Donelson Renovates

Not much can be done about the traffic volume as long as Metro and the State are devoid of ideas or even the hint of wanting to think about possible solutions. Nashville is drowning in traffic, but no one has the will or money to do anything about it.

I don’t write much about Donelson, our little slice of Music City. But here’s a couple of recent exceptions, one sort of optimistic and nice, the other more caustic and negative.


For a bedroom community which has never really had much of an identity, Donelson is currently attempting to remake itself with at least a bit of one.

The Donelson station developments aim to create the 21st century version of the old downtown, which didn’t ever exist here. This new downtown will still be basically a strip mall of businesses, just with a spiffy, fresh new design.

Donelson is like most of the houses in its borders: Buildings from the 1950s whose owners are dying out, so the children and grandchildren are taking over and either selling them or freshening them up. Hopefully, it will result in a more pleasant place to live and breathe in, although there will always be two negatives: Lebanon Pike and its sprawling ugliness and the overhead landing pattern which puts planes low and loud over us as they swing into runways 20 Left and Right.

No one will probably ever be talking or protesting or doing anything about the overhead noise, but at least some folks are doing something about ugliness. We hope there are more positives to come, especially along Lebanon. Not much can be done about the traffic volume as long as Metro and the State are devoid of ideas or even the hint of wanting to think about possible solutions. Nashville is drowning in traffic, but no one has the will or money to do anything about it. Beefing up the Music City Star would help immensely, but that’s also problematic at best.Not much can be done about the traffic volume as long as Metro and the State are devoid of ideas or even the hint of wanting to think about possible solutions. Nashville is drowning in traffic, but no one has the will or money to do anything about it.No one will probably ever be talking or protesting or doing anything about the overhead noise, but at least some folks are doing something about ugliness. We hope there are more positives to come, especially along Lebanon. Not much can be done about the traffic volume as long as Metro and the State are devoid of ideas or even the hint of wanting to think about possible solutions. Nashville is drowning in traffic, but no one has the will or money to do anything about it. Beefing up the Music City Star would help immensely, but that’s also problematic at best.

For the foreseeable future, then, we’ll take some cosmetic change and hope the community’s groups and businesses continue to try to improve the community’s image, at least. Whatever happens will surely be an improvement.


On the other hand, a different hot take: Development around the Donelson Music City Star train station is proceeding apace; two projects are underway to transform the seen-better-days corner of Lebanon and Donelson pikes. The first is Donelson Plaza, to the north of the station; the 1961 building is getting a complete face lift, with the eastern half is being completely rebuilt from scratch to serve as the new Donelson Branch of the Nashville Public Library.

The Plaza will feature the library as well as shops, restaurants and apartments, with the idea being that you can live at the Plaza and walk/bike to the buses/trains at the station and never need a car. No word on whether WeGo will be able to boost bus and train service to the center, or if we’ll see the more probable nightmare scenario of being constantly in ever greater amounts of traffic.

(Side note: Frequently, drivers exiting the station in the evenings are desperate to avoid Lebanon Pike and its intersection with Donelson Pike. So, they use a short, rather asininely-designed (is that a word?) road that heads east out of the parking lot behind Fifty Forward, ending on Donelson and completely avoiding two stoplights and lengthy waits. Only problem: That connector is supposed to be one-way, westbound only. Never mind it’s wide enough for two cars and that someone is just being, well, asinine over it, a police car was sitting there are on the evening commute on a Friday night, just determined to up the asshole quotient and send commuters to add to the chaos and traffic on Lebanon which is stacked up all the way back to downtown. Brilliant, no?

Many cities would just make it a one-way west into the parking lot in the morning, and one-way east out of the parking lot in the evening, but that would be too simple and oh-fend someone. No word on how much a ticket for such common sensical motor vehicle “violations” will set you back, but it’s probably attractive for the city.)

But back to the main event: The 1961 Donelson Plaza was purchased by Holladay Partners, which is developing the 12 acres as a new urban town center—the downtown Donelson never had, and which has been completely abandoned by towns and cities around the country, but we digress. They hope the redo will result in green space, restaurants, retail shops and apartments. Also not mentioned: How much per month will a one-bedroom unit set you back and what will happen to the center’s funky and clunky thrift stores, the bartending school, the bowling alley, etc.? Well, a partner in the developer’s office is on record thusly: “We do have existing tenants leasing and, of course, we will honor these. As people move out and it gets turned over, this will determine our next phase.”

In other words, we’ll let ‘em stay, but we’ll kick ‘em out and jack up the rents and put something high dollar in there as soon as possible so the “wrong” kind of Hippy Donelsonite won’t be shopping there. We must wonder if the plaza will feature the “architectural asshole” designs popping up everywhere: “public” seating that is intentionally so uncomfortable or designed in such a way as to prevent what the British call “rough sleepers,” and we call “homeless,” among other things. Ah well, time will tell.

The developer itself will anchor 14,000 square feet of office space on two levels. What is being displaced for that is another aspect which goes unmentioned.

Meanwhile, diagonally across the intersection and across the tracks menacing the bowling alley is a hulking mass of apartment buildings going up to four stories and packed into a tiny space along the tracks. One wonders how much a one-bedroom in that complex will cost and whether there is any additional sound proofing and plaster and ceiling protection for all the Music City Star trains which rumble through blasting their horns for the Donelson Pike crossing from as early as 7:15 a.m.

No matter, there will be some green space and a pool and you can walk to the train station (if you can summon the courage to cross both Donelson Pike and the railroad tracks. We’ve watched on more than one occasion as some idiot’s sense of self-importance prompted him to weave between the crossing arms with the train’s arrival imminent, speeding on his merry way. If walkers and bikers are now to be added to the mix, well, could get interesting.

The one exit onto Donelson is sure to be a joy as things are brought to a halt by southbound apartment dwellers trying to turn left into the driveway cause backups at 5 p.m. across the tracks and back up to Lebanon. Personally, I wouldn’t risk life and limb to live there, stacked four high in boxes with balconies that feature the fantastic combined noise of KBNA 20L airliner arrivals overhead, Music City Star trains blowing whistles below, and the screaming tires and honking of motorists trapped on the tracks while my neighbors try to make it into their new boxes. It’s not an attractive prospect for me, but what do I know? I’m sure it will all be just fine and dandy when these projects get built out just in time for the next big recessional flop in 2020.

Progress is great and all. But progress via developer is often thoughtless and crude. As far as we can tell, developers won’t be paying for better traffic control near either project and nothing will change in anticipation of the much greater numbers of cars along an already over-stretched section of Lebanon and Donelson pikes. Perhaps all will be well. We’re not going to hold our breath here.

