Tag Archives: Spin and Marty

Quicksand Fever

I fret.

It’s my medium.

I work with fret like potters work with clay.

It’s my gift.

I can fret about anything. If you give me a stack of $100 bills, I will fret about which way the bills are turned. What if they stick together? What if a strong wind blows? How am I gonna get change?

I’ve learned to live with it and laugh at it…and that’s good because I’ve fretted since my childhood. I was a fret savant.

I was raised on 50’s and 60’s TV. I fretted when Spin and Marty went to summer camp. I fretted when skinny Frankie Avalon tried to keep up with all those big surfers when it was clear that Annette coulda taken him two falls outta three. I even fretted about Mr. Peabody’s “Way-Back Machine.” That thing didn’t look safe.

As I grew older, such “objets du angst” proved silly.

Quicksand, for example, has not proven to be near the ubiquitous hazard that TV westerns predicted it would be. It’s good to know Chloe the Pup and I can wander the neighborhood with impunity.

One of the most worrisome fears of my youth was falling into the hands of the Communists. I had read accounts of how the Soviet government snatched their innocent citizens off the streets, held sham investigations and trials, and whisked the hapless victims off to insane asylums or Siberia…or both. My dad and my teachers and Walter Cronkite assured me it was so.

Gulp!

I was also assured by those same people that it couldn’t happen in America. Any nascent wanderlust in me was subdued a bit. But as long as I maintained my citizenship, voted like a banshee, and kept my feet in the Land-Where-We-Do-What’s-Right, there was no need to fret.

Whew!

But wait.

Wait……

…………………………………………………………………..…wait…………

Now we have a president who asks a former Soviet country to investigate American citizens.

I think I’ll be asking my grass-cutting guy to survey the back yard for quicksand next spring.

Day for Night

Movie Night!

I watched one of my favorite films, Day for Night, with a small group of folks who are devoted to cinema. I have a special fondness for films about films. Cinema Paradiso, The Stuntman, Sunset Boulevard, Singing in the Rain, Once Upon a Time in Hollywood, and their ilk always bring my remote to a delighted halt when I happen upon them.

Day for Night holds other charms for me as well. The film crew portrayed in the movie is a tight-knit one. They’ve worked together before and are familiar with and tolerant of their teammates’ peccadilloes. Their chosen location for shooting is a sunny and warm one (even when they make it snow). The film has a summer camp feel about it. I’m from the Spin & Marty generation – summer camp usually works for me unless there’s a slasher wandering about.

The film features a tour de force performance by Valentina Cortese and a “tour de WOW” appearance by Jacqueline Bisset.

When the film concluded for tonight’s viewing, one of the group commented; “I can see why people love this film, but it’s not a great work of art.”

After we mopped up the blood and I pleaded justifiable homicide and made bail, I got to thinkin’…

He’s right. It’s not a “great” work of art, but if you generally cherish the films of Francois Truffault (and I do) it is a “great” work of Truffault. Now…what does that mean? This is one of our most-revered directors! How can his films not be great?

Well.

They’re not.

“Greatness” is not the story Truffault cares to tell.

For me, the charm and the wonder of Truffault resides in the tight slice of humanity in which he chooses to tell his stories. His are not the stories of saints or demons. His characters do wicked things and heartbreakingly kind things to each other and are not predictable in their choice between the two. They do good things, but not great, and they do them when it’s convenient, and or when it happens to occur to them. Ditto for the not-so-good things they do. Truffault’s characters tell the truth when they know what the truth is or when it’s not inconvenient to do so.

Truffault’s stories tell us about cats that can’t follow instructions, persistent human creativity in the face of American insurance companies, fidelity unless Jacqueline Bisset or Delphine Seyrig or Catherine Deneuve or Jeanne Moreau is involved…and of course, when fidelity is convenient. He tells us of dalliances that turn into life-destroying obsessions or deserted island fantasies or small-scale, but convoluted revenge/murder schemes (that may or may not work) – no great tragedies, merely intriguing human ones.

I find that precious, and usually convenient.