Monday, December 16, 2013

Antonio Vivaldi in Perpetual Motion (Poetry by Bob Racine)



He made the God of humanity a gift of flutes and strings.

Once birthed out of the resonant hollow of a seashell,
his Mediterranean mermaid mother rocked him
in a Venetian gondola.  There he found his fluty tenor.

He learned to play off the backs of dainty-footed cupids
and in time made the squeak of a fiddle sound
as if it were covered with silky moist seaweed.

If anyone ever heard the turtle’s murmuring voice, it was he.

While others were enchanted by epic grandeur,
he was content with puddles and simple fair weather frolics,
capering on the tips of his toes.

Not quite solemn, never a screamer or shouter,
more the playful vivacity of fish in a pond
or sainted elves scrambling in the brush.

Or a sweet bird of an ancient paradise, swooping over the altar!

Listen for him at the far corner of the cathedral,
never in the listener’s face or pounding the ear,
calling to human hearts across the length of years.
         
Look again, and he is a troubadour walking on water,
or a minstrel among the four seasons,
un-beholden to any lord of the earth.

He had no sad or tragic tale to tell,
no purgatory of pain to visit upon us.
All he had to give was the purity of his form.
 
Once summoned by heaven,
he approached its gate with harp and voice,
dancing once more with his native cherubs.

For sacred listening pleasure, I recommend Vivaldi’s Gloria, one of the finest choral works ever composed.  For any occasion I suggest The Four Seasons, my favorite chamber piece, and any one of his six flute concerti.


To read other entries in my blog, please consult its website:  enspiritus.blogspot.com.  To learn about me consult on the website the blog entry for August 9, 2013.

Thursday, December 5, 2013

It's a Wonderful Life (Movie Review by Bob Racine)



                        2 hrs & 10 min, b&w, 1946

Bedford Falls!  No fictional small town in the heart of America has ever gained the reputation among English-speaking movie-goers or inspired their lasting affection as has this mythical community.  It is the place in our imaginations that serves as the setting for a very special fantasy folk tale entitled “It’s a Wonderful Life,” created by writer/director Frank Capra.  A three time Oscar winner, his was a well heralded name in cinema during the 1930s and 1940s, a teller of moral stories that contained no grit or grubbiness or gross violence (or even the hint of it) but lived up to the highest dramatic and comedic standards.  In censorious terms “Wonderful Life” would be considered spanking G-rated clean.  Bad tempers, rowdiness, collisions between strong personalities, a tug of war between serene happiness and desperate fear and sorrow are as close as it ever gets to outright pain and raw shock for the viewers.  In a word, all of it is satisfying.

This is one of those motion pictures that has taken a very long time finding its audience, a few generations, in this case.  I have never heard a convincing explanation for why this family friendly, brilliantly mounted, dynamic, funny, passionate, blushingly romantic, exciting struggle between courage and defeat, gain and loss, loveable and life-size portraits of basic good and monstrous evil was a box office bust when it was first released the year after World War II ended.  It would appear to be the quintessential postwar tale, celebrating the “good life” that millions had just given their lives to preserve.  James Stewart (a veteran of that war and this his first picture after returning home) gives what he considered his best performance as the small town favorite son who tries over the space of almost twenty years to get himself out of what he regards as a shabby and “broken down” whistle stop. He wants to see the big world but is thwarted at every turn because of his stubborn sense of decency and commitment to the down and out.  Stewart thought it his best work and each time I see it I find it a little harder and a little harder still to disagree with him.  To me he is a cosmic gift that never fades from our memories, as firm in place as the firmament.  There will never be another like him, I daresay.                         

The name of the man he plays is George Bailey, about to leave for college when his father, the compassionate owner of a building and loan company risking his own small fortune to give Depression victims a fair break, has a fatal stroke and George has to stay behind to keep the company afloat and protect it from a miserly, greedy ogre named Potter (Lionel Barrymore) who is seeking to lay his hands on it and foreclose on the poor debtors.  Another factor that keeps him in town is his love for a gentle and attractive young woman named Mary (Donna Reed), whom he marries and by whom he has a brood of four children.   The tale winds its way through the 1930s and throughout the war, Bailey still a fixture in the town.    