The Indictment

“Senate Republicans are setting a dangerous precedent that threatens the republic itself. I’m not naive enough to think they would hold Democratic presidents to the low standard they’ve applied to Trump, but all future presidents will be able to point to Trump to justify …”

Walter Shaub (@waltshaub) is an attorney and the former director (9-Jan-13 to 19-Jul-17) of the U.S. Office Government Ethics, which exists to “Provid[e] leadership in the executive branch to prevent conflicts of interest.” That’s a mission which, since January 2017, is going completely unfulfilled and, in fact, is being subverted beyond all belief.

After leaving the USOGE in the summer of 2017, Shaub “joined the Washington D.C.-based election law organization the Campaign Legal Center (CLC) as Senior Director, Ethics. At CLC he has focused on protecting what he calls the erosion of democratic norms that the country has witnessed in his time,” according to Wikipedia. The last six months of his tenure at USOGE were also the first six months of the Godfather’s tenure and therefore was when he witnessed the complete takeover of the democracy and its renovation into a kleptocracy headed by a old, narcissistic, lunatic, mob boss. So he’s seen some things and knows whereof he speaks.

Shaub wrote today a concise listing of the multiple points of illegality, theft, unConstitutionality, incompetence, petulance, and general assholery committed by this mobster and his cronies, supported fully and without reservation by the God and Guns evangelical crowd, of which I’m proud to say I’m an EX member, who was in that cultish atmosphere from birth, not by choice and left as soon as I gracefully could. But I digress.

Here’s « Shaub’s full indictment » and it includes the Republican party, especially those in the Senate:

“Senate Republicans are setting a dangerous precedent that threatens the republic itself. I’m not naive enough to think they would hold Democratic presidents to the low standard they’ve applied to Trump, but all future presidents will be able to point to Trump to justify:

“a. Soliciting foreign attacks on our elections;
b. Using federal appropriations or other resources to pressure foreign governments to help them win reelection;
c. Implementing an across-the-board refusal to comply with any congressional oversight at all;
d. Firing the heads of the government’s top law enforcement agencies for allowing investigations of the president;
e. Retaliating against whistleblowers and witnesses who testify before Congress;
f. Investigating investigators who investigate the president;
g. Attempting to retaliate against American companies perceived as insufficiently supportive of the president;
h. Attempting to award the president’s own company federal contracts;
i. Using personal devices, servers or applications for official communications;
j. Communicating secretly with foreign leaders, with foreign governments knowing things about White House communications that our own government doesn’t know;
k. Abandoning steadfast allies abruptly without prior warning to Congress to cede territory to Russian influence;
l. Destroying or concealing records containing politically damaging information;
m. Employing white nationalists and expressing empathy for white nationalists after an armed rally in which one of them murdered a counter protester and another shot a gun into a crowd;
n. Disseminating Russian disinformation;
o. Covering for the murder of a journalist working for an American news outlet by a foreign government that is a major customer of the president’s private business;
p. Violating human rights and international law at our border;
q. Operating a supposed charity that was forced to shut down over its unlawful activities;
r. Lying incessantly to the American people;
s. Relentlessly attacking the free press;
t. Spending 1/4 of days in office visiting his own golf courses and 1/3 of them visiting his private businesses;
u. Violating the Emoluments Clauses of the U.S. Constitution;
w. Misusing the security clearance process to benefit his children and target perceived enemies;
x. Drawing down on government efforts to combat domestic terrorism in order to appease a segment of his base;
y. Refusing to aggressively investigate and build defenses against interference in our election by Russia, after the country helped him win an election;
z. Engaging in a documented campaign of obstruction of a Special Counsel’s investigation.
aa. Lying about a hush money payoff and omitting his debt to his attorney for that payoff from his financial disclosure report (which is a crime if done knowingly and willfully);
bb. Coordinating with his attorney in connection with activities that got the attorney convicted of criminal campaign finance violations;
cc. Interfering in career personnel actions, which are required by law to be conducted free of political influence;
dd. Refusing to fire a repeat Hatch Act offender after receiving a recommendation of termination from the president’s own Senate-confirmed appointee based on dozens of violations;
ee. Calling members of Congress names and accusing them of treason for conducting oversight;
ff. Attacking states and private citizens frequently and in terms that demean the presidency (see Johnson impeachment);
gg. Using the presidency to tout his private businesses and effectively encouraging a party, candidates, businesses and others to patronize his business;
hh. Causing the federal government to spend hundreds of thousands of dollars at his businesses and costing the American taxpayers well over $100 million on boondoggle trips to visit his properties;
ii. Hosting foreign leaders at his private businesses;
jj. Calling on the Justice Department to investigate political rivals;
kk. Using the presidency to endorse private businesses and the books of various authors as a reward for supporting the president;
ll. Engaging in nepotism based on a flawed OLC opinion;
mm. Possible misuse of appropriated funds by reallocating them in ways that may be illegal;
nn. Repeatedly criticizing American allies, supporting authoritarian leaders around the world, and undermining NATO; and
oo. etc.
“None of the Republican Senators defending Trump could say with a straight face that they would tolerate a Democratic president doing the same thing. But, given this dangerous precedent, they may have no choice if they ever lose control of the Senate. Is that what they want?
“And this is only what Trump did while the remote threat of Congressional oversight existed. If the Senate acquits him, he will know for certain there is nothing that could ever lead to Congress removing him from office. And what he does next will similarly set precedents.
At this point, I would remind these unpatriotic Senators of the line “you have a republic if you can keep it,” but a variation on this line may soon be more apt when Trump redoubles his attack on our election: You have a republic, if you can call this a republic.”

Walter Shaub via Twitter

We cannot indeed call this a republic; it is a shambolic kleptocratic theocracy. And our last one, remote chance of restoration will come next November. If we’re not out there with the numbers just posted today in Hong Kong’s election (72% or so), then our democratic republic will fall and, given what is likely to be a similarly shambolic kleptocracy in Great Britain, democracy, decency and the rule of law will be largely at an end on the planet, ending the final, very slim chance we have of mitigating accelerating climate catastrophe.

A “cancer on the presidency” has metastasized “hugely.”

« Read the rest of his tweets ». Fascinating.

What We Hath Wrought

RIP Amara Renas and all the other unknown women and men and children. May you haunt our collective memory forever.

The Beeb is reporting that « Turkey and its allies are (“allegedly”) committing war crimes, especially against Kurdish women » in Syria:

“Turkish-backed forces fighting Kurdish militias in north-east Syria have been accused of committing war crimes, with acts of brutality surfacing on mobile phone footage.

