Showing posts with label Christmas. Show all posts
Showing posts with label Christmas. Show all posts

Thursday, December 23, 2021

Snapshots of A Child's Christmas in Massapequa


There's a whole literature of vibrant writing from writers looking back to the Christmases of their childhood for memoir or fiction.

My favorite is Dylan Thomas's wildly florid prose poem of A Child's Christmas in Wales:

Years and years ago, when I was a boy, when there were wolves in Wales, and birds the color of red-flannel petticoats whisked past the harp-shaped hills, when we sang and wallowed all night and day in caves that smelt like Sunday afternoons in damp front farmhouse parlors, and we chased, with the jawbones of deacons, the English and the bears, before the motor car, before the wheel, before the duchess-faced horse, when we rode the daft and happy hills bareback, it snowed and it snowed. But here a small boy says: "It snowed last year, too. I made a snowman and my brother knocked it down and I knocked my brother down and then we had tea."

Dylan's writing is so exuberant it lead me to search for some memories of my own childhood Christmases . . .

years and years ago when the GI Bill first lead to the burgeoning of middle class suburbia outside of Gotham, and the next generation reaped the benefits of prosperity within its sprawl. A split level house meant having a staircase to bound down on Christmas morning. The anticipation of walking down those stairs made us all giddy.  As we descended, the living room came into view, dotted with brightly wrapped presents piled high in specific spots for each family member. It was a magical sight and the joys of the day were those that would never be matched again in quite the same way.



Katherine Anne Porter wrote the lovely "A Christmas Story"

When she was five years old, my niece asked me again why we celebrated Christmas. She had asked when she was three and when she was four, and each time had listened with a shining, believing face, learning the songs and gazing enchanted at the pictures which I displayed as proof of my stories. Nothing could have been more successful, so I began once more confidently to recite in effect the following:
    The feast in the beginning was meant to celebrate with joy the birth of a Child, an event of such importance to this world that angels sang from the skies in human language, to announce it and even, if we may believe the old painters, came down with garlands in their hands and danced on the broken roof of the cattle shed where He was born.

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I shared my Christmases with my only sibling, an older brother. His presents were of no interest to me--a virtual litany of trucks, cars, trains, army men, model airplanes-- but we still were supposed to wait to watch each open one present at a time, so our parent's attention could focus on each of us, ping-pong like. There were some things he got before I was old enough to open presents that I liked, including styrofoam building blocks that you could build an igloo with and then get inside.

We don't know here that he will one day have his own family of two girls and a boy to share Christmases with and I could be the aunt in Porter's story.


Charles Lamb wrote an Elia story that also comes to my mind this time of year:

CHILDREN love to listen to stories about their elders, when they were children; to stretch their imagination to the conception of a traditionary great-uncle or grandame, whom they never saw. It was in this spirit that my little ones crept about me the other evening to hear about their great-grandmother Field, . . .


We too liked to hear stories of our elders. Grandma O. told of one Christmas Eve she saw a spider on the ceiling, and thinking it was bad to kill a creature on such a night she let it live, and the family went out to Midnight Mass. When they came back, the spider had given birth and there were dozens of baby spiders "dropping all over the place" as she told it. That was too much for her and she got the broom.

We didn't sit upon our dear old dad's lap often, but this one Christmas Eve he wanted to read us "Twas the night before Christmas," and mom captured the scene that is so real it looks like a scripted movie set: the roaring fire, the stockings hung with care, the wreath, the hand-made paper chains lining the fireplace, the post war paneling and Eames-inspired chair and ottoman. 

We don't know here that my dad will die an early death from colon cancer, or that I will have more in common with Elia's tale of his Revery: Dream-Children than I would want:

"We [Alice and John] are only what might have been, and must wait upon the tedious shores of Lethe millions of ages before we have existence, and a name”—and immediately awaking, I found myself quietly seated in my bachelor armchair . . ."

But there has been music. More music than I ever could have imagined.

