burned the buildings going East.  Six months later, in May of 1874, a second larger fire began in the middle of the West side of 2nd Avenue, N.E. (my old home street). It burned the entire West side of the street. Everything from the river to what is now the NSB (Northeast Security Bank Corner), formerly the Security State Bank that my father founded in 1941.  A livery, four residences, and a church in the block behind were also burned.

In May of 1874 a second larger fire began in the middle of the West side of 2nd Avenue, consuming the buildings on the north side of 1st St. E to the river. High winds allowed the fire to jump to the south side of the street. Within 10 days of the second fire, merchants and land owners began rebuilding on the existing limestone foundations, leaving underground storefronts as they were.  The devastation led to an opportunity to recreate the downtown with beauty and continuity.  The buildings were crafted in the Italianate architectural style of the day.

The block on the West side of 2nd Avenue burned down again in 1960, something I vividly remember, as a high school student who was viewing the film “Exodus” at the Malek Theater, one short block from my house at 214 2nd Avenue, when the fire broke out. Because sparks were landing on the roof of the theater, we were asked to exit the theater and I began trying to walk home, which was not easy, because fire trucks and firemen were clogging up 2nd Avenue directly in front of the post office. The locker plant across the street was destroyed as were all other buildings on the block.

I finally took the alley behind St. James Episcopal Church back to my house at 214 2nd Avenue N.E., the former railroad station master’s house. My father was out on the front hill with a garden house watering the area down as sparks drifted across the street. I was 15 years old.  I remember it vividly, just as I remember the Independence Senior High School burning down in 1956. (It was just before I was to enter 7th grade in “the new junior high school,” which quickly became the high school/junior high combined. This building, Jefferson High School, was torn down and a new high school was erected in 2013.)

Rush Park: Axtell & Allerton

For a few years in the late 1880s and early 1890s, Independence was a nationally known horse-racing center, and was sometimes referred to as the “Lexington of the North”. This came about as a result of the meteoric financial success of Charles W. Williams. A telegraph operator and creamery owner from nearby Jesup, Iowa, Williams (with no experience in breeding horses) purchased in 1885 two mares, each of which within a year gave birth to a stallion. These two stallions, which Williams named Axtel and Allerton, went on to set world trotting records, with the result that Williams’ earnings enabled him to publish a racing newspaper titled The American Trotter, to build a large three-story hotel and opera house called The Gedney, and to construct a figure-eight kite-shaped race track on the west edge of town, on a large section of land called Rush Park, where he also built a magnificent horse barn and his family mansion. Williams eventually (1889) sold Axtell for $105,000, a record price for any horse at the time. (*Axtell broke down as a 4-year-old and never raced again.)

The grand opening day for the kite track was  August 25, 1890. At least 225 horses valued at over one million dollars were on exhibition for the price of $1.00 at the gate.  Season tickets, admitting the holder to all 5 days, could be purchased for $4. Season tickets for a lady and gentleman cost $7. There was no extra charge for teams or admission to the grandstand.

The burgeoning community was soon home to other mansions, churches, and even a trolley-car service. My mother used to tell me about the Gedney Opera House burning down; I believe that the trolley car came down 2nd Avenue (Chatham Street) to the Gedney, bringing big name horse racing enthusiasts to the races. That street was paved with red brick throughout much of my growing-up years in Independence, and you could hear the Amish buggies clip-clopping down the street to the sale barn on weekends.

The Wapsipinicon Old Mill basement.

The horse races at Rush Park were an effective magnet. The fifty cents admission fee paid by over eight thousand spectators must have delighted Charles W. Williams. Charles W. Williams would have beamed with joy as he saw twenty-five hundred people jammed into his $10,000 amphitheater, happy to pay an additional thirty-five cents for the privilege. Purses totaling $2400 had lured many of the fastest horses in the state to Independence.

Williams went on to raise other record-breaking horses, but he lost much of his fortune in the Panic of 1893. Williams subsequently moved to Galesburg, Illinois, where (among other things) he became acquainted with the young Carl Sandburg (as mentioned in Sandburg’s autobiography, Always the Young Strangers). Today, the location of Williams’ race track (which was the original site of the Buchanan County Fairgrounds) is a corn field. His house is still standing, but, in recent years, the Rush Park barn was demolished by a bulldozer, to make way for a fast food drive-in and an auto parts store. There was a point when two wealthy California natives tried to make an upscale supper club within the famed Rush Park barn, but that, too, ended up being short-lived.

In the years that followed the race track days, the town lost most of its importance when the railroad terminal at Independence was pushed further west to Waterloo, Iowa. Today, the old depot stands on the highway that leads to Oelwein and serves as a visitor center, but it is no longer a functioning depot. I remember my parents taking the train to Chicago and staying at the Palmer House for bankers’ meetings, but that would be impossible today, just as my trips from Iowa City to Chicago would be impossible with the sub-par rail service in Iowa today.

Of additional interest are several other buildings of historic and architectural value. Among these are the Christian Seeland House and Brewery at 1010 4th Street Northeast (1873), an Italianate style mansion and brewery; Saint John’s Roman Catholic Church at 2nd Street and 4th Avenue Northeast (1911); the Munson Building, formerly the Independence Free Public Library, at 210 2nd Street Northeast (1893–95); Saint James Episcopal Church on 2nd Avenue Northeast, just north of 2nd Street (1863, 1873); and the Depression-era United States Post Office Building at 2nd Street and 2nd Avenue Northeast (1934), not for its architecture, but because hanging inside in the lobby is a WPA mural from the 1930s, titled Postman in the Snow, painted by a former Independence resident named Robert Tabor. (*There was another Tabor painting of a small child wearing white galoshes and a pink coat and holding a book up to the librarian to check out. I was told by the librarian that that child was me, then aged about 5, which would have been painted when Mr. Tabor (who did not begin painting until he was 52) was about 68 in 1950, as he was born in 1882. Since I spent all of my free time at the library, I can believe this.)

About 10 miles east of Independence, south of U.S. Highway 20, near Quasqueton, is the Lowell Walter house or Cedar Rock, a state-owned Frank Lloyd Wright house that is open to the public from May through October. (See previous blog article.)