I feel compelled to take a little space here to comment on Barrymore.  What a life force to contend with he proves to be on that screen.  Of course we would expect nothing less from a Barrymore.  I doubt seriously if Capra ever had anyone else in mind to play Potter.  Who else could have done full justice to him?  Though a wheelchair victim himself off camera, Barrymore never seemed to have trouble getting himself cast in many solid and rewarding roles throughout his career without ever having to compete with ambulatory actors.  With a broad chest and a giant rolling thunderclap of a voice he strikes a little fear in me just by opening his mouth and rattling the rafters.  The wheelchair becomes a throne of ill will.  Where did he or the likeness of him ever go?

Meanwhile, back to George!  Comes the war’s end, and he is driven almost to suicide by a stroke of terrible financial misfortune.  Did I say suicide?  Yes, I did!  Clean cut George, of all people!  But then another character comes into the picture, a man named Clarence (Henry Travers).  Oops, did I say man?  Not quite, though he once was.  Clarence is an angel sent in answer to prayer to save George from himself.  He is not your conventional one robed in white splendor uttering elegant truisms and casting an irresistible spell.  He does not even have wings, though he has been waiting for them for almost a century.  He has been told, however, that if he brings off this life-saving miracle he will earn his wings.  He is small of stature, speaks in such a colloquial twang that he could easily be mistaken for somebody’s grandfather right off the farm.  He does not even look sure of himself.  It takes a while before even he gets his confidence up. How does he save George?  By a hocus pocus transformation?  No!  By singing him songs?  No!  By preaching to him?  No!  By threat or intimidation?  No!  By force?  No!  But he does pull a kind of cosmic trick out of his hat, apparently one never before used, one he is not even sure will work.  For the benefit of those who have not seen the film, I will not disclose details, except to say it involves helping George understand what exactly his life has meant to others.  This last half hour of the film is in my estimation the best part.  All of it is pure gold – suspenseful, gripping, deeply touching and funny, as George puts up a titanic fight trying to resist Clarence’s help, not even believing he is who he says he is.   
  
Yes, it may be something of a fairy tale, but one that speaks metaphorically to real human beings and their major lifelong struggles, as fairy tales were originally meant to do.  It is a warm and wonderful narrative, told with a well-sustained sense of humor from start to finish – a mixture of the lightest and the darkest within all of us.  Capra was a master at directing crowd scenes and giving intricate structure to every phase of his storyline.  He gets top grade work out of everyone in the huge cast, including Thomas Mitchell (another movie icon from that period) as a coworker of George’s, who is party to the money crisis.    

Not exactly the kind of movie that gets made anymore but one that has transcended its time to lay siege to our hearts.  Chances are you will see it advertised for TV showing sometime in the coming month.  It has become a Christmas holiday favorite, not the least because the closing sequences take place at Christmas time, when everybody is in a tenderhearted mood – everyone, that is, except George Bailey who stares into the bottomless abyss.  Yes, love wins the day, and every time I see this movie (one of my 100 favorites) I always swear that this time I am not going to cry.  But I always do.  Have a boo-hoo yourselves and have a Merry Christmas.  

The disc is widely available for rental. 


To read other entries in my blog, please consult its website:  enspiritus.blogspot.com.  To learn about me consult on the website the blog entry for August 9, 2013.