For Dylan Thomas too, who closes his tale with this:

Always on Christmas night there was music. An uncle played the fiddle, a cousin sang "Cherry Ripe," and another uncle sang "Drake's Drum." It was very warm in the little house. Auntie Hannah, who had got on to the parsnip wine, sang a song about Bleeding Hearts and Death, and then another in which she said her heart was like a Bird's Nest; and then everybody laughed again; and then I went to bed. Looking through my bedroom window, out into the moonlight and the unending smoke-colored snow, I could see the lights in the windows of all the other houses on our hill and hear the music rising from them up the long, steadily falling night. I turned the gas down, I got into bed. I said some words to the close and holy darkness, and then I slept.


Merry Christmas, One and All.




Sunday, January 3, 2016

Melchior, His Cousin Fred, Gaspar, & Balthazar: A Four Wise Guy Epiphany


Robin is now right. It's the 12th day of Christmas, Little Christmas, the appearance of the Magi, aka Epiphany. Christmas is over.

The word epiphany comes from the Greek “epiphaneia” meaning “manifestation." The feast originated in the Greek Orthodox faith, there called Theophany, and it celebrates when the Christ child’s divinity shone through his humanity, as acknowledged by the Magi’s adoration.

James Joyce is generally credited with the crossover of such a religiously charged word to secular life and literature. A Google search brings this definition: "Epiphany in fiction, when a character suddenly experiences a deep realization about himself or herself; a truth that is grasped in an ordinary rather than a melodramatic moment."

The Bible does not delineate three Magi, but three gifts: gold as a symbol of kingship on earth, frankincense as a symbol of deity, and myrrh (an embalming oil) as a symbol of death.

Catholic tradition added a name and slight identity to each: Melchior representing, Europe; Gaspar, Asia; and Balthazar, Africa, and so the trio has shown up in creches since the 16th century.

And So, The tale of Melchior and Fred


My mother handmade me a nativity set many years ago. The figures are soft sculpture dolls filled with old nylon stockings. The set is a perfect representation of faith, love, and talent.

For the Wise Men, she used hat pins that had been her mother's as the jewels in each of their crowns. For the gifts, she found small trinkets for two of them, and wrapped up a sugar cube in tinfoil for the third, Melchior in fact.

Fast forward 20 years or so. When I open the Nativity box I see that the front of Melchior's robe is completely stained brown. Over the years, the sugar cube had finally liquified, or something, and that's what stained.

It was a shame, because the front panel of his midnight blue robe was a beautiful silver sparkle material.  So my mother took Melchior home to fix the robe.

A few months later I open a small present from my Mom, and it's Melchior, in another robe. Well, it turns out it's not my old Melchior, it's a new king, whom I call Fred, with a fourth jeweled hat pin.

The oddest thing had happened. My mother lost Melchior. She had brought him down to her favorite thrift store to look for a remnant of material, and he disappeared. The thrift store ladies were as baffled as she. They had looked at him together, and then my Mom put him down to look for the fabric, and  when she was ready to leave, my little king was simply gone.  The ladies said they were sure he would turn up, and so my mom left.

The months passed, and the little king did not turn up. So that's when my mother made another one. Luckily she had one more hat pin, and so Fred joined Gaspar and Balthazar at Christmas 2011. He did a good job.

Fast forward to my birthday, October 2012. I open a present, and it's the original Melchior! After more than a year, he did turn up at the thrift store.

Where had he been?  It's such a cinematic story.

He had fallen, unnoticed, into an open box in the thrift store while everyone's attention was elsewhere engaged.  Maybe someone's elbow knocked him, maybe when someone opened the door enough breeze came in and he teetered down. It would be fascinating to have a videotape of what actually happened.

He fell straight to the bottom of a box, below the other things on top. Later that day a lid was put on that box, and it was put into a storage room. Echoes of the end of Raiders of the Lost Ark, right?