For me, as a St. John’s student from 1950 to 1959, I worshiped weekly at St. John’s Church a block away from my childhood home. I remember when a tornado tore the roof off St. John’s Church (established 1911) and deposited the wreckage in our back yard in about 1947. My father made a playhouse out of the shingles and boards, which my parents referred to as “the hookey.”

The Library mentioned was right down the alley. I made almost daily trips there to read, as we did not purchase a television set until I was a junior in high school in 1962. (My mother’s prescient remark was: “Pictures were never meant to fly through the air;” she had pronounced television to be a fleeting fad.)

St. James Episcopal Church, the oldest continuously operating church in town, is one house away from my childhood home. I remember when my parents hired a Chicago architect to remodel our home in 1957. He was quite smitten with the church with its beautiful stained glass windows, and made frequent trips the 100 yards to tour it on his own.

One of my favorite library stories was when the librarian thought I was too young to check out a book about the Zulu uprising in Africa. She called my mother at home and asked her if she should allow me to check out the book. Mom replied, “Sure. Go ahead.” (Good going, Mom!)

At the 2000 census there were 6,014 people in 2,432 households, including 1,588 families, in the city.

Points of Interest:

Historic Downtown

AXTELL

Year of Birth: 1886
Immortal: Yes
Elected as Immortal: 1955
Year of Death: 1906
Gait: Trotter
Record: t, 2:12
Sire: William L.
Dam: Lou
Mambrino Boy

Axtell was foaled in 1886, son of William L. out of the non-Standard mare Lou. His breeder was C. W. Williams of Independence, Iowa. Axtell was trained and raced by Williams on the famed Independence kite-shaped track. He lowered the two-year-old stallion record to 2:23 and won every race in which he started. As a three-year-old Axtell again won every start and lowered the world’s stallion record to 2:12. In 1889 Williams made history by selling Axtell to a syndicate for $105,000, the highest price ever paid for a horse of any kind at that time. Axtell broke down as a four-year-old and never raced again, but retired to stud. His progeny included the foundation sire Axworthy 2:15 1/2, and he became one of the highest priced sires of his day. His 1891 stud fee was $1,000. Axtell died on August 19, 1906 in Terre Haute, Indiana.

Frank Lloyd Wright Home at Cedar Rock in Quasqueton, Iowa

Frank Lloyd Wright Home at Cedar Rock in Quasqueton, Iowa

On our way to my old hometown of Independence (Iowa) to take the Underground Independence tour, we visited Cedar Rock, the Frank Lloyd Wright house in Quasqueton, Iowa. I had always known that this example of Frank Lloyd Wright’s Usonian homes was near my old hometown, but I only became aware of the specifics of its location when driving to Independence for the “Mini Reunion” mentioned in a previous post.

Kitchen at Cedar Rock.

The owners of the Quasqueton house wanted Cedar Rock to be a retirement home, with their winters being spent in Des Moines, where Lowell and Agnes Walter lived and where Lowell had offices for his company, the Iowa Road Building Company. The Walters sold their road building company in 1944; they owned the patent on a chemical that helped keep the dust down on country roads. The family invested profits into Buchanan County land and owned 17 farms and 3,800 acres of land. The building site for Cedar Rock was 11.5 acres, The Kucharo Construction Company of Des Moines were general contractors and builders for the site. Budgeted amount was initially $50,000 in 1945, but it is estimated that it ultimately cost $120,000 to $150,000 to build the house, which was completed in 1950.

The Walters wrote to Wright on January 25, 1945, and asked if he would design this home for them. Even then, they had the idea of deeding it to the state, as has been done.

Wright obviously agreed and used materials he is known for, including glass and concrete. The design called for 17 tons of reinforced concrete. The roof would be flat, like many of Wright’s designs.

Wright also designed the furniture within the house. On the exterior of the house appears a red tile, which was Wright’s seal of approval, stating that the house had been completed to his specifications. Of the 10 Frank Lloyd Wright structures in Iowa, Cedar Rock is the only signed one. (Other Wright structures in Iowa are the Stockman residence in 1908 in Mason City; the National Bank & Park Inn Hotel in 1909 in Mason City; the Miller residence in 1946 in Charles City; the Meier residence in 1917 in Monona; the Sunday residence in 1955 in Marshalltown; the Grant residence in 1946 in Marion; the Alsop residence in 1948 in Oskaloosa; the Lamberson residence in 1948 in Oskaloose; and Cedar Rock (1948) in Quasqueton.)

Living room at Cedar Rock.

The Cedar Rock house also has a boathouse that has the ability to sleep inside it, which most do not have. The house and the boathouse are both situated high above the Wapsi Pinicon River, which, according to the guidebook, was a place that many selected for picnics and swimming and had indigenous importance. The architecture is of such major national significance that Cedar Rock was accepted for nomination prior to the buildings being 50 years old, by notable two-time exception of the National Parks Service. (Only a few sites with this distinction are listed on the National Register of Historic Places in 2 listings prior to meeting the age pre-requisite.) The building design is Wright’s only executed design of its particular type and construction: solid brick masonry and cast-in-place concrete used structurally and three-dimensionally, with lots of red brick. It is the only Wright design in which concern for treating a site already of historical importance, significant to indigenous American history, influenced Wright’s design and placement of the buildings. It is said that the layout of the house is like a tadpole. William Wesley Peters and John deKoven Hill, two of Wright’s most trusted students from the Taliesin School of Architecture, oversaw the building of the Cedar Rock house.

Dining area with inter-locking table(s).

 

Among characteristics of the house that are known to appear in Frank Lloyd Wright homes, the entrance is dark, but opens to a very light room with sky lights helping bring nature into the space. The bathrooms were very small and the design of the movable sink, which swiveled, was odd. (We were told it was not Wright’s bathroom design, however.)

The bedrooms were very small and the hallway that led past the bedrooms were dark, with built-in cabinetry. However, Wright did not believe in having basements or garages or attics. He also nixed the use of an attached garage and the family had a car port, instead, with a small house that they lived in during construction later being moved to the perimeter of the site and used for housing cars. There was also a maid’s quarters, although the couple did not employ a maid.

