The innumerable possibilities, the myriad pleasures–the engagements, the depths, the intensities.
Thereby inner/soul/spirit liberation as well. And finally, the warm, welcome truths of freedom flowing from best actualizing choices. (Even better, shared.)
(rare handwritten signed letter from Mavis Gallant twenty years ago)
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Mavis Gallant (August 11, 1922-February 18, 2014) was an internationally renowned short story writer who was originally from Montreal, but spend most of her life in Paris, her adopted home, where she died.
The preceding letter from September,1994, was to her good friend William Klyn, husband of her close Victoria, B.C. friend Doyle Klyn, a popular journalist for the 1960s Weekend Magazine, who had died following a stroke. She and Doyle went all the way back to the 1950s and stayed in touch over the many years afterward.
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The letter above transcribed:
Dear Bill,
I’ve waited a few days before writing you, thinking you would be inundated with telephone calls & messages. There is absolutely nothing I can say to help. I just want you to know that you are very much in my thoughts, and that I wish I could be, in some way, useful. Thank God for Wally Lee. As an old friend of yours, I am ready to consider him a friend, too, because of his kindness & devotion to you & Doyle.
My world is emptier without Doyle, but what I think & feel is nothing compared with the loss for you. I shan’t say more, because I know it would be useless & no help at all. Doyle was the nearest thing I ever had to an older sister; but for you so much more. I don’t expect to hear from you, but I shall undoubtedly have news through your kind friend.
In the meantime, I send you my love.
Mavis
Sold out for tonight, of course, months ago. The first pop music band of the ’60s that added brass to rock ‘n’ roll and opened up exciting new musical possibilities. Together since 1967 (!), the band still has a core of four original players. Today they still play the horn hits for which they remain best known as well as the power ballads produced by David Foster in the ’80s.
Tonight’s show will feature most of the following hits:
Does Anybody Really Know What Time It Is?
Beginnings
Questions 67 and 68
I’m a Man
Make Me Smile
Colour My World
25 or 6 to 4
Free
Saturday in the Park
Dialogue
Just You ‘N’ Me
Feeling Stronger Every Day
I’ve Been Searching So Long
Wishing You Were Here
Call on Me
Old Days
Another Rainy Day in New York City
If You Leave Me Now (their biggest hit)
Baby What a Big Surprise
No Tell Lover
Alive Again
Love Me Tomorrow (the start of the power ballad years)
Hard to Say I’m Sorry
Stay the Night
Hard Habit to Break
You’re the Inspiration
Will You Still Love Me?
Look Away
What Kind of Man Would I Be?
I Don’t Wanna Live Without Your Love
You’re Not Alone
Stone of Sisyphus
Here in My Heart
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The morning after: Incredible concert! The band was in great form. A number of surprises including a thoroughly entertaining tandem solo by drummer and conga player, featured solos by Lamm, Pardini and Scheff, the latter who nailed more nuances than on the original of “Will You Still Love Me for the Rest of My Life?”. As usual, the horn section awed and wowed with fantastic energy.
Yesterday was remarkable and lucky from top to bottom. As my daughter entered the Winspear hall, she was offered a ticket swap by the band crew row A, instead of row L, which is where we ended up, right in front! Amazing. Guitarist threw his pick to me and we high-fived with two of the horn players. It was like having a private concert put on by the band several feet away. That show was easily the best of the four I’ve seen of this deservedly legendary group. It will take a long time to come down from that show.
My good fortune had begun earlier yesterday with the arrival of two books and a letter signed by the late great Mavis Gallant and another signed book by my long-time Kinks’ ‘alter ego’ Ray Davies. This connection began in grade 10 when I first bought Kinks albums with songs on the LPs themselves attributed to R. Davies. (Saw Ray in the exact same spot–row A–at Winspear when he played here a few years back.) Monday was truly a red-letter day if ever there was one. Did I say I was a lucky man?
Chicago mantra: “Feelin’ stronger every day (You know I’m all right now)”
“Happiness is to be dissolved in something completely great.”–Willa Cather
as the best things you have done or accomplished, the freest gifts of self received and bestowed, and the maximum closeness and intimacy actually experienced.