Monday, November 18, 2013

How Old Is Old, or Does It Matter? (Satirical Essay by Bob Racine)




In the classic movie ”Citizen Kane” (my all-time favorite as a matter of fact) an aging man (not Kane) says to a younger man, “Old age!  It’s the only disease you don’t look forward to being cured of.”  The only good-natured response to that is “Ye gad!  Is it as that bad?”  I can remember when I considered anything past 60 to be old age, the point after which one never speaks about what he or she plans to do.  The capacity for charting a future course by then will have become non-functional, like a frozen gonad.  The option of doing so will have flown right out the window on little frog’s feet.  Henceforth one will only speak of what has been.  One will spend 60-plus time at least measuring, and hopefully treasuring, past deeds – the fruit, for good or for bad, of former plans made.  “Do you remember when we. . .?”  “Do you recall the day so-and-so did so-and-so to so-and-so. . .?”  “I remember so well the color of her scarf; I begged her not wear it.”   “Being chosen for the chorus was one of the happiest moments of my life.  I didn’t have such a bad voice either, whatever the guys on the wrestling team thought of it.”  “That was some trip we took to Fargo, North Dakota, even if we did almost freeze our [unprintable] off.”  “I should’ve punched that guy!”  “As long as I live, I’ll never forget – er [embarrassed pause] er. . .  w-what’s her name!”

Some would protest, and I am one, that while it does not call for freezing and fossilizing, old age does require a heaping helping of adjustments, more than one can keep track of.  O-o-oh, how tired I am of that word!  To adjust basically means to fit one thing into a hole or into a framework someone or something else has set in place.  So what are we humans, a bunch of lugs to be wrenched?   Life is fluid.  We are all fluid, so where do we get off acting as if we are machines with tightly fitted parts, to be kept greased and geared and periodically overhauled according to some master design?  And yet we do meet up with new circumstances, new challenges to the liquid surge we are accustomed to imagining we are.  We do have to change our style of interflow with the universe, what we might call the greater liquid.  Glub, glub! 

We old folks worry too much sometimes about what we are called.  Ag-ed!  Oh, what a ghastly word!  Sounds like an affliction, like something has been done to us.  We have been aged.  And it inconveniently rhymes with a worse term – caged.  Of course we can think of ourselves as aged wine.  I can live with that until I am reminded that wine is for consumption, and it gets stored in vaults at fixed temperatures.  Are we to welcome each other to the vault?  I heard a rather nice one recently – seasoned seniors.  But I had to reject that label too, because it still sounds like a subject for consumption.  You season things to make them taste good when you eat them. 

The fact is no one has yet improved upon senior citizens.  Even senior by itself is not so bad.  It sounds like we have reached some final year of schooling.  We are about to graduate.  But graduate to what?  We do not really know, do we?  But why should we?  When we were finishing up high school, did we really know anything much about what college would be like or the world of occupational push and shove without the sheltering care of our parents and guardians?  Would we have wanted to know then?  Maybe heaven, if we believe we will get to it, will have a few shocks and surprises for us.  It may turn out to be simply a new set of directions with more unknown eventualities.  I doubt if we will be greeted by gates and streets of gold.   And what kind of personal reward would that be anyhow?  If the gold is sunk into the streets, will I have to get a pickax and dig it up?  If I were to do that, the local magistrates would scream bloody murder.  I could be jailed for defacing public property.  Jails in heaven, hmmm – not likely!  They would probably hang me by my feet and let me swing on a star for a while.  I am sure that the most light-footed among us would expect to dance in those streets.  But those of us with rheumatism and arthritis will not be likely to cotton to that.  Certainly there is no rheumatism and arthritis there.  Our worse discomfort would be a goodly amount of regret. 

Let me, before I proceed any further, dismiss the idea of wishing I was younger, like 30 instead of the 80 I just became.  Just how would that work, anyhow?   If I woke up and found that that had happened, checked myself out in the mirror and examined my new, fresh features and somehow confirmed that I was a bona fide young adult once more, would I be giddy with joy?  No, I would be in cosmic clock shock.  I would have to give up all I have accomplished in the past half century.  Worst of all, I would have to give up all the friends I have made and the loving wife whose companionship I now so warmly enjoy.  I would be hauled off to a padded cell at once, never from which to return.    