“The UN has warned that Turkey could be held responsible for the actions of its allies, while Turkey has promised to investigate.

“Bearded men shout ‘Allahu Akbar [God is the Greatest]’. One captures the scene on his smartphone and says: ‘We are mujahedeen [holy warriors] from Faylaq Al-Majd [Glory Corps] battalion.’ In the background are the corpses of Kurdish fighters.

“Further away, a group of men plant their feet on a woman’s bloodied body. One says she is a ‘whore’.

‘The gruesome footage is much like that produced by the ultra-violent Islamic State (IS) group.

“Yet the men in this video are not IS militants, but rather fighters for a rebel alliance known as the Syrian National Army, trained, equipped and paid for by a Nato member, Turkey. They are under the command of the Turkish army.

‘The video was filmed on 21 October in northern Syria. The woman beneath the fighters’ feet is Amara Renas, a member of an all-woman unit of Kurdish fighters, the YPJ, a force that played a significant role in defeating IS in Syria.

BBC

Notice how the BBC calls the video “brutal” and “gruesome,” words which are not in quotes or alleged. The video is not allegedly brutal and gruesome, it IS brutal and gruesome, says the BBC. Yet they get nervous about calling Turkish jihadist allies war criminals, even though the crimes are very much graphically shown in the brutal, gruesome video.

More importantly than all this, these war crimes are being committed against Kurdish women fighters specifically, and against our Kurdish allies generally. After the mobster-in-chief in the White House unleashed all this.

Not only should he and his administration be impeached and removed for high crimes and misdemeanors, he should also be held personally responsible for these war crimes. Impeachment is certain, but removal is unlikely, and seeing him tried for war crimes is a fantasy.

After all, the last time we had a chief executive who unleashed war crimes (remember Abu Graib anyone?), nothing happened. That president is just sitting around painting pictures of hot dogs while lolling in his bathtub.

Still, there is value in keeping a chronicle of crimes and never forgetting them. This current stain on a house that is never free of stains in some form needs to be remembered and prevented. And we should all start using quotes when referring to executive mansion: The “White” House has been various shades of blood red from its inception.

RIP Amara Renas and all the other unknown women and men and children who fought on our behalf as well as their own. May you haunt our collective memory forever.

Normandy 2019

Tragically brilliant.

«One of the most brilliant things I’ve seen in a long time». Steve Bell and The Guardian continue to hit these out of the park. Go there and read, donate, support. They cover the U.S. as, if not more, effectively than the Times and Post or any other American news organization. Not that those exist anymore, but still.

Far more importantly, RIP Kurds. From you stretching back all the way to Columbus is a long, unbroken trail of genocide. Perhaps things will be just a tiny, marginally bit better in 2021. Knowing other Americans as I do, I’m not holding my breath. I am sincerely sorry that you will not have breath to hold until 2021. What a treasonous betrayal.

Impeach. Remove.

Movie Night: The Big Clock

“Regardless of whether you saw it then as scandalous that such perversions were being exhibited in public theaters or whether you see it now as being stereotypical, offensive and overly focused on white, male, straight actors and queer panics and Italian stereotypes, to wit … offensive!! … there is much to actually be loved here.”


Five Stars
Five Stars!

From 1948: That fabulous film noir, The Big Clock with Ray Milland, Charles Laughton, Elsa Lanchester and Harry Morgan.

The « synopsis »:

“Stroud, a crime magazine’s crusading editor, has to postpone a vacation with his wife (again) when a glamorous blonde is murdered and he is assigned by his publishing boss Janoth to find the killer. As the investigation proceeds to its conclusion, Stroud must try to disrupt his ordinarily brilliant investigative team as they increasingly build evidence (albeit wrong) that he is the killer.”

TMDb

IMDb, (which is, as I always say, one of the many tentacles of the suffocating Amazonia totalitarian state in which we live), has «a slightly different way of putting it»:

“When powerful publishing tycoon Earl Janoth commits an act of murder at the height of passion, he cleverly begins to cover his tracks and frame an innocent man whose identity he doesn’t know but who just happens to have contact with the murder victim. That man is a close associate on his magazine whom he enlists to trap this ‘killer’ — George Stroud. It’s up to George to continue to ‘help’ Janoth, to elude the police and to find proof of his innocence and Janoth’s guilt.”

IMDb

The New York Times reviewer Bosley Crowther was « impressed and urged people to see it and pay close attention »:

“… For this is a dandy clue-chaser of the modern chromium-plated type, but it is also an entertainment which requires close attention from the start.

“Actually, in the manner of the best detective fiction these days, it isn’t a stiff and stark whodunit activated around some stalking cop. Nary a wise-guy policeman clutters up the death-room or the clues. As a matter of fact, the policemen are not called in until the end. And the fellow who does the murder is known by the audience all along.

“He’s a dynamic publishing magnate, ruler of a realm of magazines and a double-dyed rogue who runs his business on the split-tick of a huge electric clock. In a mad, jealous moment, he kills his sweetie, a not very temperate young thing, and then calls upon the cagey editor of his crime magazine to find the man. Two circumstances make this ticklish. The clues have been rigged to make it look as though the murderer were another fellow. And the other fellow is—the editor.

“Out of this cozy situation of a guy trying to square himself, even though he is thoroughly innocent and knows perfectly who the murderer is, Scriptwriter Jonathan Latimer and Director John Farrow have fetched a film which is fast-moving, humorous, atmospheric and cumulative of suspense. No doubt there are holes in the fabric—even a rip or two, perhaps—and the really precision-minded are likely to spot them the first time around. But the plot moves so rapidly over them and provides such absorbing by-play that this not-too-gullible observer can’t precisely put his finger upon one. (That’s why we urge your close attention—just to see if there is anything to catch.)

“As the self-protection clue-collector, Ray Milland does a beautiful job of being a well-tailored smoothie and a desperate hunted man at the same time. Charles Laughton is characteristically odious as the sadistic publisher and George Macready is sleek as his henchman, while Maureen O’Sullivan is sweet as Ray’s nice wife. Exceptional, however, are several people who play small but electric character roles: Elsa Lanchester as a crack-pot painter and Douglas Spencer as a barman, best of all. Miss Lanchester is truly delicious with her mad pace and her wild, eccentric laugh.”

The New York Times

It is, indeed, a wonderful picture and Charles Laughton and his wife Elsa Lanchester are fabulous.