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Saturday–New Moon. Time moves forward…
(a page from the awesomely rare 1968 English theatre program)
A must-see for the serious film fan; the most expensive Russian film ever made. A true epic.
Sergei Bondarchuk’s film took 6 years to make and it was released in 1966 and 1967, winning a Best Foreign Film Oscar. It cost 91 U.S. dollars at the time to make, incidentally. Today it would cost billions to redo. There are and have been different lengths shown ranging from 6 to 8 hours. The 2:30:1 letterbox-widescreen Kultur DVD version (restored from the 1988 non-70 mm version) has 5 discs, one of which contains interviews, documentaries, and background to the film and director.
The Americans had done their own 1950s take on Tolstoy’s novel, directed by King Vidor, but the Bondarchuk is far more faithful to the original book and a much bigger, more befitting adaptation. Notably, the director organized a crew of 20,000, used 3 military advisers, mustered actual historical artifacts and thousands of costumes. Even the Soviet army participated in the many impressive battle scenes.
The cinematography, particularly of the big scenes, was artistically handled by Anatoly Petritski who is equally responsible for the film’s final look. Unfortunately, a choice was made to shoot on inferior Russian film stock so the colors and, ultimately, the quality of the film’s look is not as good as it might have been.
Amazingly, during production, Bondarchuk suffered two heart attacks and was pronounced clinically dead twice, but he literally came back from death to finish this awesome monster project. He also plays the protagonist Pierre and does a good job as do all the actors, even those in bit parts. This movie is true labor of love, tremendous cost and sacrifice.
There is a poetic largeness about this film and it does very well in bringing home the horrors of war in the battle scenes, the 1812 invasion of Moscow by Napoleon, and the French retreat. Domestic scenes and party scenes are also well-handled; there is a strong sense of atmosphere throughout the film. Many locations are used; there is next-to-no studio shooting. There are also several stream-of-consciousness scenes and a fair bit of philosophizing about life that will still interest serious viewers and the more-thoughtful today.
Well-worth either a rental or purchase by the more serious buff. 5 stars out of 5, easily. An impressive, memorable, albeit longish, classic.
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ps./ truly a world film with many choices of language and subtitles for viewing. The English audio version is reasonably synched to the actors’ lips and moods. But, if you can multitask, then you might choose Russian for the spoken and English for the subtitles. I just preferred it for more faithful original sound, original speaking tones, and additional nuances.
I forgot to add that there is nothing Hollywoodish about the casting; most of the actors are plain/ordinary-looking and realistic (the exception being the Audrey Hepburnish-looking Natasha). It is, in any case, not an actors’ film, but rather an ambitious attempt to bring Tolstoy’s novel to the screen. In that sense, it is mainly a director’s film (about his editing and the challenge of organizing and directing 20,000 people) and a cinematographer’s film.
(old music book signed by Ms. Sainte-Marie for me at Festival place concert five years ago)
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Buffy has one of the most unique voices you will ever hear. At 73, she is still more than vocally intact and sounded great at the concert with an interesting band. I have been a fan since 1967, when I first discovered her via her Fire, Fleet, and Candlelight album. She plays guitar and mouthbow and has written many great songs such as “Until It’s Time for You to Go”. A long-time artist and activist, she has lately turned to working with e-media as seen in her Up Where We Belong DVD.
Meeting famous people is always interesting. I was first in line for her after-concert signing, and we talked a bit. She was surprised how far back my LP and book items went and we talked a bit about her Sesame Street connection which is how many children will remember her. She was still very pretty and surprised me with her demureness and diminutive size. I had always imagined her as taller and bigger-bodied. She was wearing a beautiful, tastefully-colored and decorated Aboriginal dress jacket.
It was a true honour and privilege to meet the great Aboriginal person/artist for whom I have most respect and whose career is now into its 6th decade. An amazing, beautiful, multi-talented person.
photo of poster in my bedroom–a Saskatoon Mendel Art Gallery promo for Joni Mitchell’s memorable Voices exhibition; the picture itself inspired by a famous van Gogh self-portrait)
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(dream below from two sleeps ago)
Never a dull moment, in my dreamland anyway.