In the summer of 2012, the thrift store did an entire overhaul of their space, and that storage space had to be emptied. To do that, every box was opened and looked through, and that's when the thrift store lady found him. She could not believe it.  And thank goodness it was one of the ladies who knew about the Nativity set and my mother. She could not wait to give it back.

My Mom finished the repair on the robe, and gave it to me in October. What a surprise. If I were an animator, I would make this tale into a Toy Story-like movie, detailing Melchior's adventures in that box for a year. Like Woody and Buzz he probably got out of the box a bunch of times and bonded with other dolls stuck in that storage room, always waiting and hoping for the time when he would get back to his mission to bring gold to the Christ child.

And so for Epiphany, I have 4 kings in the creche. A reminder that where's there's life, there's hope, in all things. Always.

Up Max Steiner music.




Tuesday, December 22, 2015

Bill Murray Channels Bing & Frank for a Very Merry Christmas



There's no doubt: My Christmas spirits have been sagging. There is so very much pain in the world, it has taken my blogging voice away.

And then. I finally watched A Very Murray Christmas on Netfilx, and it woke me up, just in time. It spoke to my DNA, and with that connection I realized that I can't help the world at large. But I can be "as good a friend, as good a master, and as good a man, as the good old city knows or any other good old city, town, or borough, in the good old world." Thanks Bill.

A Very Murray Christmas is a touchstone to my childhood. I know what he's doing with his 57 minutes, and it is not self-indulgent, the word I saw most often in reviews.

In the Beginning, There was Bing Crosby
Yes, I am a Bill Murray fan, from Caddyshack on. And I was weened on 1940s movies. When Irving Berlin's Holiday Inn was on WOR, Channel 9 in the 1970s, my father--a lifelong Crosby fan--said, "this is important you need to watch this." And I found it stunning. The towering talents of Bing Crosby and Fred Astaire, set against the glamour of NY nightclub life with those glittering white Christmas trees, was intoxicating. In high school I made my friends sit and watch it with me, and they were glad. High schoolers. In the 1970s.

Fast forward some decades: When I finally watched A Very Murray Christmas, I was immediately connected back to my Crosby heritage, which of course included every Crosby Christmas special from the early 1970s until his death, and his famous Christmas songs. No stretch there, since Murray used the most famous Crosby album graphic directly. (Although I think Bill looks oddly like Derek Jacobi here.)





But the Crosby specials aren't the most direct connection for me: instead it was to a special episode of Frank Sinatra's short-lived The Frank Sinatra Show, for Bulova, called Happy Holidays with Bing and Frank. The premise is that Bing Crosby is dropping by Frank's very chic apartment with some gifts.  The banter is scripted. Sometimes awkward (sound familiar?) while sometimes it's cool:

Crosby "Hey this must be in your key."
Sinatra:  "Well it's my ballpark."

They drink from a Wassail bowl in a visual quote of "Did You Evah" from The Philadelphia Story, and become inebriated enough to see Ye Old Merrie England outside the high-rise door. And they both enter this alternate universe (sound familiar?) in Dickensian costume to join in with the carolers. (To see Crosby wear a Dickensian top hat atilt is alone worth the price of admission.)

1957 friends get together; 1957 friends enter alternate reality.

2015 friends get together; 2015 friends enter an alternate reality.

Frank and Bing then return to 1957, and Bing thinks he needs to leave because Sinatra's table is set for an intimate dinner for two, which then Frank says is for him! (Not a date!).

This allows the duo to continue to sing Christmas songs solo and in duet, until Frank graciously gives the Bing the closing spotlight for "White Christmas." It's a lovely reminder that Sinatra idolized Crosby, even though he was to surpass him in cultural relevance. For sensibilities that love that classic singing, the 27-minute special is sublime.

Bill and His Friends
Many critics found Murray's special lazy at best, self-indulgent at the least. But the vision of combining famous friends playing themselves with others playing characters is neither. It's creative.