The Big Clock (1948) Lobby Card
The Big Clock (1948) Lobby Card

The Big Clock (1948) Stolen from Burt's Place
The Big Clock (1948) Stolen from Burt’s Place

Best quotes:

Earl Janoth: [talking on intercom to Steve Hagen] “On the fourth floor – in the broom closet – a bulb has been burning for several days. Find the man responsible, dock his pay.”

The Big Clock

Louise Patterson: [after George Stroud outbids her for a picture] “Isn’t it a pity… the wrong people always have money.”

Don Klausmeyer: “I’m Don Klausmeyer, from Artways magazine.”
Louise Patterson: “Yes. [giggles] Oh, yes. Didn’t you review my show in ’41?”
Don Klausmeyer: “I think I did.”
Louise Patterson: “Oh, come in, Mr. Klausmann.”
Don Klausmeyer: “KlausMEYER.”
Louise Patterson: [laughs gleefully] “I’ve been planning to kill you for years.”
Don Klausmeyer: “Our organization, the Janoth Publications, is trying to find someone, possibly a collector of your pictures.”
Louise Patterson: “So have I for fifteen years.”

IBID

Pauline York: “You know, Earl has a passion for obscurity. He won’t even have his biography in ‘Who’s Who’.”
George Stroud: “Sure. He doesn’t want to let his left hand know whose pocket the right one is picking.”

IBID

George Stroud: “You’re the only blonde in my life.”
Georgette Stroud: “I’m a brunette.”
George Stroud: “And you’re the only brunette too.”

IBID

Five.Stars
Five Stars!

The Big Clock. 1948. TCM. English. John Farrow (d). Kenneth Fearing, Jonathan Latimer, Harold Goldman (w). Ray Milland, Charles Laughton, Maureen O'Sullivan, George Macready, Rita Johnson, Elsa Lanchester, Harold Vermilyea, Dan Tobin, Harry Morgan, Richard Webb, Elaine Riley, Frank Orth, Lloyd Corrigan, Theresa Harris. (p). Victor Young (m). Daniel L. Fapp, John F. Seitz (c).


Movie Night: Sweet Charity

“The songs and dances, Shirley MacLaine and Cita Rivera, et al, were great; it’s just the stuff in between that is less than satisfying.”


Three Stars?

From 1968: It’s quite possibly the most depressing musical ever made, Sweet Charity. I’m not sure what this was supposed to be, but it also seems to be the most depressing play Neil Simon ever wrote. And it’s all a piece with the extremely depressing year in which it was made.

The «synopsis»:

“Taxi dancer Charity continues to have Faith in the human race despite apparently endless disappointments at its hands, and Hope that she will finally meet the nice young man to romance her away from her sleazy life. Maybe, just maybe, handsome Oscar will be the one to do it.”

TMDb

Back in the day, the UK’s «Spectator critic Penelope Houston» touched on all the problems of Sweet Charity, but apparently wasn’t as negative as I am about it:

“It seems a little hard to criticise a musical because of the financial circumstances of its heroine. Sweet Charity, though, is the sort of film which sways in its second half, like Funny Girl, towards the unrequited, grin-and-bear-it ending. What Charity Hope Valentine is grinning and bearing is life as a dance-hall hostess (in the Fellini original, on which the stage musical was based, life as a not very successful prostitute); and since the film is set fairly, squarely and lovingly in New York of the rich ‘sixties, there seems no particular reason why its heroine can’t find a line of work that appeals to her more. This is partly a hazard of the sort of musical which takes over the almost serious subject, and in the end tries to come to terms with it in the almost serious way. Plotlines which did for Italy in the 1950s fray badly when dropped down in the middle of all this expensive decoration, so set on making too much of too little.

“And, of course, the dancehall, that useful old Hollywood haunt for mistily reprehensible goings-on, actually comes across as a rather well-conducted establishment, with heroine’s friends Chita Rivera and Paula Kelly (both excellent) bounding about like a couple of genially astringent school prefects. But if Charity, played by Shirley MacLaine in her sharpest innocent-at-large style, really wants to escape, it’s hard to see what is holding her back.

“One is supposed to find Charity’s plight rather true and touching; and on the whole doesn’t. And it is perhaps tough on Shirley MacLaine that her particular line in rueful, shrewd, precariously hopeful fatalism, though executed as winningly as ever, already suggests a speculation which the film doesn’t care to take up: the heroine of The Apartment almost ten years on, the valiant last of the kooky girls. All the same, the performance bounces, as does the film when it’s looking down the line of morose dance-hall girls (‘Hey, Big Spender’), ambling into Fellini parody in an absurd mock-Roman nightclub, or flinging its dancing girls about a grubby rooftop in a number so nostalgic for older musicals that one is only surprised they don’t burst into ‘New York, New York, it’s a wonderful town.'”

Penelope Houston, The Spectator

“Precariously hopeful fatalism.” That’s a pretty fair, if paradoxical, take on Charity’s life outlook.

The film starts with Charity being dumped (quite literally) by her would-be fiancee and nearly drowning. It proceeds through an obviously doomed night with a celebrity film director, then follows an ultimately, but not so obviously doomed, engagement and ends with a “Keep on the Sunny Side” denouement … “keep your chin up even if it’s been ground into the dirt,” is I guess how I would describe it.

As I said, it’s all surprisingly depressing for a musical, but the late 60s was a depressing decade. The same year as Sweet Charity was released saw the assassinations of MLK and RFK and the end to any dream of a Camelot restoration, plus mass riots and worsening casualties in the pointless failure of the war in Vietnam. That would seem to indicate that a big movie musical would need to provide a necessary uplift to viewers: toe-tapping, heartening, he-gets-the-girl-they-live-happily-ever-after type of stuff. Instead, audiences were treated to a sweet girl being dumped brutally three straight times and musical numbers that seemed to celebrate girls begging for money (“Hey Big Spender …”), jealousy (“If my friends could see me now …”), girls trapped in bad situations (“There’s Gotta Be Something Better Than This …”) and a sense of hopeless wandering (“Where Am I Going? …”). An American in Paris it ain’t (“Our Love is Here to Stay,” “Tra-la-la (This Time It’s Really Love),”I Got Rhythm,” “‘S Wonderful,” etc., etc.), but I suppose that was the difference between 1951 and 1968.

Audiences seemed to agree with the “depressing” assessment; while it cost $20 million to make, it only brought in $8 million at the box office and just about destroyed Universal, which then, so the story goes, forced it to make the successful Airport (1970), a film whose star Burt Lancaster described as “a piece of junk,” but which, according to «Box Office Mojo», made $100,489,151. That one had a happy ending, with the bad guy dead and everyone/everything else saved (Helen Hayes and a Boeing 707), with the notable exception of Dean Martin/Barbara Hale’s marriage.