The entire house seemed very small and it didn’t look like there would be much of an opportunity to escape from each other to any rooms within the structure.  In the original letter to Wright, the letter suggested 30’ x 60.’ The closet space was sorely lacking. The bathroom and hallway outside it were less than optimal and very small.

On a positive note, the tables that Wright designed that were made to fit together were quite ingenious. Also, the overall site on the river is unique and beautiful, with a winding road leading up to the house through gorgeous trees.

Wright designed more than 1,000 structures over 70 years. He lived from 1867 to 1959, so Cedar Rock was near the end of Wright’s career, as it was only 9 years before he died.

I had the opportunity to play the Steinway piano in the living room of Cedar Rock, which was unique.

Although most of us are aware of the significance of Frank Lloyd Wright in architecture, the tragedies of his life included two divorces, an intentionally set fire tat led to the murders of 7 people, including Wright’s mistress, Mamah Cheney, her two children, studio and site employees, and the carpenter’s son by an ax-wielding handyman, Julian Carlton.  Wright continued to be plagued, years later, by a second fire ignited by a lightning strike and lifelong financial struggles.

 

Mini-Reunion Goes Down Without a Hitch on Aug. 11, 2023

There is a reunion scheduled for my high school graduating class, but it is scheduled the very same date as Printers’ Row in Chicago, the largest outdoor book fair in the United States. I have participated in Printers’ Row many years as a member of the Illinois chapter of National Presswomen. This reunion is a full 6 decades post high school. How many of the 12 girls in my circle are even alive? How many who are alive would be attending? (From the latest reports, only 35 people have signed up at all, and that includes spouses, so a class of 110 has shrunk to perhaps 20, tops.)

(L to R) Connie, Marcy, and Candy.

I ran through the names and statuses of the girls I ran around with in high school:

Jane – died at age 69.

Marcia – died from a brain aneurysm while mowing the lawn.

Joan – died from a massive stroke in October after a lifetime of chain smoking.

Linda – died of cancer

Carol – died of cancer

Kaye – dead of suicide

Still living?

Candy, Beverley, Marcy, Pat and me.

I also am aware that my high school steady boyfriend died on May 20, 2021, during some routine maintenance on his pace maker. (RIP, Verne).

So, I organized a Mini Reunion, which involved three (of 5) of the remaining class members. It just so happened that there was also supposed to be something called Music on Main involving live music, supposedly, on main street the night that we selected (Aug. 11th). We did  go downtown to explore this activity late (9 p.m,) but it seemed to be more “canned” music than “live” music and there were only a few high school aged people out and about. It was a lovely night and we enjoyed the stroll past old businesses that we remember from our youth, which now have new functions.

Marcy’s soon-to-be Corvette, as restored by husband Dave.

Initially, I drove to Alburnett, Iowa and joined forces with Marcy, who lives nearby. We traveled the rest of the way (a roughly 2 and ½ hour trip for me) in Marcy’s car, but I must share the project her husband is working on for her right now.

We dined at Denali’s on the River (prime rib) and caught up on what has been going on in everyone’s life. Candy’s husband just had open heart surgery. Marcy had just attended at least three funerals for close friends. I am still staying on top of 1/27/2022 cancer surgery, and Candy has some mobility issues she is addressing.

We raised our glasses to our three wonderful husbands. We also had a drink in honor and in memory of the female friends who have shuffled off this mortal coil, and wished Beverley (far away in Oregon) well with her own battles with colon cancer and chronic pain.

I didn’t attend the 50th class reunion—also in conflict with a film festival commitment. It seems that Candy, who is a quilt-maker par excellence, has really excelled in this post-career hobby. Marcy has traveled extensively (China, Egypt) and she and her husband, Dave, will celebrate his 80th birthday on August 17th.

Dave has had both hips and both knees replaced and also had a corneal transplant. He is retired now, but farmed 2,000 acres at one time, with partners. Their home was destroyed by a tornado in 2009 and they built a new home high on a hill in a truly lovely pastoral setting. One of their children lives just below the hill where their house is located.

Candy has 9 grandchildren and 5 great-grandchildren, with the longest marriage of the three of us (59 years, I believe). All together, all of us have been married over 50 years, with our 56 years this year coming in as shortest time span.

Entrance to the new house.

I polished off the weekend staying overnight with Marcy and talking until 1:30 A.M. In the morning, we drove to my nephew’s new home and got to see it the very day they were moving in. It is a palace. I couldn’t be happier for Chris, D.J., Sophia and Owen.

It was a memorable Mini Reunion, and I am so glad that the three  of us could get together. I wish the rest of my classmates well as they gather at Wolfie’s (in Quasqueton, Iowa, which is a town I had never visited for reasons I do not totally understand). Next time, maybe the number of still mobile graduates will be so small that we can gather in  DeNali’s small banquet room. Or maybe another restaurant in town will open, as the one that the locals seemed to favor (Bill’s) was not only closed, but boarded up.

We did walk up and down Main Street, discussing the various businesses that exist there now and those of yesteryear. I learned that my father’s Security State Bank now goes by NSB, meaning Northeast Security Bank. It says there are 8 branches and that the bank, founded by my father (John Corcoran, Jr.) in 1941 is owned by Independence Bancshares, Inc.. and has assets of $427,617,000. The locations were listed as being Independence, Dysart, Fredricksburg, Decorah, Fairbank, Sumner, Rowley, and Fayette.

Since my father started out in the bank in Fairbank, Iowa, as a cashier, and the bank listed agri-business as its chief focus, it seemed that it might still be holding firm to his vision of serving the rural community and not becoming part of a huge chain like Wells Fargo or Bank of America.

I’ll report more on my stroll down memory lane after next weekend’s journey to view Underground Independence. (google it).

 

“Mission Impossible: Dead Reckoning” Is Tom Cruise’s Baby

“Mission Impossible: Dead Reckoning,” Part One, is Tom Cruise’s latest entry into that series, the 7th in a series stretching back 27 years, and supposedly the next-to-last.