The premise of the live show is right out of the Mitch Glazer/Murray collaboration of Scrooge. It continues Murray's homage to the early days of live TV, something that Clooney is also interested in, bringing the 1962 film Fail-Safe live to CBS in 2000, as well as being in the live ER episode "Ambush" in 1997. There is no sense of parody here for Murray, it is a tip of the hat to TV's past.

Bill Murray, both the actor/singer and the "character," would not have the same kind of 1950s polish that we see in Crosby and Sinatra. That's not who he is. But I think he brought his own A game: his echoes of Nick Ocean lounge singer & Lost in Translation's Bob Harris, with some redeemed Frank Cross. So the tone is mixed but always genuine. That is part of its charm.

Murray and Glazer & Sofia Coppola capture the ersatz exuberance of "the Christmas special of Christmases past" beautifully with the chic sparkling white set and snow and cute chorus girl costumes. George "you shook Sinatra's hand" Clooney is the perfect friend to be in the dream sequence. He also has enormous respect and nostalgia for old Hollywood and early TV, which can be easy to mock.

Quick Music Nit-Pick Interlude
Paul Shaffer, musician extraordinaire, allowed two goofs on his watch:

•Jenny Lewis starts "Good King Wenceslas" and commits the age-old error of reading the 3 syllables of his name as though he "last" did something.

It's "Good King Wen-ce-las looked out."  NOT "Good King Wence-las LAST looked out."

•Having Miley Cyrus sing 2 verses of "Silent Night" and then sing the first verse AGAIN instead of the exquisite third verse is a gaff. She did a beautiful job.

One funny thing in 1957. They altered the words of the 2nd verse of "Hark, the Herald Angels Sing" so that they did not have to say "a Virgin's womb."

CHRIST, by highest Heav'n ador'd; CHRIST, the Everlasting Lord; Late in Time behold him come; Offspring of a Virgin's Womb the favored one.

Big Finish: We Wish You a Merry Christmas



Bill wakes up from his glorious blackout to find himself on the couch, in his robe, with faithful Paul at the piano and Dimitri Dimitrov on call. He sings "We wish you a Merry Christmas" in his alcohol-wrecked voice. Then looks out the window to wish the greeting to all New York in a poignant, sad, grey shot.

Bing and Frank end their tableau sitting down to a festive dinner together as the camera pans back to a window with snow a-swirling, a shot right out of Holiday Inn.

Big difference between 1957 and 2015. In part, perhaps, because men, and I do mean the male gender, are now free to show their fears in a way Crosby and Sinatra would never have dreamed of.  And 2015 does not have the post-war optimism that the 1950s saw.

But what is most important is that we can still enjoy Bing & Frank's talent, and if you're in more of a Joni Mitchell "River" mood, pop into Bill's Very Murray Christmas. So many riches. God bless us, every one.


Happy Holidays With Bing and Frank (Classic) from Dill Bates on Vimeo.

Sunday, December 20, 2015

The Master Celtic Interpretation of "A Christmas Carol"



Charles Dickens's A Christmas Carol was published as a novella on December 19, 1843, in London. For me, the 1951 Alastair Sim film version--released as Scrooge in the UK--is one of the most perfect realizations of literature to film ever created. 

Wiki lists more than 100 adaptations of Charles Dickens’ A Christmas Carol, for theater, radio, opera, graphic novel, TV, and including at least 21 films, starting with a 1901 British silent. That number doesn’t include the parodies and homages, such as the numerous TV series that have a Christmas Carol episode. Everyone has their favorites: mine are Scrooged (Bill Murray), the 2022 Apple TV Spirited with Will Ferrell and Ryan Reynolds, and the Alastair Sim version, which tops the list for many generations of holiday viewers.

What is it that sets the Alastair Sim version produced and directed by Brian Desmond Hurst apart from the rest?

Well, I’d say it’s because it is the perfect Celtic marriage: a Scottish actor and an Irish director. Seriously. The Celtic DNA knows how to deal with ghosts, tormented souls, and redemption like no other race, and they would have a particular affinity with the creative genius of their Anglo-Saxon cousin Dickens.