Shirley MacLaine is wonderful in Sweet Charity, as she has been in pretty much everything she’s ever done. It’s worth noting that a “corny” happy ending was filmed because Bob Fosse feared the studio would want it, but the studio surprised him and decided to keep the original stage musical ending. I think it was the right decision, but regardless of which ending you use, this thing was probably not rescue-able. The songs and dances, Shirley MacLaine and Cita Rivera, et al, were great; it’s just the stuff in between that is less than satisfying.


Sweet Charity Lobby Card
Sweet Charity Lobby Card

Best quotes:

Charity Hope Valentine: “Wow, this place is sure full of celebrities. I’m the only one in here I’ve never heard of.”

Sweet Charity

Charity Hope Valentine: “Fickle Finger of Fate!”

Ibid

Helene: “There ain’t no use flappin’ your wings, ’cause we are stuck in the flypaper of life!”

Ibid

Vittorio: “Without love, life would have no purpose.”

Ibid

Oscar Lindquist: “The odds against us are at least a hundred to one.”
Charity Hope Valentine: “Those are the best odds I ever had.”

Ibid

Three Stars?
Three Stars?

Sweet Charity. 1969. TCM. English. Bob Fosse (d). Neil Simon, Peter Stone, Federico Fellini, Tullio Pinelli, Ennio Flaiano (w). Shirley MacLaine, John McMartin, Ricardo Montalban, Sammy Davis Jr., Chita Rivera, Paula Kelly, Stubby Kaye, Barbara Bouchet, Alan Hewitt, Ben Cy Coleman (m). Robert Surtees (c).


Movie Night: Strait Jacket

“The bonuses here are George Kennedy as a farmhand foreshadowing by 22 years Billy Bob Thornton in 1996’s Swing Blade (“I like them French fried potaters.”), all the Pepsi placement, and Lee Majors in pre-Six Million Dollar Man mode, along with his very hairy chest, fluffily rising and falling just before the axe falls.”

["'Tina! Bring me the axe!" Joan Crawford hacks up the Six Million Dollar Man in 1964's Strait-Jacket. "Lucy Harbin took an axe, gave her husband forty whacks, when she saw what she had done, she gave his girlfriend forty one."]
Four.5.Stars
Four and 1/2 stars!

From 1964 (and presented by the fabulous Svengoolie): It’s Mommie Dearest with an axe, but with a twist! Here is Joan Crawford in Strait-Jacket!

The «synopsis»:

“After a 20 year stay at an asylum for a double murder, a mother returns to her estranged daughter where suspicions arise about her behaviour.”

TMDb

IMDb has «a slightly different way of putting it»:

“After a twenty-year stay at an asylum for a double murder, a mother returns to her estranged daughter where suspicions arise about her behavior. “

IMDb

Oh, okay, that’s not so different. Hmmm. Is there collusion between those two sites? But how else would you describe this thing? Let’s check «Rotten Tomatoes» then:

“In this chilling blood-tale in ‘Psycho’ style, Robert Bloch modernizes the Lizzy Borden story. A wife (Joan Crawford) literally axes her cheating husband and his lover, witnessed by her three-year-old daughter. Mom is packed off to the insane asylum for 20 years before reuniting with the daughter (Diane Baker). From this point, the axe murders continue along a contrived plot intended to lead the audience astray until the mystery is solved. Crawford’s strong performance and the excellently constructed suspense are the best elements of the film—and the chopping saves the show when the plot tends to slow.”

Rotten Tomatoes

But more importantly, what did critics say about Mommie Dearest, er, I mean Strait Jacket? Shaun Mulvihill over at Fan Boy Nation pretty much covers it very well:

“… Strait-Jacket is now hailed as a camp classic, which it is no doubt, but it’s also a throwback melodrama that is punctuated by its moments of violent ax murders. Shout!

“Having not seen Strait-Jacket in at least 10 years, one thing stood out in revisiting the film on the new Blu-ray – this film isn’t too dissimilar to the sordid drama of «Mildred Pierce» that won Joan Crawford her lone Oscar. Even though in the wake of What Ever Happened to Baby Jane?, as Crawford was being repurposed as a scream queen, she always gave her all to the performance. Strait-Jacket may have been seen as a B-movie to the studio and the critics reviewing the film in 1964, Crawford gives an A performance as the mentally ravaged Lucy Harbin. Of course, Crawford made sure to employ her role as the spokeswoman of Pepsi in the film, inserting six-packs of Pepsi throughout the film.
“The violence of Strait-Jacket looks quaint by today’s standards, with some rather unrealistic looking limbs being violently severed by a swinging ax. Even though Strait-Jacket is released after Herschell Gordon Lewis created the modern gore film with Blood Feast, Strait-Jacket is remarkably graphic for a studio film of its era. The posters used the violence as a selling point, proclaiming, ‘Strait-Jacket vividly depicts ax murders!’ I won’t lie, the violence of Strait-Jacket is funny by today’s standards, but it’s important to remember its context of film violence of its era.

“There’s no defending Crawford the person and her deplorable actions. On the screen, though, she shined bright and continues to shine as her classic are restored and revived on home video. Strait-Jacket may not have been her proudest moment, but you’d never know it from her dedicated performance. It’s a true testament to Crawford’s presence as a performer that Strait-Jacket is much more a Joan Crawford picture than a William Castle picture. Castle was a great showman and huckster, and he stepped aside to give the spotlight to bigger showman. William Castle knew he didn’t need a gimmick when he had Joan Crawford.”

Fan Boy Nation

It’s all tremendous fun, especially if you remember the context. Yes, it foreshadows Mommie Dearest, which makes you wonder where that particular flick came from (did Christina Crawford confuse a viewing of Strait-Jacket with her life? Oh, sorry. I’m sure her trauma was very real.) But for gosh sake, cinema Joan wielding the axe on Lee Majors in 1964 and then supposedly-real-life Joan wielding the axe on a tree 17 years later is rather … interesting.

Nonetheless, it’s always a fun time. The bonuses here are George Kennedy as a farmhand foreshadowing by 22 years Billy Bob Thornton in 1996’s Swing Blade (“I like them French fried potaters.”), all the Pepsi placement, and Lee Majors in pre-Six Million Dollar Man mode, along with his very hairy chest, fluffily rising and falling just before the axe falls. Also fun is Edith Atwater as a society matron, her tut-tut husband Howard St. John, and their son, John Anthony Hayes as their son in the very-good-looking-man role, who discovers something very unsettling about his would-be fiancee.