The movie runs 2 hours and 43 minutes and contains one over-the-top action sequence after another. The efforts of Ethan Hunt and the IMF (Impossible Mission Force) pits Ethan against an evil power known as The Entity represented by the arch-villain Gabriel (Esai Morales). There is a key involved, with two sides of the key meant to power the most nefarious weapon in the world. Everybody wants it and tries to get it.

The main impression I came away from this over-long film were these:

  • Tom Cruise is shown running repeatedly—-scene after scene after scene. SEE TOM RUN! RUN, TOM, RUN!
  • Tom Cruise drives a motorcycle a lot.
  • Tom Cruise also does a lot of hang gliding/parachuting while looking for half of this All-Powerful key in some of the most exotic locales in the world.
  • This movie cost A LOT to make! Supposedly it is the priciest film of Tom Cruise’s career. Pandemic delays ballooned the budget to $291 million. By contrast, “Oppenheimer” cost $100 million.
  • Tom Cruise has the ability to switch Significant Others onscreen almost as readily as he has done in real life. When the movie begins, the love interest is Rebecca Ferguson as Ilsa Faust. Before the movie ends, the new love interest becomes Hayley Atwell as Grace. Both are very good.
  • Simon Pegg as Benji Dunn and Ving Rhames as Luther Stickell are also good, but the standout for most critics has been Pom Klementieff as Paris.

I’d like to say that the plot and the character development keep pace with the action sequences, but I’d  be lying. They don’t. As the old saying goes, “It is what it is.” That means a very opulent-looking (some scenes are shot on what is represented to be the Orient Express) movie with action sequences that are so far removed from reality that we are watching a violent ballet. We are reassured, however, that the car chase did not actually occur on the real Spanish Steps, but took place on a studio sound stage built for the stunt.

Director ChristopherMcQuarrie, who is also one of the three writers (Erik Jendresen and Bruce Geller are the others) has directed 3 movies with Tom Cruise as Ethan Hunt (and worked with him on 4). He allows for some sardonic humor, here and there. There are many pompous-sounding pronouncements, like, “We live and die in the shadows for those we hold dear and for those we never meet.” Also, “Our lives are the sum of our choices, and we cannot escape the past.”

Perhaps Ethan/Tom cannot escape the past, but he sure can escape everything else! In one memorable escape an entire train is being sent hurtling over a cliff as the bridge blows up. It isn’t enough to just have the train, car by car, hurtling into the void. It also is necessary for the interior of the train to be on fire! (I can just hear the screenwriters talking that one up. Rumor is that they think up a lot of this stuff on the fly.)

By now, you’ve probably seen the stunt with the motorcycle going off the cliff and the Ethan Hunt character then unfurling his parachute and gliding to safety in previews. As Manohla Dargis of the “New York Times” put it,  “Like the other large-scale, stunt-driven sequences, this showy leap at once underscores Cruise’s skills and reminds you that a real person in a real location on a real motorbike did this lunatic stunt.”

Then there’s the villain of the piece, Gabriel (Esai Morales). The two fight atop a moving train, which might be an homage to something similar in the very first “Mission Impossible” film (1996).Tom Cruise and Esai Morales were both born in 1962, so they are 61. Cruise is listed as 5’ 7” tall, while Morales is said to be 5’ 10.” The fight on the train, then, features two stocky middle-aged actors who are giving it their best shot. (The close-ups of Cruise atop the train are the least flattering shots of him in the film, forehead wrinkled, hair askew.)Here we have a perfectly attired middle-aged stocky male figure who isn’t so tall that he makes Tom Cruise look even shorter than the 5’ 7” he is (*Note: Al Pacino- only 5’ 6”).

Some critics have criticized Esai Morales as not being “evil” enough to embody the total villainy of the plot’s Gabriel. I was fine with Morales’ version of evil and have liked him ever since “La Bamba.”However, I do remember films where other baddies were far more evil-looking/acting—say Al Pacino in “The Devil’s Advocate” (1997) for the intrinsically evil acting, or Jack Nicholson in “The Shining” and “The Witches of Eastwock.”

For the appearance alone aspect, consider Dr. No or Goldfinger or Ernest Stavro Blofeld (“You Only Live Twice,” Donald Pleasance, 1967) or Jaws or even the much more recent appearance of Rami Malek in “No Time to Die.” So, does Esai Morales look like the quintessential “bad guy.” In a word, no. But, then, neither did Ted Bundy

The locations are also standout, with the Orient Express-mentioned train scenes, others shot in what is supposed to be a Russian submarine; some in the deserts near Yemen; Amsterdam; Venice; and as many other exotic ports of call as you can name. Starting shooting in northern Italy was a stroke of particularly bad luck, as the pandemic kicked off and hit Italy hard. Cruise was sick with something early on and then both Cruise and McQuarrie got Covid (as did many others working on the film.) It even caused a much-publicized blow-up from the perfectionistic Cruise, who read the crew out in no uncertain terms.

The expert choreography of the action sequences (some of which feature Cruise and Atwell handcuffed together) is to be marveled at. The acting is sufficient for a film of this nature. Because, as mentioned earlier, “It is what it is.

Stay tuned for the second installment (and eighth and last in the “Mission Impossible” franchise) if you care whether the key fits anything and what it does when inserted.

Meanwhile, more interesting to me than the movie itself is the drama going on behind the scenes, as reported in the “Hollywood Reporter.”

The studio tried to reign in the ever-burgeoning budget, which had to shut down 7 times due to Covid-19. At one point, Cruise rented an entire cruise ship for $676,000 so that the cast could isolate. Then there was the matter of the Russian submarine, added to the budget at the last minute (and the opening of the film) in one of those on-the-fly last-minute moves that the McQuarrie/Cruise partnership has involved. Paramount tried to tell Cruise that this entry in the series would only have a 45-day theatrical window and then would begin streaming on Paramount Plus.

Cruise, aware that he has earned $3.6 billion dollars for the studio over his 37-year association with Paramount (and his 30-years playing the character Ethan Hunt) lawyered up and told the studio that the 45-day theatrical window was not going to prevail. After all, there was language in their contract that said this film would be handled like the others that preceded it.