Ireland's Most Prolific Early Director
Brian Desmond Hurst was born in East Belfast in 1895 into a working-class family of iron workers. In 1914, he enlisted in the British Army and survived the slaughter at Gallipoli with the Royal Irish Rifles. He went to Hollywood in the late 1920s and it’s not surprising that he became friends with John Ford — some accounts said he was one of Ford’s assistants — and had a cameo alongside John Wayne in Hangman’s House (1928).

In 1933, he moved back to England, and the films he directed were steeped deeply in the Irish and English literary tradition: a version of John Millington Synge’s great play Riders to the Sea (1935), which he shot in Connemara with actors from the Abbey Theatre; Ourselves Alone (1936), a love story set against the Irish War of Independence (and the translation of Sinn Fein, a factoid I first learned from a Columbo episode!); and The Tenth Man (1936) based on the play by Somerset Maugham. In the 1940s, he directed several war films/re-creations, some would say propaganda, working with the Ministry of Information. One is A Letter from Ulster (1943), where "Hurst was able to persuade one Catholic and one Protestant soldier to write letters home, explaining their impressions of their stay." Another, Theirs Is the Glory (1946), was about the British forces in Operation Market Garden.

I don’t know how the job of directing and producing Scrooge, as it was released in Britain, fell to Hurst, but it was an inspired choice given his sensitivity to literature. And then his DNA kicked in.


An Ulster man grows up believing that the supernatural simply coexists with the natural world. Hurst in his own words: "I don’t remember very much about my mother because I was only 3½ when she died, but I remember running into the house one day and asking her for a biscuit. I was still dressed then as a little girl, because in Ulster we believed that the fairies only stole little boys, and didn’t want little girls." Sure, everyone knows that.

From Yeats’s The Celtic Twilight — where he wrote down "true tales" of ghosts and spirits and faeries as told to him by various people — to the Conor McPherson film The Eclipse, with Ciaran Hinds as a volunteer at a literary festival who is drawn to an English author who writes ghosts stories — Celtic culture simply abounds with the dead and the undead sharing all sorts of things. Hurst’s literary nature combined with his Irish sensibility helped create magic on screen. The film’s atmosphere is authentically creepy, treating the ghosts with respect, and then truly joyous, as we know the Irish can be.

Alastair as Ebenezer
The other part of the magic, of course, is in the person of Alastair Sim. He was born in Edinburgh in 1900 to a mother from the Inner Hebrides who only spoke Gaelic until she moved to the mainland in her teens. Need I say more about Sim’s understanding of the Celtic soul? Like Hurst, there wasn’t much in Sim’s earlier work that hinted at such a perfectly realized lead performance. He was the clichéd "character actor" in the 1930s, moving up to lead in B pictures in the '40s. After Scrooge, his fame was for portraying — in drag — the headmistress in two St. Trinian’s films.

Under Hurst’s direction, Sim gives the naturally nuanced performance of a lifetime. Every line reading sounds like extemporaneous, unscripted dialogue. Nothing is caricature, even the difficult "humbugs." His heart of stone at the beginning is perfectly cold and icy, with no hint of camp. His interview with Marley completely comfortable once he gets over the shock. Sim beautifully realizes every fiber of Ebenezer. The Dickensian-named Bosley Crowther, critic of The New York Times in the 1930s and '40s, summed it up like this:

In short, what we have in this rendition of Dickens' sometimes misunderstood Carol is an accurate comprehension of the agony of a shabby soul. And this is presented not only in the tortured aspects of Mr. Sim but in the phantasmagoric creation of a somber and chilly atmosphere."

It’s the final transformation, then, into the light, that I believe makes Sim’s good portrayal superlative.

