Posts Tagged ‘Alec Guinness’

Wrong Thinking

Thursday, September 15th, 2011

Mr. Magician painting by Todd

(This article appeared in the Anderson Valley Advertiser September 2011)

“Taken out of context I must seem so strange.” Ani DiFranco

One of my Anthropology professors was Nigerian, his people Yoruba. An exceptional student as a child, he was sent to school in England and eventually got his PhD from a prestigious American university. My professor married an African American woman, with whom he had two children, and when those children were five and three-years-old, he and his wife took the kids to Nigeria so they could get to know their paternal grandparents and the huge extended family that was my professor’s clan. After a few days in Nigeria, my professor was summoned to a meeting of the male elders of his clan who severely chastised him for not taking a second and third wife to produce more sons.

“You are a very rich man,” said his father, with twenty other men nodding in agreement. “You are richer than any of us, yet you shame your parents and your clan by not taking more wives. Why are you doing this?”

The professor explained to his outraged father and uncles and cousins that in America it was the law that a man may only have one wife. The Yoruba men were disgusted to hear this and shouted many insults at my professor, the gist of their insults being that wealthy American men who take only one wife are weak and impotent and effeminate and crazy.

“Fortunately this is not the law among our people,” said my professor’s father, “so we will find two more wives for you and you will keep them here and get children with them. You will send money from America and your wives will make a fine household for you here. You will come home for a time each year and get many children. And when you have finished your work in America you will live here with your wives and their children as you should.”

My professor said that he and his wife decided to cut their visit short in order to avoid the marriages being arranged for him. “You see,” he explained, chuckling, “my wife is liberated and will not share me with other women.”

“Context and memory play powerful roles in all the truly great meals in one’s life.” Anthony Bourdain

If you have never, or not in a long time, read the forty-eight-page novella Babette’s Feast by Isak Dinesen, I highly recommend the tale as a thought provoking inquiry into context, memory, and truly great meals. An excellent film version of Babette’s Feast was made in Denmark in 1987 and is remarkably faithful to the original story, so whether you spend an hour and a half watching the movie or an hour reading the story, or both, you will see what I mean about thought provoking. Along with Dinesen’s exquisite prose, what I love most about Babette’s Feast are the myriad ways in which concepts of right and wrong are revealed to be little more than the passing fancies of context, memory, and truly great meals.

“SCORN FOR JOBLESS ON RISE: unemployed face compassion fatigue as economy remains flat” front page headline and sub-headline, Santa Rosa Press Democrat September 4, 2011

The article that follows those scurrilous sentence fragments is a lengthy piece of cruel propaganda quoting various wealthy politicos from around the country who are growing impatient and angry with tens of millions of unemployed people who lost their jobs and houses and savings due to the criminal activities of banks and investment firms expedited by wealthy politicos from around the country. Published with no indication it was intended as satire, the article emphatically suggests that people receiving unemployment benefits are “leeching off the system.”

“I don’t feel we did wrong in taking this great country away from them. There were great numbers of people who needed new land, and the Indians were selfishly trying to keep it for themselves.” John Wayne

I thought it would be wrong to attribute that quote to John Wayne until I checked multiple reliable sources to make sure he really did say such a thing.

“She’s the kind of girl who climbed the ladder of success wrong by wrong.” Mae West

When I was eight-years-old I saw the movie The Horse’s Mouth, starring Alec Guinness, after which I knew what I wanted to be: a writer, director, and star of movies about strange and marvelous people. I have subsequently seen The Horse’s Mouth many times, and the movie remains a marvel to me.

My mother grew up in close proximity to Hollywood and her mother’s best friend was the wife of a famous movie director. My mother was a Drama major at UCLA before giving up her theatrical ambitions to attend law school, pass the bar, and postpone practicing law for twenty-five years while she raised four children. For reasons I never fully understood, my mother felt it necessary to try to burst my movie career bubble every chance she got, and her primary means of doing so was to cast terrible aspersions on anyone in the movie business I dared reveal my admiration for.

According to my mother, all successful female stars of stage and screen, without exception, succeeded not through their talents as thespians, but through sexual escapades with people of wealth and power; and all successful male stars were either promiscuous homosexuals or unscrupulous bisexuals. According to my mother, all but a very few successful actors of both sexes were alcoholics, and many were drug addicts. She never revealed where she got her information about the stars of stage and screen, and since she did not read gossip magazines or watch television, the implication of her fierce certainty was that she had firsthand knowledge of these immoral people. But how, I wondered, did she come by such knowledge unless, while I was at school, she spent hours on the phone with operatives in Hollywood and Manhattan?