The most successful film of the series, financially, was 2018’s “Fallout,” which brought in $791.6 worldwide. It is going to be interesting to see what the numbers add up to when the dust clears on this next-to-last outing of the series that spun off from a TV series. Regardless, sources say that Cruise will make more from the film than the studio will.

 A veteran of Tom Cruise movies laughed about the attempt to tell Tom Cruise that the film would only have a 45-day theatrical window showing  (according to the “Hollywood Reporter”). This insider said, “ This is the way these things go. ‘Tom says what he wants and the studio says what it wants. And then Tom gets what he asked for.'”

 

 

M.J. The Musical Hits Chicago

“M.J.: The Musical” Hits Chicago

While taking in “Tommy: The Rock Opera” on my birthday, I became aware that “M.J.: The Musical” would be opening soon at the Niederlander Theater (formerly the Oriental Theater) on Aug. 1st and running only until September 3rd.

I had seen the New York City lead in the play on the Tony awards, and I thought it looked like something that would be very high energy and enjoyable. (It was nominated for 6 Tonys).

So, a quick trip to Chicago ensued.

The trip in put us in traffic for Soldier Field. There was a big soccer game between two European teams, Chelsea and Dortmund.

Also, Lollapalooza was scheduled to kick off on August 3rd in Grant Park, with Billie Eilish singing at 7:30 p.m. Many streets were closed for Lolla.

I secured tickets to the musical online and it said we were in Row B to the right side of the stage in the Orchestra section. It turned out that Row B was actually the first row and the musicians were playing almost directly beneath us, which means that we had an unobstructed view and our seats actually vibrated to the beat and pulse of all of the Michael Jackson hits through the years.

Several different actors portrayed the young and teen-aged and adult Michael Jackson and the play sketched his life as though a film crew were trying to document the preparations for the “Dangerous” tour.

 

All of the actors were fantastic. It sometimes became a wee bit confusing to have multiple actors playing the same role and to have one actor portraying two parts simultaneously. For instance, the very talented actress playing Michael Jackson’s mother held down a couple of roles, as did the burly gentleman portraying Joseph Johnson, who had a great voice.

The traffic in Chicago was absolutely horrific and, when we came out of the theater after the play, it took the better part of half an hour for the Lyft driver (Jose) to make his way to the theater for pick-up. Cabs were few and far between.

It was a wonderful uplifting play, if slanted to highlight only the positive P.R. of Michael Jackson.

Republicans Died of Covid More Than Democrats, Say New Statistical Studies

Governor of Florida Ron DeSantis opposed Covid vaccinations, as a Conservative Republican and even, in one well-publicized bit of video, urged schoolchildren wearing masks to take them off.

Now, the statistics are out and they show that, in the wake of DeSantis reopening all bars and restaurants and schools, the Delta wave in July 2021 killed Florida residents at a much higher rate then it killed residents of other states. Florida has only 7% of the United States population, but accounted for 14% of the U.S. deaths.

Most of the 23,000 Floridians who died during those months were unvaccinated or did not complete a two-dose regimen. Nine thousand of those who died were younger than 65.

The facts above were reported in the August 4, 2023 “This Week” magazine.

On “Meet the Press” with Chuck Todd this past Sunday, July 30th,  the Data Download portion of the program was about whether more people died in states that supported Trump or in states that supported Biden. The facts for “Meet the Press” were gathered both before the Covid vaccination was available and after it was available. The statistics mainly focused on Arizona, Georgia, Wisconsin, Florida and Ohio.

The statistics were gathered by a national group that has set about toting up the truth about whether or not being vaccinated was a “good” idea or a “bad” idea. We’ve all heard of the rare cardiac inflammation of some young men; the GOP really played those anomalies up, when they occurred (as they are likely to occur with any new drug). I have one staunchly Republican friend who is convinced that increases in breast cancer cases can all be laid at the feet of Covid vaccinations. (This is a stretch, Folks. And I would have a keen interest in such data.) We could perhaps all vote for RFK, Jr., who is convinced of many such vaccine conspiracies.

This week the journal JAMA Internal Medicine, published a study that supported a theory many had suspected: The pandemic didn’t hit all Americans the same — and Republicans, who lagged behind in accepting the Covid vaccine, paid a steeper price.

I scribbled furiously while old Chuck Todd was putting the figures up, so I simply wish to refer you to the link, itself, and let doubting GOP stalwarts read the JAMA (Journal of American Medicine) for yourselves. (If you don’t want to be vaccinated, yourselves, at least GET YOUR KIDS vaccinated. TYVM).

https://www.nbcnews.com/meet-the-press/data-download/uneven-toll-coronavirus-pandemic-rcna97107

Christopher Nolan’s “Oppenheimer:” Instant Classic

Head and shoulders portrait

Oppenheimer, c. 1944

Roughly one-half of the movie “Oppenheimer” focuses on the unjust way Robert J. Oppenheimer, the father of the atomic bomb, was persecuted after he performed so spectacularly in heading up Los Alamos and giving the United States the atomic bomb to end World War II in Japan. Oppenheimer was denied a security clearance during kangaroo court hearings in 1954, which basically meant he could no longer work in his field. He continued to lecture, but he was ruined.

Director Christopher Nolan has made one of the—if not THE—most important film in a very important career. This $100 million depiction of how the United States came to create the atomic bomb at Los Alamos is a dense subject. The movie was based on the 2006 Pulitzer Prize winning book “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer” by Kai Bird and Martin J. Sherwin (2005). Prometheus, of course, was the god who gave fire to mankind. For his crime he was chained to a rock and a vulture ate his liver each day, which grew back each night.

There are so many characters in the book and it appears that Nolan has attempted to wrap his creative mind around all of them and present every character onscreen. I applaud him for taking the dense text and transforming it into this three-hour epic film. The “L.A. Times” critic said: “Arguably Nolan’s most impressive work yet in the way it combines his acknowledged visual mastery with one of the deepest character dives in recent American cinema.”

At three hours, it’s a long film.

It’s deep, all right.