The ending, featuring Edith Atwater’s horrifying discovery and a mask and Joan suddenly replaying her role as Nurse Lucretia Terry in The Caretakers (1963), is pretty fabulous, but shhhhh, don’t reveal it to anyone so as not to spoil their spine-tingly, horrifyingly good time! Watch it!


Strait-Jacket Lobby Card
Strait-Jacket Lobby Card

Best quotes:

Daughter Dearest, they should have called this thing. Love these quotes, especially, “Lucy Harbin took an axe …”

Carol Harbin: “I hate you! I hate you! I hate you! No I didn’t mean that, I love you. I hate you!”

Strait-Jacket

First little girl: “Lucy Harbin took an axe, gave her husband forty whacks, when she saw what she had done, she gave his girlfriend forty one.”
Carol Harbin: [Lucy storms out to find two girls playing jump rope] “What is it, Mother?”
Lucy Harbin: “I heard them …”
First little girl: “London bridge is falling down, falling down, London bridge is falling down, my fair lady.”
Carol Harbin: “It’s just a nursery rhyme, mother.”
Second little girl: “Take the key and lock her up, lock her up, lock her up, take the key and lock her up, my fair lady.”

Ibid

Four.5.Stars
Four and a half stars – for the camp value alone!

Strait-Jacket. 1964. MeTV. English. William Castle (d). Robert Bloch (w). Joan Crawford, Diane Baker, Leif Erickson, Howard St. John, John Anthony Hayes, Rachelle Hudson, George Kennedy, Edith Atwater, Mitchell Cox and Lee Majors' hairy chest as one of the axe victims. (p). Van Alexander (m). Arthur E. Arling (c).


 

Movie Night: A Cry in the Night

“Whatever the novelty of seeing goodie two-shoes Perry Mason as a Peeping Tom/Kidnapper, it’s Carol Veazie who is the standout.”

[The movie poster for A Cry in the Night. What did "Cert X" mean? Was Perry Mason in an X-rated film?!]

FourStars
Four Stars!

From 1956: A weird flip-flop which is like a Perry Mason episode … because it stars Perry Mason‘s Raymond Burr as a violent voyeur/kidnapper and Perry Mason‘s Richard Anderson (more famous for the Bionic Man/Woman stuff) as one of Burr’s victims. The bonus here is the kidnappee is Natalie Wood.

The «synopsis»:

“A police captain’s emotions get in the way when his daughter is kidnapped.”

TMDb

IMDb’s «synopsis» isn’t much better:

“A deranged man kidnaps the nubile daughter of a police captain. “

IMDb

There doesn’t seem to be any contemporary reviews of this noir, so we’ll have to rely on a «user review on IMDb by “bmacv”», who writes:

“When Raymond Burr’s face (grotesquely lighted by John F. Seitz) looms out of the shrubbery at Lovers’ Loop [sic], he adds A Cry in the Night to his long string of films in which he cemented his reputation as the noir cycle’s most indispensable and unforgettable creep. He’s prowling the petting grounds looking for a girl, and doesn’t care how he gets her. Assaulting the male half (Richard Anderson) of a necking couple, he kidnaps the other (Natalie Wood), spiriting her off to a den he’s fixed up in an abandoned brickyard. This time, though, there’s a catch to Burr’s villainy: He’s a dim-witted hulk, a childish monster akin to Lennie in Of Mice And Men.

“Even less wholesome is Carol Veazie as Burr’s doting, sweet-toothed mother. Managing simultaneously to suggest Dame Judith Anderson, Jean Stapleton and Doris Roberts, she shuffles around drinking coffee in her horse-blanket bathrobe, whining about that missing slice of apricot pie. Nineteen-fifty-six, some may recall, was the high-water mark of a national panic about ‘Momism,’ a threat deemed scarcely less perilous to the republic than the international Communist conspiracy; Veazie endures as one of its most formidable operatives (her successors would include the unseen Mrs. Bates in Psycho, Angela Lansbury’s Mrs. Iselin in The Manchurian Candidate, and Marjorie Bennet’s Dehlia Flagg in Whatever Happened to Baby Jane?).”

IMDb

The reviewer is right: Whatever the novelty of seeing goodie two-shoes Perry Mason as a Peeping Tom/Kidnapper, it’s Carol Veazie who is the standout. She is indeed freaky-deaky, rattling on about her “something sweet before bed from Baby,” that brought to my mind “It puts the lotion in the basket” dude from Silence of the Lambs. After watching so much Perry Mason over the last year or so, thanks to MeTV (I had never seen an episode of it before), seeing his freaky turn was a bit laughable. But Veazie: Now THAT was truly creepy.

Edmond O’Brien and Brian Donlevy were good as always as the cops, and Irene Hervey was so very 1950s mother that at first I thought she was Jane Wyatt of Father Knows Best, the quintessential 1950s mom. Natalie Wood gave the screaming her best and pre-Perry Mason‘s Richard Anderson competently walked around in a daze.

The weirdest thing in this weird concoction though was the very short subplot of Madge (Mary Lawrence), who is, we can only guess, O’Brien’s sister? Wood’s sister? Who knows? She’s there for a couple of scenes, Hervey says Madge is unhappy because she’s unmarried and then <boom> nothing further happens with her. Weird, weird, weird.

Still, it’s all good clean, dirty fun, that says much about the decade it was made in, as well as being a good example of its genre. Worth a look if you get the chance.


Perry Mason, er, Raymond Burr Strangles Natalie Wood!

Best quotes:

Terence McNally knows how to write ’em:

Capt. Dan Taggart: “I just wanna know what’s bothering Madge.”
Helen Taggart: “She isn’t married, that’s what’s bothering her. She’s 37 years old and she isn’t married.”

A Cry in the Night

Boy on Motorcycle: “Sock her again! They love it!”

Ibid

Capt. Ed Bates: “How do ya tell a guy that his kid has been grabbed?”

Ibid

Capt. Dan Taggart: “I don’t care about your coffee! Your son has kidnapped my child!”

Ibid

Four Stars
Four Stars!

A Cry in the Night. 1956. TCM. English. Frank Tuttle (d). David Dortort, Whit Masterson (w). Edmond O'Brien, Brian Donlevy, Natalie Wood, Raymond Burr, Richard Anderson, Irene Hervey, Carol Veazie, Mary Lawrence, Herb Vigran. (p). David Buttolph (m). John F. Seitz (c).