Giddy for Us All
One of humanity’s deepest fears is that of missing out: missing out on love, on a career or a creative dream. It’s a harsh reality for everyone at some point. You accept the defeats small and large because you have to; as they say, "what can you do?" As Ebenezer slowly begins to see how mean he has become, he fears The Ghost of Christmas Yet to Come — the Phantom — and his own death.

"How are you?" said one [man of business: very wealthy, and of great importance]
"How are you?" returned the other.
"Well!" said the first, "old Scratch has got his own at last, hey?"

And to underscore that Scrooge's soul is headed to Hell, Arthur Rackham's illustration of this exchange shows an enormous cloven-hoofed Satan looming behind the two businessmen, with his long fingers gesturing to Ebenezer. The Phantom then leads Scrooge to the cemetery and the great scene of Scrooge seeing his name on the tombstone.


"Spirit! he cried, tightly clutching his robe. "Hear me! I am not the man I was. Why show me this, if I am past all hope?"

"I will honour Christmas in my heart, and try to keep it all the year. I will live in the Past, the Present, and the Future. The Spirits of all Three shall strive within me. I will not shut out the lessons that they teach. Oh, tell me I may sponge away the writing on this stone!"

In his agony he caught the spectral hand. It sought to free itself, but he was strong in his entreaty, and detained it. The Spirit stronger yet, repulsed him.

Holding up his hands in a last prayer to have his fate reverse, he saw an alteration in the Phantom's hood and dress. It shrunk, collapsed, and dwindled down into a bed-post.

When Scrooge wakes up back in his bed, he’s thrilled but doesn’t know what day it is, how long the spirits have taken. When he learns that he hasn’t missed Christmas he is elated, light as a feather. He hasn’t missed it!!! The joy at being given another chance is like no other. (And, if you believe that what you “haven’t missed out on” is the eternal salvation of your soul, the elation gets kicked up a whole other notch). Sim’s Christmas Day giddiness is one of the great gifts to cinema. (And George C. Scott's attempt at giddiness is the most leaden of the variations.) If Scrooge can become that happy, than surely there is hope — for everyone.

Hurst rounds out the film with a great soundtrack. Music. Another thing the Irish know something about.

Tuesday, March 17, 2015

The Irish Sense of Timing: Happy St. Patrick's Day

Today is St. Patrick's Day, which for many Irish Americans is a mixture of nostalgia and pride. This particular celebration for me is tinged with sadness, as it happens to be the 30th anniversary of the last Paddy's Day my Dad would know.

Even that sadness is very Irish in its nature, as Chesteron once noted:

For the Great Gaels of Ireland
Are the men that God made mad,
For all their wars are merry
And all their songs are sad.
 

This post is one of the first I wrote for this blog, with some edits.

I have a bit of Irish blood in the veins, courtesy of my father. He was proud of his heritage and embodied its characteristic traits: gregarious; a talent for storytelling; a decent tenor voice exercised regularly in church; an acquaintance with barley, hops, and yeast; and a deep love of family, like all Brooklyn Irish. He married a lovely Lutheran woman of Swiss/German/Norwegian descent, but that's a story for another day.

When I was at university in Southampton, England, on a college exchange program, I became the first of the clan to visit the old country.

It was a backpacking tour with a fellow American. We had crossed from Fishguard, Wales to Rosslare, Wexford, which meant by the time we got up to Dublin, it was late and cold and dark and we were very tired. We were trying to get to our B&B by metro bus, and weren’t sure which direction to go. So we waited on one side of the street, and when the bus came, the driver said we needed to be across the street to go in the other direction.

So over we went. It was now even colder and darker, we were beyond exhausted and time was dragging horribly. So this is what purgatory feels like? After forty-five minutes of standing in the freezing Dublin air, we finally see the bus coming along. The door opens, and it’s the same bus, same driver—

Huh. Well . . . .what . . .why didn’t you let us on over there?

“Well, you’d been going in the wrong direction, now, wouldn’t you?”

There is some funny logic there (and some toying with the young Americans).