I remember one evening in particular when I was fifteen and had recently won a small part in a school play—my first step, I hoped, on the road to fame and fortune, and my mother, fortified with several martinis, was excoriating yet another of my favorite stars with a history of sexual depravity and opportunistic backstabbing.

“Oh, come on,” I protested. “Are you saying that no movie star has ever succeeded because they were talented? They’re all whores and crooks? What about Fred Astaire? Ginger Rogers? Jimmy Stewart? Claudette Colbert. Alec Guinness? The Marx Brothers?”

“Ha!” she said bitterly. “Little do you know.”

“We made too many wrong mistakes.” Yogi Berra

On September 4, 2011, our beloved San Francisco Giants lost most ignobly to the Snakes, otherwise known as the Arizona Diamondbacks, and fell seven games out of first place with only twenty-two games left to play. We were poised to win that game, but then lost, and as we lost I felt in my bones, as opposed to in my brain, that we no longer had any hope of making the playoffs and returning to the World Series. I think we had good enough players to catch the Snakes, but not the right managers. I won’t say our managers are bad, for they are the same fellows who skippered our team to the World Series and won it all last year. But I do think they were the wrong managers this year because they were not creative or prescient, nor did they win the close games through guile and daring, all of which they were and did last year. Or so it seems. I could be wrong, but I don’t think so.

“Things are as they are. Looking out into it the universe at night, we make no comparisons between right and wrong stars, nor between well and badly arranged constellations.” Alan Watts

In 1970, in the hour before dawn, I climbed to the top of the monumental Pyramid of the Moon at Teotihuacán (near Mexico City) and made the acquaintance of four French travelers who had spent the night atop the pyramid. Our shared ambition was to watch the sun appear to rise out of the Pyramid of the Sun across the great plaza from us.

I write “appear to rise” in deference to Buckminster Fuller who cautioned us not to use expressions such as “the sun rising” or “the sun going down” because he felt such usage reinforced a wrong view of how our earth, in relation to our sun, actually operates. The earth spins us into light and spins us into darkness in relation to the sun; the sun does not rise or fall in relation to us. Bucky also pointed out that when humans first began to fly in airplanes, they spontaneously and accurately coined the expression “coming in for a landing,” rather than “coming down for a landing” because there is no up or down in space. Bucky fervently believed that the more truthfully we describe reality, the more successful we will be in developing a regenerative relationship with the earth and Universe.

So the sun appeared to rise out of the massive Pyramid of the Sun, the third largest human-made pyramid on earth, and the appearance was a stirring sight, indeed. Then, not long after the earth had spun us into sunlight, a tour bus arrived and shattered the quietude we had so enjoyed. The bus door opened and several dozen American tourists disembarked, their voices so loud and the acoustics of that amazing place such that we could hear the words they spoke a mile away. And the loudest voice came from a man reacting to the majestic Pyramid of the Sun. “That’s it?” he bellowed. “That one right there? What a let down. The ones in Egypt are so much bigger.”

“The pendulum of the mind alternates between sense and nonsense, not between right and wrong.” Carl Jung

There is a wonderful story about the current Dalai Lama visiting America for the first time several decades ago, before he was better acquainted with the American psyche. His Holiness was taking questions from a group of meditation teachers and their students when a man asked the Dalai Lama for advice about how to overcome low self-esteem because this man’s struggle with low self-esteem was seriously impeding his meditation practice.

The Dalai Lama had never heard of low self-esteem and was perplexed by the question. After someone explained to him what low self-esteem was, the Dalai Lama went around the room asking person after person, “Do you have this?” And when all the Americans admitted that to one degree or another they suffered from low self-esteem, the Dalai Lama proclaimed, “But this is wrong thinking. You must stop thinking this way.”

Le Village

Thursday, November 11th, 2010

“I always felt that the great high privilege, relief, and comfort of friendship was that one had to explain nothing.” Katherine Mansfield

A soggy afternoon, the last Friday in October of 2010, Halloween two days away. I moved to Mendocino from Berkeley on Halloween five years ago and I have yet to tire of going to the beach. I mention the beach because almost everyone I met during my first two years here assured me that I would soon tire of going to the beach. These same people also told me that after I lived here for a year or two, I would grow stir crazy and hunger for the cultural excitement of the outer world. They were adamant I would want to travel to Mexico or Hawaii or Europe or Manhattan, or at least to San Francisco, but after five years here I have yet to experience the slightest urge to go anywhere but the village, the forest, and the beach.