 

Movie Night: The Ritz

“Regardless of whether you saw it then as scandalous that such perversions were being exhibited in public theaters or whether you see it now as being stereotypical, offensive and overly focused on white, male, straight actors and queer panics and Italian stereotypes, to wit … offensive!! … there is much to actually be loved here.”

[Like Jack Weston in The Ritz, we sat with our mouths open the entire movie.]
3 3/4 Stars!

From 1976: What’s the hell is this thing?! Antonio Salieri as a gay, towel-clad habitué of … a gay bath house? The Four Season‘s Jack Weston as a mob family son-in-law on the run who hides in … a gay bath house? Treat Williams doing a high-pitched voice “thing” running around in a towel in … a gay bath house? Rita Moreno as the drag-queen-esque singer in … a gay bath house? Ben Stiller’s Jewish daddy playing a pissed-off Italian mobster running around in aa towel and garters trying to find Jack Weston for “offing” purposes … in a gay bathhouse? Kaye Ballard screaming and fainting … in a gay bathhouse? Paul Price as a chubby chaser … in a gay bathhouse?

Yes, it’s all those things and more in «The Ritz» … a gay bathhouse … with the aforementioned Jack Weston, Rita Moreno, Treat Williams, Jerry Stiller, Kaye Ballard, Paul Price and in what was for me, a performance better deserving of an Oscar than that Amadeus thing: F. Murray Abraham. For 1976, this thing was pretty advanced. Major stars or soon-to-be stars (Abraham’s Oscar came a mere eight years later.)

But so much to write about here. Regardless of whether you saw it then as scandalous that such perversions were being exhibited in public theaters or whether you see it now as being stereotypical, offensive and overly focused on white, male, straight actors and queer panics and Italian stereotypes, to wit … offensive!! … there is much to actually be loved here. Ahead of its time, groundbreaking, unheard-of and un-mentionable, we laughed out loud a lot, even at the corny bits. But I guess that could be that we are, after all, two fags of a certain age (I was 12 1/2 when this thing came out, but seem to have no memory of it, largely because the churches of Duncan, Oklahoma, would have collectively LOST. THEIR. SHIT. and burned down the theater which dared to satanically show this reeking pile of offensive (there’s that word again) spitting in the face of the Christ child … ergo, I didn’t see it, it was only moderately successful and many of its reviewers were clueless about what it all meant.

So yes, there are problems.

The synopsis:

“On his deathbed Carmine Vespucci’s father tells him to ‘get Proclo.’ With ‘the hit’ on, Gaetano tells a cab driver to take him where Carmine can’t find him. He arrives at the Ritz, a gay bathhouse.”

TMDb

IMDb, one of the many tentacles of the suffocating Amazonia totalitarian state in which we live, has «a slightly longer way of putting it»:

“On his deathbed, Carmine Vespucci’s mobster father tells him to ‘get Proclo’ – Carmine’s brother-in-law Gaetano. With ‘the hit’ on, Gaetano tells a cab driver to take him where Carmine can’t find him. He arrives at The Ritz, a gay bathhouse where he is pursued amorously by ‘chubby chaser’ Claude and by entertainer Googie Gomez, who believes him to be a Broadway producer. His guides and protectors through The Ritz are gatekeeper Abe, habitué Chris, and bellhop/go-go boys Tiger and Duff. Squeaky-voiced detective Michael Brick and his employer Carmine do locate Gaetano at the Ritz, as does his wife Vivian, but family secrets come out.”

IMDb

The late and much lamented Roger Ebert «seemed a bit bemused» by The Ritz back in the day:

“One of the character’s problems, though — and it becomes the movie’s problem as well — is that he’s so unbelievably dumb, so slow to catch on. Forty-five minutes into the movie, he’s still doing incredulous double-takes and mouthing forbidden words as he discovers what his fellow patrons are doing in their cubicles. I don’t know if we’re supposed to identify with his endless state of shock — or laugh at it — but after a while we wish the movie would be funny about something else.
And, just in the nick of time, it does. Weston runs into two of the denizens of the Ritz: The unflaggingly ambitious would-be singer Googie Gomez, and the indefatigable Claude. Each has a personal reason for pursuing Weston: Claude has a fetish for fat guys, and Googie thinks Weston is a big-time Broadway producer who will discover her and hire her for — who knows? — maybe a bus-and-truck tour of “Oklahoma!” Googie, played by Rita Moreno, has some of the funniest moments in the movie. To the incongruous accompaniment of a poolside orchestra in black tie, she butchers several song-and-dance numbers, loses a shoe and a wig and winds up in the pool. She is also ferocious in her ambition, tossing rivals down the laundry chute and promising Weston the hanky-panky will start after her second show.

“And yet ‘The Ritz’ never quite succeeds. Its ambition is clearly to be a screwball comedy in the tradition of the 1930s classics and such recent attempts as ‘What’s Up, Doc?‘ and ‘Silent Movie.’ But it lacks the manic pacing, and the material grows thin; Terrence McNally’s screenplay (based on his own play) depends so completely on comic material dealing with homosexuality that other opportunities are lost. And Richard Lester’s direction is a little erratic; the movie lunges forward and then hits dead spots, and the final 10 minutes seem to take forever to dispose of various plot points. Still, ‘The Ritz’ has, its moments. When again will we see Jack Weston as an Andrews sister?”

Roger Ebert

When again indeed? Well, uh, never! Which is the conceit, although by the time he appears as an Andrews Sister, he looks a lot like George Wendt of Cheers fame. But that’s an aside.

This one could open up cans upon cans of works about the way we see old cultural pieces through the lens of today’s culture wars. The intersectionaled, cisgendered lesbian womyn of today probably wouldn’t appreciate this one. There’s some disgusting stereotypes with Googie as Rita Moreno playing up her New York Puerto Rican accents (example: “One of dees days ju is going to see de name of Googie Gomez up in lights and you gonna ask to juself, ‘Gwas dat her?’ An den ju gonna answer to juself, ‘Jes, dat gwas her!’ Well, let me tell you something, Mister: I gwas ALWAYS her, jus dat nobody knows it!'” That’s sure to make the next generation’s SJWs all go into a tizzy.

Except they won’t because ultimately, this thing is being shown on Retro or TCM or something and


The Ritz
The Ritz

Best quotes:

Terence McNally knows how to write ’em:

Gaetano Proclo: “Listen, there’s something I have to tell you.”
Chris: “You’re not gay?”
Gaetano Proclo: [relieved] “No!”
Chris: “What, are you a social worker or something?”
Gaetano Proclo: “No, but I didn’t know that everyone in here was …”
Chris: “GAY! See? It’s not a bad word. You might try using it sometime.”
Gaetano Proclo: “You mean to tell me that everyone in here is gay?”
Chris: “God, I hope so. Otherwise I just paid ten dollars to walk around in a towel in front of a bunch of Shriners.”