Joni Mitchell was appearing at a sunlit, large-domed local mall for a rare post-retirement concert. She was somewhat inconspicuously busy at a table amidst other tables in the mall middle, breezing about, putting the finishing touches to some unframed paintings. (She is talented enough that she can do wonders even with the simplest of paint boxes.)
I thought she looked in good form, despite her recent health problems, and was surprised she was doing this pre-concert moment, especially without a handler or security.
Eventually a few shoppers noticed her and a nearby table with her latest albums which were in retro LP-form. A child was just leaving her table with a signed album as others began to queue up, so I decided to buy one. Opening the album, I noticed it had one side of some of her favorite songs and artists. The other was of her own, new material. I was a little surprised by all the paint stains and fingerprints on the record itself, but concluded she must have handled and package it herself personally.
Unexpectedly, some obvious political types a la oil pipelines and environment showed up and began to crowd into the area behind her table, startling her. Using my best loud, leftover, retired teacher voice, I told them ‘to beat it’ and ‘leave Ms. Mitchell alone’. They fled, but so did Joni too since it was also close to concert time elsewhere in the mall.
I followed her to make sure no one else obstructed her and, while passing a jewellery store window, I noticed some unique, unusual gold pieces she had designed which were also being displayed to coincide with the concert appearance. I decided to investigate further inside the store….
For the rest–no, I never got to meet her or get her autograph in person. I never got to tell her how far back I had followed her career, beginning with songs like those on Judy Collins’ beautiful Wildflowers album or “The Circle Game”, first recorded by Ian and Sylvia Tyson on their So Much for Dreaming album.
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For me, Mitchell remains the most successful, significant Canadian female artist-songwriter-performer of the past 50 years; with a deep respectful bow to the greatly underappreciated Buffy Sainte-Marie, who is the most significant, multi-talented North American/Canadian Aboriginal artist-songwriter-performer of all time. Two incredibly talented, inspirational ladies.
It is these three that create more possibilities and often more truly interesting possibilities in life. These three often become the last limits and limitations of ego that cause individuals to ignore, withhold, or (mainly) fear the three instead.
Ironically, some of the best that is truly good about life is only possible with these three things. We simply ‘do it to ourselves’ by resisting and denying the good possibilities they might bring about or create.
In the end, the three are simple acts of will and basic attitudes, that are potentially quite beneficial to our growth, development, self-actualization, and ego-transcendence.
Most of our lives simply come down to these two life factors. As said here previously, one always has a choice even in the most challenging and apparently limited or limiting of situations. That choice usually defines us, who we really, truly are. It also reflects our response and attitude toward any given situation, especially the attitude (reflecting whatever values and beliefs) one would prefer to choose.
We define ourselves by our actions, our choices, and finally our basic or core attitudes. These go a long way to expressing and clarifying who we essentially are.