Today was the last farmers’ market of the year in Mendocino. I love our little mercado. I hope one day to be one of the people selling things in our market. I will vend vegetables and fruit and books and CDs and greeting cards and Giants T-shirts and Giants baseball hats and Cliff Glover and Marion Miller ceramics, and each week zany and eccentric friends will make guest appearances at my booth. I will also have a weekly poetry contest (one entry per person), and a guess-how-many-beans-are-in-the-jar contest, with valuable prizes.

Today I would have bought a farmers’ market pie from the wonderful Garden Bakery people, but I am gluten free now and the Garden Bakery people only sell pies full of gluten. I’m predicting big things for gluten-free foodstuffs in the near future. Whomsoever comes up with decent gluten-free sour dough French bread and a credible gluten-free pizza crust will make out like big dogs.

Standing at the uphill end the farmers’ market, a light rain falling, the vendors few and stoic, shoppers scarce, the atmosphere bracingly local and groovy in the absence of tourists, I watch a local woman carrying a big basket turn away from a vegetable stand and bump into another local woman carrying an even bigger basket.

Big Basket: Hey, how are you?

Bigger Basket: I think I’m okay. I’m just so…overwhelmed.

Big: I know. I know. It’s just crazy.

Bigger: I know. I just…one thing after another.

Big: I know. I keep thinking, ‘Are things ever gonna slow down?’

Bigger: I know. It’s…overwhelming.

Big: Are you okay?

Bigger: Yeah. Yeah. I think so.

Big: Good. You look good. You’ve lost weight.

Bigger: Have I? Wow. I don’t know. Maybe.

Big: But you’re okay.

Bigger: Yeah. I think so.

Big: Good. Great to see you.

Bigger: Great to see you, too.

“Our modern society is engaged in polishing and decorating the cage in which man is kept imprisoned.” Swami Nirmalananda

When I come to the village I like to park my truck at the Presbyterian Church and walk what I’ve come to think of as a holy circuit, a labyrinth of invigorating twists and turns around town. I begin by transecting the eternally For Sale eucalyptus-dominated vacant lot, assess the state of the economy by the size of the crowd of caffeine addicts in front of Moody’s java bar, jaywalk diagonally across Lansing, and hang a left onto Ukiah, my first stop invariably the post office (home to a marvelous crew of die hard Giants fans) followed by protein confiscation at the always warm and friendly Mendocino Market (a fabulous deli with a fine wine selection and a growing number of gluten-free items on their menu). Next I visit Corners (zaftig organic groceries in a cozy former church), the bank (our one and only), Zo (fabuloso copy shop), Garth Hagerman’s (gorgeous nature photography and web meistering), Harvest at Mendosa’s (beer and olive oil and notebooks), the bookstores (used and new), the new hardware store (they should sell transistor radios), and I used to frequent our deliciously aromatic bakeries and Frankie’s pizza, but now that I am gluten-free I spare myself the glorious sights and divine scents of their verboten goodies.

So you see, though Mendocino lacks a good Mexican restaurant, decent public bathrooms, a good Chinese restaurant, a town square with comfortable benches and a virile fountain, a good Thai restaurant, a spacious pool hall, a good Indian restaurant, a movie theatre showing foreign films, public tennis courts, and a commodious tea house, we have almost everything else a reasonable human could desire.

There is the excellent Mendocino Café featuring pricey and not-so-pricey entrees, and just across Big River Bridge we have a fine bike shop where one can also rent a canoe. We have three bars (counting the hotel), a liquor store, dentists, a veterinarian, massage therapists, a hamburger joint, and several restaurants, inns, galleries, and shops for rich people and tourists. And perhaps best of all, there are no overhead wires in the village, which makes everyone who comes here feel inseparable from the sky, which uplifts us even if we are unconscious of why we feel uplifted.

I wish everyone (save for the handicapped) would park his or her vehicle in just one place when he or she comes to town, and walk from this one place to all the places he or she needs to go, instead of driving from one place to another to another and another in our very small village; but what are you going to do? Yes, the village depends on tourism and the illegal sale of quasi-legally grown marijuana for the larger part of its economic existence; and, yes, many of the houses in the area are the second and third and fourth homes of people who can truthfully be called filthy rich and only use these tertiary properties as tax write offs and weekend getaways; and I cannot deny there are days when the village reeks of decadence and disregard for the earth and a hatred of whales and trees and poor people, but how is that any different from anywhere else? I don’t know.