This present generation of the aged – oops, sorry, seniors – have it easier than back in the stone age our grandparents inhabited.  We do not have to crank the wheels of the wheelchair with bare hands.  We have what is now known as motorized wheels, battery-powered.  But do not think that when you find yourself in one, you will be free of possible mishaps.  I knew of a lady in an assisted living facility several years ago who was a regular hotrod.  Though in her 90’s she could cover a lot of territory in a small amount of time, whizzing and whooshing all about the place.   She could also maneuver in and out of all kinds of tight places with the most grace and finesse you have ever seen.  She never collided with anything.  She just had one bad habit – forgetting to recharge.  One day she ran dead right in the doorway of her bathroom.  Right in the doorway!  On the way in, of course and not to bathe!  Once she stalled in the elevator.  She went all the way up and all the way down three or four times before she got help.  She reported that that night in her sleep she dreamed she was elevating up and down – all night long.  And a couple weeks after that it happened right in the middle of the hallway on the second floor.  She lived on the third floor and had gotten off the elevator on the wrong floor by mistake.  There she was, not a soul around.  So she yelled out, “I’m stalled and misplaced.  Will somebody get me to my room?”  I was given no indication of how long that took.  But at least she was stationary that time.  She was what we might call a rejuvenated baby boomer.  She could handle that contraption like a real pro.
    
The older any of us get the more we become attached to getting weighed, whether the doctor orders it or not.  When I was a child in elementary school, we were required to take our shoes off before we stepped up onto the scales.  I never did figure out why.  We still had our clothes on.  It seemed to me that the weight of the shoes would not make all that much difference.  Have you ever weighed your shoes?  They would hardly register on the display, unless they were giant sized heavy boots.  These days in a doctor’s office they have you step right up on the treadle without shedding a stitch.  Well, I was once told about an old man under the care of others who thought that stripping to your stocking feet was still the fashion.  Each time he used the scales, off the footwear would come.  But he was the very suspicious type and didn’t want to part with the shoes altogether, so he-  (are you ready for this?) he picked them up and held them in his hands as he weighed himself, for fear somebody might grab them.  He weighed them anyhow.  That is like making a promise with your fingers crossed.  Habits though are quite hard to break, even when you have entered your sixties or seventies.  But what would we do without them?  They probably save lives, such as keeping you from cutting yourself and bleeding to death.

60, I thought!  So what am I to make of the age of 80, which I became this past year?  If anyone had told me as a kid that I would attain this much longevity, I would have been a bit frightened.  I would have been assailed by the mental image of a creepy looking fossil barely able to breathe or wiggle its fins and all but stranded as a mounted specimen in a zoological entrapment.   Or maybe some white-haired old grandpa hidden away as a relic in a back room of some family house that is not mine with a few curious children or other relatives allowed into the room by appointment just to pay required homage for a few minutes.  The trouble is I have reached this round figure with no precedent to help me.  I am the first member of my immediate family to call himself or herself an octogenarian.  So I must survey the landscape on my own, I guess – set my own precedent.  Well, I think I am getting there!

But complain about it?  Not on your life!  I find the age of 80 much to be preferred over that of 70.  Yeah, really!  What I am about to say by way of explanation ought to give new vitality to those wary of approaching the sunset (!) years.  It might incite you to take your exercise regimen more seriously, add excitement to cardiovascular bending and pumping.  You see, when you are 70, everyone begins to notice your new quirks of behavior.  At 70 people are impatient with you for being so dotty and forgetful, and maybe a little scared.  What’s gotten into him?  Is he putting us on? But when you turn 80, you have a perfect excuse for failing.  It is expected of you.