I’d have no problem with any of these Academy choices for very good or great films:
1939–Gone with the Wind; big focus: American Civil War as it affected the South; several storylines; strong performances including Gable and Leigh; big scenes–Gettysburg triage, burning of Atlanta; ambitious large-scale movie and a blockbuster
1943–Casablanca–the most nostalgic WW 2 movie; numerous strong performances including cool Bogart, beautiful Bergman; good vs. evil with strong overlayers of romance and heroism
1946–The Best Years of Our Lives–truly well-done study of 3 soldiers returning home; scene-stealing performance by handicapped Harold Russell; looks at many kinds of relationships and post-war adjustment
1948–Hamlet– a dignified romantic take by director-actor Olivier; he catches the protagonist’s passion and poetry; many good scenes; 1st film to make a serious, credible Shakespeare; great b & w look
1950–All About Eve–very catty, bitchy, witty, and funny; numerous truths about ego, vanity, manipulation, acting and theatre; strong performances by Davis, Sanders, and everybody else; still fun to watch; script and direction top notch
1951–An American in Paris–I’m not big on musicals but this one is up there with my other favorite–Singin’ in the Rain–both with a funny, dashing, romantic Kelly; nice use of color and set pieces; Gershwin music a can’t miss
1953–From Here to Eternity–several famous actors, all doing well; who can forget the Sinatra-Borgnine fight and the beach love scene? Based on several-plots Jones novel
1954–On the Waterfront–can’t miss with an essential Brando directed by Elia Kazan (as in Streetcar); an antihero-underdog takes on the crooked waterfront; all about honesty, truth, integrity and the individual vs. society trying to create positive change; very pro-union viewing
1957–Bridge on the River Kwai–Lean’s first big epic about a ‘nut’ (he was fascinated by them–cf Lawrence of Arabia); Guinness outstanding as is his Japanese counterpart and Holden as a stereotypical American hero; the final scene is one of the best, most suspenseful ever filmed–right up there with High Noon
1959–Ben Hur–another big blockbuster which ties in with the Christ story; big, risky, dangerous scenes like the chariot race; memorable ‘minor’ scenes like the leper cave and slave galley scenes; Heston was never better
1962–Lawrence of Arabia–a film masterpiece and Lean’s finest labor of love re. ‘nuts’, nature, big scenes (train explosions), and beauty; O’Toole was robbed of Best Actor; must be seen on a big screen to get the full values of this one–no phone screens!
1967–In the Heat of the Night–well-timed study of a black detective helping a ‘dumb’ prejudiced white sheriff solve a murder case; Steiger and Poitier outstanding; best movie by a Canadian director up to this point in time; a basic primer on civil rights in the ’60s
1970–Patton–Scott is Patton, his finest performance; covers general’s career in WW2–interesting story, colorful larger-than-life character; good cinematography and even better score
1972–The Godfather–whoda thunk–an artsy film about a Mafia family; an essential American dream film; outstanding performances by Brando, Pacino (his first big role), Caan, and many others; several powerful scenes; a film that can be watched over and over because of its feel and atmosphere
1974–Godfather II–an even bigger, stronger film; past and present intertwined nicely; Pacino is remarkable; Coppola at his best
1975–One Flew Over the Cuckoo’s Nest–Jack Nicholson’s best role; a true and funny view of madness with powerful scenes and conflict with the Big Nurse
1977–Annie Hall–still vivid and funny; so much depends on Allen and Keaton–major comedy stars of their time; great script, somewhat loosely but effectively directed by Allen
1980–Ordinary People–Redford’s first major film directed; all strong performances–Moore, Hutton, Hirsch, and an underrated Sutherland; many memorable scenes; best film to that point about a dysfunctional ‘haves’ family
1981–Chariots of Fire–totally from left field (like King’s Speech later); underdog entry surprised everyone at the time; very British story with little known actors; story of two runners; memorable inspiring Vangelis score
1990–Dances with Wolves–Costner’s best work; an atmospheric work about a white outsider who becomes one with the oppressed natives; at times a gentle work taking a sympathetic view of native history and culture
1992–Unforgiven–the meanest western ever made; the first serious (Mel Brooks did the first satirical western) deconstructed western; brutal, vicious and more realistic than 80% of the westerns ever made; Eastwood has never been better as actor or director
1993–Schindler’s List–Spielberg’s first significant artsy film about concentration camps; shot in b & w to capture the harshness and bleakness; good storyline with a nice historical coda; must-seeing re. the Holocaust
2005–Crash–another Canadian success, Paul Haggis; multiple storylines and couples; explores modern America, the sexes, common conflicts, prejudice, and racism; wonderfully and fearlessly political correct at times
2008–The King’s Speech–another unexpected U.K. winner; many people can identify with the public speaking conflict; captures the angst of the protagonist and the times
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Other Best Movie choices I would either concur with or be indifferent about. And there are many, especially in the last 20 years that have not lured me to a movie theatre.
Elsewhere, earlier on this blog, see my reviews of Klute, All Is Lost, Branagh’s Macbeth, and various Hitchcocks. I hope to include more reviews from time to time when I get the chance to see something good, memorable, or great.