I felt fairly dense myself after trying to follow all of the twists and turns in the plot. I was especially ill-prepared when it comes to quantum physics, having dropped out of Physics in high school after two days. (That act was almost a replay of “Peggy Sue Got Married” where Kathleen Turner gets up from an algebra test and announces that she happens to know that she will never need this stuff in the future.)

VISUALLY

The movie, shot on 70 mm film, has stunning imagery, especially in the early parts. (Later sections that deal with the security clearance hearings in offices are more black-and-white).  I was immediately reminded of the sweeping panoramas of filmmakers like Terrence Malick (“Days of Heaven,” “Tree of Life”), or David Lean (“Dr. Zhivago”), or Stanley Kubrick (“2001: A Space Odyssey”). No less a movie maven than author David Morrell commented on the different color palettes employed throughout the film.

The movie does not show the actual dropping of the atomic bombs on Hiroshima and Nagasaki, which killed 220,000 people, but, instead, gives us the test explosion in New Mexico, called Trinity. Cinematographer Hoyte Van Hoytema deserves Oscar nominations for his work. I disagree with the critic who said you didn’t need to see this one on the IMAX big screen. If ever there was an argument for IMAX, a film like this is it. (Last one I shelled out for IMAX treatment was the remake of “West Side Story.”)

If I may wander from the actual film’s words for a moment, supposedly Oppenheimer’s brother, Frank, also a nuclear physicist (who was also hounded from the field) said that his brother’s words after the test were, “I guess it works.” That is not in the film. But the lines that do appear, with Matt Damon and others articulating them, describe the after-effects of the Trinity test blast. Says a witness to the Trinity blast, “I hope you learned something.” To which Matt Damon’s character responds, “We learned we’re going to need to be lots further away!”

That’s about as close to humor as this film will get.

CAST

Cillian Murphy, who visually resembles Oppenheimer (and was actually up for the lead role in a previous Oppenheimer treatment), has worked with Nolan on 6 films. He uses his preternaturally large blue eyes to good advantage in portraying this tortured genius. Murphy supposedly subsisted on a diet of fruits, nuts and figs and very little else to keep the elfin stature of the real man intact throughout filming. In real life, Oppenheimer was said to often forget to eat, so that seems apropos.

The number of Oscar-winning or nominated actors in the film is a tribute to the director’s stature. I will probably accidentally omit someone, but Robert Downey, Jr., is bound to be an Oscar nominee for his pivotal role as Lewis Strauss, the two-faced politician who set Oppenheimer up for ruin because of personal animus and Cillian Murphy comes into his own as a leading man.

Others in the cast include Josh Hartnett in a welcome return to form, Gary Oldman, Kenneth Branagh, Tom Conti (who plays Einstein), Matthew Modine, Alden Ehrenreich, Casey Affleck, Rami Malek, Emily Blunt, Florence Pugh, Tony Goldwyn, James D’Arcy, Jason Clarke and Matt Damon. I’m sure I’ve forgotten some of the bigger “name” actors or actresses, but the wealth of talent is very deep when you’re casting an Oscar winner like Malek in a small part. All of the actors complimented Nolan, the mastermind.  Some critics have mentioned the relatively meager parts for women, as opposed to the meatier male roles. This “it’s a man’s world” depiction is true to the period, however.

Personally, I related to the four-times married Kitty (Emily Blunt), shown at her wit’s end with two squalling toddlers and stuck in the quickly thrown-together town built for the Manhattan Project scientists in Los Alamos. She mentions that there is “no kitchen” upon being shown the house for the first time.

Oppenheimer had his hands full with prima donna scientists who constantly quit or are in conflict, but Kitty was stuck in the house with two extremely colicky kids. Baby Peter is even taken to a friend’s house by his father when his constant crying becomes too much for the couple. Younger daughter Katherine (“Toni”), who was born at Los Alamos in November of 1944 is only seen as an infant in the film. She grew up and studied to be a United Nations interpreter but was denied a security clearance because of her father’s fifties security clearance hearings. This was 10 years after Oppenheimer’s 1967 death from throat cancer. In 1977, after that denial, Toni—who had inherited the St. Thomas cottage where her parents lived in later life, hanged herself. She left the family cottage and grounds to St. Thomas for the use of the public.

PERSONAL LIVES

Oppenheimer was a World Class womanizer. Matt Damon has an exchange with Oppenheimer where he says, “You’re a dilettante, you’re a womanizer, unstable, theatrical, neurotic!” Oppenheimer’s affair with Florence Pugh (virtually unrecognizable with dark hair) portraying paramour Jean Tatlock causes much conflict in the film. The couple see each other shortly after Oppenheimer’s second child is born.

A troubled soul who ultimately committed suicide, Jean Tatlock WAS a Communist. This bit of personal information on Oppenheimer’s affair was brought out during the 1954 kangaroo court hearings with Oppenheimer’s wife Kitty (Emily Blunt) sitting there to hear it, as Oppenheimer is interrogated by Jason Clarke (“Pet Semetary”). Still, Kitty and J. Robert stayed together.

Lewis Strauss (Robert Downey, Jr.) pretended, to Oppenheimer’s face, to be a friend. He was as two-faced as they come and set Oppenheimer up for his fall, out of vindictive animus. Strauss (who was angling to become the Secretary of Commerce) felt he had been held up to ridicule during testimony that Oppenheimer gave. One dispute was over the exporting of radioactive isotopes to Sweden. The testimony used in the screenplay showed Oppenheimer saying that radioactive isotopes were “less important than electronic devices, but more important than, let us say, vitamins.” In the screenplay the comparison became “a bottle of beer.”

Another change from reported wording seemed to be in what President Truman (portrayed by Gary Oldman) actually said after meeting with Oppenheimer in the Oval Office. In the movie, Oppenheimer tells Truman that he feels he has “blood on his hands.” This is because of how conflicted Oppenheimer is regarding the death of 220,000 Japanese civilians when the bomb was dropped. Oppenheimer is urging (somewhat naively) international cooperation on the use of nuclear weapons, with an entity like the United Nations in charge. The generals and the Army and the politicians do not see it his way.