That is especially so when I visit my grown kids or they me.  They are all ready to open doors for me, to help me into and out of automobiles, whether I need it or not, to sit me down and serve me at the dining table.  They now treat me with respect just for having lived so long.  They are amazed at me for what I can do, not bothered about me for what I cannot do that I once could do.  Now who else but royalty are granted such largess?  At 70 I was annoyed when it looked as if they assumed I was helpless, when I was determined I would keep handling things as well as I ever did (whether I could or not).  But in my eighties I find it an honor to be fussed over.  I feel as if I have acquired some kind of royal status and entitlement.  I can wear my enfeeblements with some distinction.       

So what is old age?  It is the point beyond which nothing will ever be temporary again, at least where physical health is concerned.  Spasmodic perhaps, on again/off again perhaps, crescendo and diminuendo for sure.  (Wow, we can sure make music with that thought!)  But temporary becomes a distant memory.  Some think of it as the dark side of the mountain, “over the hill” is the common coinage.  But for me it is not a downward slope but a plateau, one from which I can see far and wide.  Things do not fade; they flatten out.  My horizon enlarges.  I see the big picture more clearly, closer to how God sees it.  At least that is the way I have found it thus far.  Thus far!?  Listen to how I talk!  From that phraseology one would think I expect to live forever.  Well, if 80 is as rewarding as I have described, I cannot begin to imagine what 90 and beyond will be like, but bring it on just the same.


To read other entries in my blog, please consult its website:  enspiritus.blogspot.com.  To learn about me consult on the website the blog entry for August 9, 2013.

Wednesday, October 30, 2013

The Great Gatsby (Book and Movie review by Bob Racine)



                             The book by F. Scott Fitzgerald

                                         The movie
                             (2 hrs & 23 min, color, 2013)

What does it profit a man if he gains his millions by however the means, fair or foul, but loses his heart as well as his soul to romantic illusion and high minded expectation?  How can even hope become superficial and dangerously risky?  A major writing of F. Scott Fitzgerald sheds fervent light upon these questions.

Few novels of the twentieth century have corralled the kind of interest and fascination and earnest study among the literati as his 1925 portrait of life among lavish moneyed society in post-World War I America.  At least six movie adaptations of “The Great Gatsby” have emerged over the past nine decades and the best seller has never during all that time been out of print.  It has found its way into college curricula and is generally recognized as Fitzgerald’s signature creation. 

What makes it so?  The novel is anything but a sweeping epic.  It is not a panorama or a multifaceted account of history or a magnum opus.  All the action occurs during one summer.   In fact, the text is compact, terse and concise, a relatively short read.  Some may think of it as an extended short story.  There are actually only four major characters, and one of those narrates the entire flow of events and provides the sole sustained viewpoint.  The other three are objectified, seen only through his eyes.  The story does not carry us into a wide assortment of settings; the action is confined mostly to a remote point on the shores of Long Island Sound.  The bulk and complexity that attract most readers to works of fiction are not present.  There is nothing racy, controversial, exotic, or horrific about it, and the only incident of violence comes near the very end.  So how do we explain its phenomenal commercial success?          

The plot is rather simple too.  The time is the early 1920s.  A young war veteran from the Midwest named Nick Carroway pursuing a career as a bond salesman in nearby Manhattan decides to settle in a modest middle class house by himself on Long Island Sound to be near his rich second cousin Daisy, who is married to a corrupt and philandering scion of wealth Tom Buchanan.  Nick is curious about their lifestyle and a bit tempted to try it out.  In his exploration he is soon distracted and further enticed by an even wealthier next door neighbor, a man who calls himself Jay Gatsby.  Gatsby is noted for his elaborate and sumptuous parties to which all New Yorkers can invite themselves on weekends, while he himself is a private individual seldom seen by anyone, hidden away behind his own walls.  His palatial mansion is directly across the Sound from the Buchanans, unbeknownst to them.  Nick discovers that Gatsby, veteran of the war himself and a man from a very poor background, is an old lover of Daisy’s who by shady means has made himself a multimillionaire.  Nick through Gatsby’s chicanery becomes the reluctant catalyst to reunite his cousin Daisy with her ex-boyfriend.  It seems that Gatsby is still carrying a torch for Daisy and is determined to win her back from the husband he does not think she really loves.  Little does Nick know that his accommodation to Gatsby’s wishes will have tragic results.      