On weekdays around noon, dozens and dozens of teenagers come down from the high school and invade the retail sector of the village to buy crap for lunch. Many of these cuties and louts talk at the top of their lungs (don’t ask me why) and are easy to overhear. To wit: three not-quite-old-enough-to-legally-drive (thank goodness) boys stand on a corner across from Harvest Market, gorging on slices of Frankie’s gluten-rich pizza as they watch the girls go by.

Teenaged Boy #1: She is so easy.

Teenaged Boy #2: How do you know?

Teenaged Boy #3: He doesn’t.

#1: Do.

#3: Don’t.

#1: Do.

#3: Lie.

#2: She on the pill?

#1: Oh, yeah.

#3: You don’t know.

#1: Do.

#3: Don’t.

#1: Do.

#3: Lie.

#2: I think she is. Kevin dumped her purse.

#3: So?

#1: I did more than dump her purse.

#3: Lie.

#1: What the fuck, man? You in love with her?

#3: Fuck you, man.

#2: Why would she be on the pill if she wasn’t doing it?

#1: Oh, she’s doing it.

#3: You don’t know.

#1: Do.

#3: Lie

“It is no measure of health to be well adjusted to a profoundly sick society.” Krishnamurti

In the post office, I witness two local men greet each other.

Man One: Hey, long time no see. Where you been?

Man Two: Here. You?

One: Mostly here. We went away a couple times. See the boys.

Two: How they?

One: Good. Yours?

Two: Fine. I guess. Who knows? You know?

One: Right. Right. Who knows?

Silence.

One: So…things okay?

Two: Same. You?

One: Good. Same. You still…?

Two: Yeah, yeah. Same old. You?

One: Just, you know…working away.

Two: Right. Business good?

One: Can’t complain.

Two: No. No. Can’t complain.

“To find a form that accommodates the mess, that is the task of the artist now.” Samuel Beckett

As I’m loading my groceries and mail into my truck at the Presbyterian, a little boy rushes up to me.

“Sir! Sir!” he cries. “May I ask you a question?”

“Certainly.”

“Where is the ocean?” He asks with such unmitigated passion he might have asked What is the meaning of life?

“There,” I say, gesturing toward the quite obvious sea.

The boy frowns at the distant breakers. “I mean, how do we get there?”

“Take the trail to the left and you’ll come to a stairway leading down to the beach.” Now a man who might be the boy’s father arrives, a tall fellow, forty-something. “Take the trail to the right and you’ll wend your way along the headlands.”

“Will there be gulls on the beach?” asks the boy, nodding eagerly. “And a tall dark tree on the edge of a cliff?”

“Yes,” I say, knowing the tree of which he speaks. “And there will be ravens and ospreys circling in the air above the confluence of the river and the sea.”

“Yes!” shouts the boy, turning to the man who might be his father. “Let’s go!”

“He’s got some kind of imagination,” says the man, winking at me. “Thanks for the directions.”

“An actor is totally vulnerable. His total personality is exposed to critical judgment—his intellect, his bearing, his diction, his whole appearance. In short, his ego.” Alec Guinness

I take a seat on my preferred bench on the ocean-viewing terrace of the Presbyterian and jot down my conversation with the boy. A young woman commandeers the bench next to mine and carries on her phone conversation without the slightest regard for privacy, hers or mine.

She glares up at the sky and shouts into her little red phone, “I’m like, ‘No way,’ and he’s all, ‘Yes, you will,’ like I owe him? Can you believe it? I know. And I’m like, ‘If you think dinner and wine and a little coca-doodle-doo is the total ticket, you can forget it, buster,’ and he’s like totally furious, and I’m thinking, ‘Who told this dude I was cheap? You know? I mean, like, Jesus.”

She listens for a moment, nodding enthusiastically.

“I know. I know. I couldn’t believe it. Totally.”

She laughs unconvincingly.

“I know, I know. Totally. So I go, ‘No way,’ and he like totally clamps his teeth and gives me this look like he’s gonna kill me. Insane. I know. I so totally know. And I’m like, ‘Excuse me? I don’t think so?’ and he’s like fried out of his mind, and I’m like, ‘How the fuck do I get home because no way I get in a car with this psycho.’”

She laughs dryly, and my throat aches in sympathy.

“I know. I know. He did seem nice. Totally. I know. I know. I mean…I was like having fantasies about him. Totally.”

(This article originally appeared in the Anderson Valley Advertiser November 2010.)