The Ritz (1976)

Gaetano Proclo: “We used to have a guy like that back in the army. We called him ‘Get away from me Claude.'”

Ibid

Patron With Cigar: “Crisco.”
Gaetano Proclo: “What?”
Patron With Cigar: “Crisco Oil Party. Room 419. Pass it on.”
Gaetano Proclo: “Pass what on?”
Patron With Cigar: “Bring Joey.”
Gaetano Proclo: “Who’s Joey?”
Patron With Cigar: “You know Joey. Don’t bring Chuck. You’ve got that?”
Gaetano Proclo: “Crisco Oil Party. Room 419. I can bring Joey but not Chuck.”
Patron With Cigar: “Check.”
Gaetano Proclo: “What’s the matter with Chuck?”

Gaetano Proclo: [absolutely horrified] “Chuck is definitely out!”
Patron With Cigar: [walking away] “Hey, you won’t be disappointed.”

Ibid

Googie Gomez: “Think of a tropical night. Think of a beetch.”
Gaetano Proclo: “What bitch?”

Ibid

3 3/4 Stars!

The Ritz. 1976. TCM. English. Richard Lester (d). Terrence McNally (w). Jack Weston, Rita Moreno, Jerry Stiller, Kaye Ballard, F. Murray Abraham, Paul B. Price, Treat Williams, Dave King, Peter Butterworth. (p). Denis O'Dell (m). Paul Wilson (c).


Movie Night: An American Tragedy

“Basically, amoral social climber from poor background seduces poor factory girl, gets her pregnant, wants to marry a rich socialite and so kills poor factory girl by smashing her in the head with his tennis racket and dumping her body in a lake, fakes a canoe accident, trips self up by being basically an idiot, dies in electric chair after mercy is refused by Governor Charles Evans Hughes.”

[Phillips Holmes in An American Tragedy, realizing he really does hate that grasping little factory girl and would be much happier drowning her.]

FourStars
FourStars

From 1931: «An American Tragedy» with Phillips Holmes, Sylvia Sidney and Frances Dee. The first cinematic adaptation of Theodore Dreiser’s novel of the same name, it was eventually remade as a more famous film in 1951 starring Montgomery Clift, Shirley Winters and Elizabeth Taylor: A Place in the Sun.

But this version has much to recommend it. Except the sound. The sound is like what Singin’ in the Rain was parodying. Sound in motion pictures wasn’t yet refined, so everything in the pic, especially background noise, is loud and excruciating. In the courtroom scene when the D.A. pounds his fist on the bannister in front of the accused, the resounding thuds shook the walls. Meanwhile, whole sections of dialogue were hard to pick up. Just a quibble.

The synopsis:

“A social climber charms a debutante, seduces a factory worker and commits murder.”

TMDb

It’s hard to find reviews for films of this age, but fortunately «Richard Cross of 20/20 Movie Reviews» came through, writing in 2013 and comparing the two film versions:

“An American Tragedy was remade in 1951 with Montgomery Clift in the role played here by Holmes but, while this version isn’t without its faults (which are due more to its age rather than any inherent flaws). it’s far superior to the Clift version, even though Griffith (or Eastman, as he was called in the later version), is a much more sympathetic character in the second movie. Holmes’s version is selfish and manipulative, and yet we never entirely lose some level of sympathy for him. Deep down he’s not a bad person, but he falls victim—like Roberta—to his own cowardice and weakness of character. These character flaws are gradually and painfully exposed during the trial, a lengthy sequence which was once one of the film’s strengths but which appears a little far-fetched and overacted today. The grandstanding acting style of Charles Middleton (Flash Gordon’s nemesis, Ming the Merciless) and Irving Pichel is a real drawback which isn’t helped by the way Samuel Hoffenstein’s screenplay call upon them to almost engage in fisticuffs. Overall though, An American Tragedy stands up well for its age.”

Richard Cross

Dreiser’s work, and therefore the two films, was based on the real life murder of «Grace Brown by Chester Gillette» in an upper New York lake on 11-Jul-1906. Basically, amoral social climber from poor background seduces poor factory girl, gets her pregnant, wants to marry a rich socialite and so kills poor factory girl by smashing her in the head with his tennis racket and dumping her body in a lake, fakes a canoe accident, trips self up by being basically an idiot, dies in electric chair after mercy is refused by Governor Charles Evans Hughes.

Both movie versions were faithful to the book and real life, as far as these things go. The real life event could stand the Erik Larson deep dive nonfiction treatment, to see how and where Dreiser departed from events. For the 1931 film, Holmes manages to make you want to both hug him and strangle him. Sadly, Holmes’ extensive career, including an appearance in the Our Gange feature General Spanky, came to an end thanks to World War II. He had just completed flight training in the Royal Canadian Air Force and was being transferred from Winnipeg to Ottawa, when the transport he was riding in collided in mid air with another aircraft over Ontario. He was only 35.

An American Tragedy Poster
[Including this poster from An American Tragedy because it’s too awesome and Art Deco for words. Now THAT’S a movie poster!]

Best quotes:

Well, there’s not any from the movie, really. These are from the book:

“Clyde had a soul that was not destined to grow up. He lacked decidedly that mental clarity and inner directing application that in so many permits them to sort out from the facts and avenues of life the particular thing or things that make for their direct advancement.” “

An American Tragedy (book)

“And they were always testifying as to how God or Christ or Divine Grace had rescued them from this or that predicament—never how they had rescued any one else.”

Ibid

“For in some blind, dualistic way both she and Asa insisted, as do all religionists, in disassociating God from harm and error and misery, while granting Him nevertheless supreme control. They would seek for something else—some malign, treacherous, deceiving power which, in the face of God’s omniscience and omnipotence, still beguiles and betrays—and find it eventually in the error and perverseness of the human heart, which God has made, yet which He does not control, because He does not want to control it.”

Ibid

FourStars
4 Stars! (Because sound. Ow.)

An American Tragedy. 1931. TCM. English. Josef von Sternberg, Hans Dreier (d). Phillips Holmes, Sylvia Sidney, Frances Dee, Irving Pichel, Frederick Burton, Clair McDowell, Charles Middleton, Arnold Korff. (p). John Leipold, Ralph Rainger (m). Lee Garmes (c).