Truman, during a visit with Oppenheimer in the Oval Office, hands him a handkerchief after his  comment about regulating nuclear weapons internationally and then, when Oppenheimer walks out of the Oval Office, tells his Undersecretary of State, Dean Acheson, “I don’t want to see that son-of-a-bitch in this office ever again.” In the movie, the script has Truman saying, “Don’t let that crybaby back in here.” The profanity is probably more accurate, because Truman was known for his salty language. (They didn’t call him “give-’em- hell-Harry” for nothing.)

MORAL VACILLATION

Oppenheimer vacillated over his feelings of guilt over the deaths in Hiroshima and Nagasaki from the dropping of the bomb he created.

After the successful drop. The screenplay has him telling a jubilant room full of Los Alamos employees, “It’s too soon to determine the results of the bombing, but I’ll bet the Japanese didn’t like it. I just wish we had had it to use against the Germans.”

At another point in the plot, this line appears, “Nobody knows what you believe.  Do you?”

Repeated throughout the piece, however, is this refrain:  “Just because we’re building it doesn’t mean that we get to decide how it is used.”

Matt Damon’s character, General Leslie Groves, tells Oppenheimer, “We’ve given them an Ace.  It’s for them to play the hands.” Another repetition of this thought: “The fact that we built this bomb does not give us the right or responsibility to determine how it is used.” All of these lines seemed to be justifications. After all, Oppenheimer was the American Prometheus, “the man who gave the Americans the ability to destroy themselves.” As Nolan says at another point in the screenplay which he wrote, “The day will come when people will curse the name Los Alamos.”

MUSIC

Leslie Goranssen’s music has been singled out as one of the best scores of the year (Oscar?.)  Terms like “masterful” and “mercurial” were used. I kept noticing how many of the scenes that had subtle background music would be totally unremarkable without his musical contribution. The use of stamping feet was unique and original.

OVERALL

For tension, structure, sense of scale, startling sound design (very impressive when viewed in IMAX) and remarkable visuals—not to mention the superb cast of actors—this one is going to be hard to beat. Yes, it is overlong and dense and made me feel woefully inadequate to understand the quantum physics discussed, but phrases like “Power exists in the shadows” were universal and I had to agree with the remark attributed to Wernher von Braun, who said, of Oppenheimer’s poor treatment by Lewis Strauss and the bureaucracy, “In England, Oppenheimer would have been knighted.”

On a personal level, since Wehrner Von Braun of Hitler’s rocket program ultimately ended up in Iowa City, Iowa (my alma mater) for the remainder of his life after fleeing Nazi Germany, I thoroughly agree.

I  have personally met and spoken with at least five of the actors/actresses onscreen in “Oppenheimer” at various film festivals, those being Gary Oldman (in Chicago for “Soldier, Sailor, Tinker, Spy” in 2011), Kenneth Branagh (in Chicago with “Belfast” in 2021), Casey Affleck (in Chicago with “Gone, Baby, Gone” in 2007),  Emily Blunt, in Austin at SXSW for “A Quiet Place” (2018), and Jason Clarke at SXSW for the remake of “Pet Sematary” (2019).

It seems fitting to end the review of this extraordinary film with the quotation from the Bhagavad Gita that Oppenheimer repeats, “Now I am become Death, the destroyer of worlds.”

“Barbie” Movie Delivers Way More Than Sparkle at the Box Office

I was one of those little girls who was given a baby doll  to mother. Barbie dolls did not exist until 1959. By that point, I was entering high school and done with dolls. I do remember when my friend Beverley’s little sister, Bonnie, got her first Barbie doll. We older girls looked at it as though it were from another world. This was nothing like the Kewpie doll or the dolls with big heads that we were to mock feed with bottles. This creature was something else entirely.

I entered college in 1963 and graduated with a degree in English. When I wanted to go to law school, my father, born in 1902, said, “A woman shouldn’t take a man’s job.” While he and my mother thought it was fine if I wanted to go on to graduate school in English, law school was not something they would help me finance.

The only “acceptable” careers for a woman as I headed off to college in the early sixties were secretary,  nurse, or teacher.  A fourth possibility might be the less professional hairdresser. Yes, Ruth Bader Ginsberg made it through law school, but she had an extremely supportive husband who assisted her. I did not have any support from my family for a career other than the “acceptable” ones mentioned above.

As a result, I went on to get my Master’s (plus 30 hours) in English with a Journalism minor. I taught for 18 years before I took my own money and invested it in an entrepreneurial idea that bore fruit. I ended up establishing and being CEO of two businesses and left the low-paying teaching job I had labored at from 1969 until 1985 behind for good.

I talked my husband into accompanying me to see “Barbie” because another critic (male) whose opinion I respect sang its praises. Since one (of only two) theaters in our Quad City area just closed (and the weather was beastly hot) we ended up having to sit in the very first row of the theater at 5:05 p.m. on a Thursday. We couldn’t sit together—which is just as well, since my spouse went in with a negative attitude and emerged with an even more negative attitude. His remarks after the film ended were all uber critical. (Gee…maybe I should call him “the most negative person I’ve ever met” which he once said to me, for a bit of inaccurate hyperbole).  I think he is just the wrong gender to really be able to relate to most of what the film was articulating about the way women have traditionally been treated in our society. You gotta’ be female to really get that. He’s not.

I loved the “Barbie” movie. I hadn’t expected to, but it entertained while really flinging some zingers at society’s treatment of women versus men, historically.

The cast is great. The fashions and music are to-die-for. The script is the best. Only those who, in the face of ample proof, deny that “it’s a man’s world,” or are arch-Conservatives, would hate this clever, well-written movie.

Of course, when a liberal Democrat marries into a Republican conclave, there will be disagreements. This is one of them. Trust me: I’m right on this one. And the Never Trump one, too.

One sure-fire Oscar nominee is probably Billie Eilish’s theme song, with others to come.

SPOILER WARNING

 I will be recapping a few of the script’s better lines. Be warned.

What is the plot?