Bums At A Grave

Thursday, August 20th, 2009

The first movie I remember seeing at a movie theatre was The Court Jester starring Danny Kaye, Basil Rathbone, and the very young Angela Lansbury. 1955. I was six years old. As we left the Park Theatre in Menlo Park, California, I distinctly recall turning to my mother and announcing that I was going to be a movie star like Danny Kaye. To which she replied, “Don’t be silly.”

Three years later, 1958, my parents took me to see Alec Guinness in The Horse’s Mouth, after which I proclaimed, “That’s what I’m going to be. An artist and live on a boat.” To which my father, a psychiatrist, replied, “Just what we need, another narcissistic sociopath.”

Both The Court Jester and The Horse’s Mouth have stood the test of time for me. I’ve seen them several times in the intervening fifty years, and I still consider The Horse’s Mouth to be one of the very best depictions of a person who cares more for his art than for anyone or anything else.

When I was nine, Willy Mays supplanted Danny and Alec as my supreme mentor and hero, and led me off my artist’s path into the glory of baseball and eventually basketball, my twin obsessions until late high school when I was felled by what the western medical doctors called a hot case of ankyllosing spondilitis, which ailment cut short my dreams of athletic glory, returned me full steam to writing and music and drama, and shortly thereafter saved me from going to fight in Vietnam.

When I dropped out of college at nineteen, I knew what I wanted to be: a professional writer, actor, and musician—Danny Kaye and Alec Guinness rolled into one.

Despite a thousand setbacks and highly annoying poverty, I held to this vision of myself, worked day and night at my writing and music, and at twenty-eight was rewarded by having my first novel published and made into a major motion picture. A year after that, I published my second novel, and Warner Brother paid me to write the screenplay for Laura Ziskin, famous most recently as the producer of the Spiderman franchise.

And though by the age of thirty I hadn’t made buckets of money, I had made a goodly chunk of change, so I decided to make a little film of my own to prove to myself and others that I had the chops to offer myself as a director of my own movies. This, of course, was in the days before digital anything, when making a good-looking movie, even in sixteen-millimeter film, was extremely expensive; and so was born my truly minimalist fifteen-minute fictive film entitled Bums At A Grave.

Within a year of completing the film, my career, so bright and promising (in commercial terms) had collapsed. Bums At A Grave became but a reel of celluloid in a canister that lay on my dusty shelf for nearly thirty years. And then a few weeks ago, at the urging of several old friends who remembered the movie and wanted to see it again, I had the film transferred to DVD in a good lab in San Francisco.

Seeing Bums At A Grave for the first time in twenty-eight years was a fascinating walk down memory lane for me. I wrote the script in 1979 when I was living in Santa Cruz, California. The film is set in 1933 during the Great Depression, and seems remarkably predictive of Now. We filmed it in the summer of 1980 shortly after I moved to Sacramento—a two-day shoot in 105-degree heat near Grass Valley. Richard Simpson was the cinematographer and editor, Doug Peckham handled sound, Bob Smith produced, Patty Nolan was continuity person and assistant-to-everyone, my brother Steve starred as Willy, and I co-starred as Trevor.

For years prior to the Bums shoot, I studied movies in search of filming techniques that particularly pleased me. This meant I had to go to movies multiple times, since VHS technology had barely been born and DVDs were not yet a glimmering in the eye of the future. I did not and do not like quick cutting from one scene to another. I very much enjoy action within a still frame, slow tracking shots, and a slowly pivoting camera on a tripod. No handheld shots, please!

Thus when I wrote the script for Bums At A Grave, I intentionally minimized the need for edits while creating setups for active and changing points of view. This not only made for more pleasing cinema, it saved money in those days when even 16 mm shooting and editing was expensive.

For instance: characters at a distance can move (in the course of a scene) to the forefront of the frame where a slow zoom to a close-up can add up to three or four “scenelets” in a single take without the need for an edit.

Bums At A Grave screened at the 1980 Filmex film festival in Los Angeles for an audience of 1200 hardcore film buffs and movie biz folks. They loved the film, laughed uproariously at the Republican joke (Reagan our brand new president in 1980), and gave us a rousing ovation at the end. While we were in LA, we screened the film for Laura Ziskin, and to my everlasting delight Laura pronounced, “Your agents are missing the boat with you. They should be pushing you as a director.”

But life, as the poets say, intervened and I took another road in the opposite direction of Hollywood. Today, at last, you can see scenes from Bums At A Grave on Youtube. Turn up the volume and have some fun. Or view the entire fifteen minutes of Bums At A Grave, Admission Free, at Underthetablebooks.com.