This summary would not give anyone who has not read the book any idea why it continues to be regarded as a literary masterpiece.  The answer lies in the writing itself.  Fitzgerald’s prose is beautiful and mesmerizing.  In fact, much of it is more poetic than prosaic, and that is why translating it into narrative linear terms has dogged the efforts of many to frame it on the silver screen.  This is the fourth attempt I have seen, and in my opinion it is the best rendering thus far.  Not that it is without its flaws.  Baz Luhrman directed it and co-wrote it with Craig Pearce; he loves glitz, flash, stardust and even a little fireworks and has used them to some excess, especially in the party scenes.  But despite his over indulgences the poetic phraseology comes through, uncompromised and unvarnished. 

Primarily what makes this a superior adaptation is the choice casting of Nick and Jay.  Toby McGuire gives Nick a pulse beat that I have never felt before.  He is more a restless presence than earlier adaptations have made him, not just a mouthpiece.  We seem to hear more from him than in previous films.  And Leonardo DiCaprio is quite captivating as Gatsby.  He gets something slightly edgy into the man that hints of a desolate child hiding beneath his veneer of self-imposed refinery and shrewdness.  (I have always had difficulty accepting Robert Redford in that title role in the 1974 vehicle.  There was something too callow and even keeled in the way he handled it.)

But despite all DiCaprio’s good work, Gatsby, as in the novel, remains somewhat of a mystery, as he is intended to be.  Even to Nick, who comes to know him better than anyone else, he seems to be a dreamer reaching in the twilight that he believes is morning for an objective that has already left him behind.  He is a singular embodiment of romantic illusion, which Nick in his reflections calls a “romantic readiness,” all dressed up in an immaculate conceit.  The mystery consists of the form his secret pacts with the forces of darkness have previously taken and how in such a short time he, a child of poverty, “sprang from his Platonic conception of himself.”  His pursuit of Daisy becomes more pathetic as it unravels and carries him to a fatal face-to-face with his very soul.   

Daisy too, beautifully portrayed by Carey Mulligan, is something else underneath her refinery.  She is a fluttery, somewhat flighty young woman on the surface. She rhapsodizes in a dream of her own and has become inured to Tom’s (Joel Edgerton) infidelities, but you do not have to dig down far to get some idea of the repressed pain they have caused her.  In the novel someone comments that “her voice is the sound of money.”   She has always lived in the lap of luxury; she threw Gatsby over because he was poor.  But now that he is rich and she has the chance to have both her first love and her sumptuous lifestyle, she lands on the horns of a dilemma from which she is not morally or constitutionally equipped to extract herself.  Nick has to witness this sad little “holocaust,” as he calls it in the book, helpless to stop the heartbreak he sees coming.  In this movie it is enough to sour him altogether about life on the east coast and the emotional blow it delivers to him lands him in a mental institution where in retrospect he tells Gatsby’s story to a therapist.

Nick slowly comes to the realization that Tom and Daisy and all their plushy acquaintances are “a rotten crowd.”  His last words about them are brutal in their indictment:  They “smashed up things and people then retreated back into their money and their vast carelessness.”  In contrast Gatsby, victimized by their sly machinations, wins his begrudging respect as the most “hopeful” man he has ever known.  But we know, if Nick does not, that hope divorced from realism is a fool’s errand to nowhere.  Hoping does not begin by returning to a place from which you once started; hope begins at the present moment.
  
All those of us who make a habit of exploring the vicissitudes of the human heart with an understanding mind would do well to either see the movie or read the book that has enthralled millions over the past century.  You can pick up a copy of it from just about any public library.   And of course the movie is available from the renowned Netflix.


To read other entries in my blog, please consult its website:  enspiritus.blogspot.com.  To learn about me consult on the website the blog entry for August 9, 2013.