Barbie and Ken journey from Barbieland to “the real world” and—much like films as far back as “Time After Time”—they are strangers in a strange land, trying to adjust to the realities of what is referred to as “the patriarchy.” (My spouse apparently does not believe in the patriarchy, but that’s on him. It exists and has existed since time immemorial.)

Barbie is being visited by thoughts that are totally UN-Barbie-like—thoughts about death and dying, for one thing. Baumbach’s last film “White Noise” (Adam Driver) also involved thoughts about death and dying.  Baumbach, who co-wrote the script with his life partner Greta Gerwig (who directed) mines his own life for themes. Many deal with dysfunctional family relationships or divorce, like “Marriage Story” and death is a concern, as it is in the works of Woody Allen.

But “Barbie” is Greta Gerwig’s triumph, because, after all, she’s female. She just had the biggest opening week for a movie directed by a woman in history, a $162 million debut, the biggest of the year.

Noah Baumbach may be more aware of “the patriarchy” (or what we used to call “the Good Old Boys’ network) than most men, but Greta has nailed all the things that women of MY generation were expected to cope with to be a desirable, acceptable female in “the real world.”  As one prescient line from the outstanding script says, “Everything exists to expand and elevate the presence of men.”

What things, you might ask disingenuously?

Let me share some of the lines from this film that “nail” the idea that women have, traditionally, been put down and kept down and had to behave in certain ways in order to get by in our society.

“A woman must appear helpless and confused.” Add to that the thought, spoken by Barbie, “I like not having to make any decisions.”

“ Power (on the part of a female) must be masked under a giggle.”

“A woman must pretend to be terrible at every single sport ever.”

“Either you’re brainwashed or you’re weird and ugly.  There is no in-between.”

“Every night is boys’ night.”

“I’m not good enough for anything.”

Some of these “truths” are now changing, and all are being challenged, but, remember: this is the world I grew up in, not the one my granddaughters are growing up in.

There is a terrific monologue (by America Ferrera) that articulated the “required” things for females in America. That one scene, alone, is worth the price of admission, describing, as it does, the tightrope that women in America have to navigate.

“Everything is your fault.”

“We must tie ourselves into knots so that people will like us.”

“We must reject men’s advances without rejecting them.

“It’s best if you don’t think about it too much.  Don’t overthink it.”

Barbies, says the film, represent sexualized capitalism. The rise of the Barbie doll “set the feminist movement back fifty years.” The term “Fascist” is thrown around, even though Barbie immediately says that she doesn’t have anything to do with railways or the flow of commerce.

At one point, a male character says, “I’m a man with no power.  Does that make me a woman?” (I laughed out loud at that one.)

Greta Gerwig is one clever writer. If you didn’t laugh at “Lady Bird” you probably need a humor transplant. “Lady Bird” also had the ability to encapsulate the mother/daughter relationship so perfectly; mothers and daughters everywhere could relate.

With “Barbie,” females of any age will be able to relate. Men? Not so much.

THE CLOTHES

Another Big Plus for me—a child of the sixties—were the outfits that the gorgeous Margot Robbie and the handsome Ryan Gosling wear. I loved the blue dress with the white collar and cuffs, although it was very short—even shorter than the mini skirt years I wore in my prime. Loved, loved, loved the green and pink outfit with the matching hat.  Ken’s outfits didn’t make him appear as attractive as Barbie’s, although, as the script says, “He’s one nice-looking piece of plastic.”

THE CAST

When you’ve got Ryan Gosling willing to take a career risk like this, you’re on a roll. There was a really interesting interview with Greta Gerwig in the “New York Times” where she described how she called Gosling up and convinced him to be her Ken. Will Ferrell portrays the CEO of Mattel and his encounters with the discontinued Pregnant Midge Barbie and the Proust Barbie ( Rhea Perlman plays the part of the creator of Barbie, Ruth Handler.

THE MUSIC

Lots of good music, but listen for the closing theme by Billie Eilish, “What Was I Made For?” Potential Oscar nominee.

THE SCRIPT

Terrific! And another move forward for the talented Greta Gerwig after her debut with “Lady Bird.” She and partner Noah Baumbach have made an important movie. I would not have dreamed that this movie would deliver as it has, but the thoughts are true and the truth will out.

A line that resonated with me—a former proud wearer of an ERA bracelet (look it up)—was this one:

“We mothers stand still so we can see how far our daughters have come.” In the wake of the Supreme Court’s Dobbs decision overturning Roe v. Wade, this certainly rang true. And, as the script puts it, “anxiety, panic attacks, and OCD sold separately.”

 

 

Three-Day Birthday Extravaganza in Chicago

Just returned from a long weekend in Chicago celebrating a birthday and attending various events.

First, there was the Cubs/Cardinals baseball game, covered in a previous entry.

Next, there was a luxurious dinner atop the Hancock Building, in the Signature Room.

The view from the 95th floor is, of course, spectacular, but this particular night the rain we had just experienced (and, possibly, smoke from fires somewhere?) meant that the view was not as clear as one would have liked.

Still, the food and service were excellent and, even though we went early (5:30 p.m.) we didn’t miss out on any sunsets or fantastic views, because of the weather. It was really odd, because, on television, Wrigley Field as having a rain delay, but where we were in the South Loop it was sunny. Go figure.

After the dinner and dessert, we went home and had a birthday pie (chocolate, of course). We had tried to buy a white cake at the Jewel store, but our choices were a chocolate cake with Elmo on it or one that said, “Happy Sixth Birthday.” I’m not

averse to shaving some time off my age, but that might be pushing it!

On Sunday—which was the real birthday date—we went to see the play based on “Tommy: The Rock Opera.” It was at the Goodman Theater and it was spectacular. The New York Times had raved on about this show, saying, “Why is there nothing like this in New York City?” The innovative use of special effects was truly unique and all of the cast had terrific voices. The entire place was sold out and they received a standing ovation.

Afterwards, we had an early dinner at Petterino’s, which is attached to the Goodman Theater.

I want to thank my close family and friends for the kind birthday greetings. I thoroughly enjoyed the three-day extravaganza.

Granddaughter Ava.

Page 16 of 160

Powered by WordPress & Theme by Anders Norén