When I told my father that story he laughed and laughed. He had never been to Ireland, but it struck a deep chord with him, reminding him of some of the distinctly Irish quirkiness of his own father and uncles.

Of course I learned what it is to be Irish American from him. Some things just happened organically in daily life,  like the Irish Coffee ritual and the tip that it's the brown sugar that separates the real from the faux.  Other lessons were very deliberate: like the year he hand wrote the words to important Irish songs for me: The Wild Colonial Boy, MacNamara's Band, The Irish Soldier Boy, and the most important, The Wearing of the Green. An important history lesson in itself, as a teenager the last line "For they're hanging men an' women there for the wearin' o' the Green," haunted me. It seems around the 1789 Irish Rebellion, the Brits so feared the nationalism of a color that wearing green was high treason, punishable by hanging. More about that here


"O Paddy dear, an' did ye hear the news that's goin' round?
The shamrock is by law forbid to grow on Irish ground;
St. Patrick's Day no more we'll keep, his colour can't be seen,
For there's a cruel law agin the wearin' o' the Green.

I met with Napper Tandy and he took me by the hand,
And he said, "How's dear old Ireland, and how does she stand?"
She's the most distressful country that ever yet was seen,
For they're hanging men an' women there for the wearin' o' the Green."


The Gift of a Trip to Ireland
After college I got a job as a copywriter for a travel company, writing the itineraries for the brochures of deluxe escorted tours. An idea popped into my head: I wanted to buy an escorted tour for my parents to see Ireland. Travel had never been part of their lives together. Money was usually tight, and 8 years of college bills was quite a strain. My father never talked about a desire to go to Ireland, but you knew it was there.

With help from my older brother, I found that we could buy my parents an escorted American Express trip. I became giddy at the idea. We would give it to them for Christmas, and the tour we picked was in May. Just perfect.

I bought a Fodor’s Guide to Ireland to wrap-up, and made a HUGE oak tag card. On the cover I put a big paper clock, with hands just before 12, and the words IT’S TIME . . . . (Inside): For you to go to Ireland ! surrounded by photos from the tour brochure. Everything was set.

On Christmas morning we gave the Fodor’s book to Mom to open, and the card to Dad. He seemed quite stunned. He became very quiet as it sunk in that his children had the means and the desire to give him this trip, a desire of a lifetime. Such moments are deeply vivid, and very rare.

And then . . .
And then, everything turned. My father was diagnosed with inoperable colon cancer in January, just after New Years. He died in April. The tour went on without him in May.

How cruel. How could God have denied him this trip ? How macabre and eerie my Christmas card: IT’S TIME. Yes, a phrase often associated with your time being up, but not here—-not on a happy Christmas morning, not about a great trip, not coming from me.

To make this all even more heart-wrenching, I had planned a trip myself to Ireland back in December, to go in March. I would be visiting a college friend who was doing post graduate work in Galway.

By March Dad was pretty ill, but it would have been too much of a shock to him if I canceled my trip, and so I went with the heaviest of hearts.  I remember spending a good part of one day crying in a church in Gort, the town nearest to Lady Gregory's Coole Park, where I had made a pilgrimage to visit Yeats's Wild Swans at Coole.

I got home on March 17, and we had the usual family gathering with my uncles/aunts/godparents. My dad was frail, but rallied to get dressed and join the gang. The photo above shows my Uncle John, his best friend of 30 years, at his side.

Dad died almost an exact month later, on April 16, which happened to be Easter Monday.  That was pretty cosmic.

It is only now, 20 years later, [now 30 years later!] that I can see what an Irish end my dad had. It was sad and tragic, yet imbued with that particular Irish sense of death we know from the great plays and poems of O’Casey and Synge, and Yeats: because life is so precious, death comes with irony, some irreverence, a tinge of comedy, and ultimately, hope.

I’ve been to Ireland several times since he died. I’ve got some new great stories to tell, the next time I see him.

The Irish Coffee ritual was not limited to St. Patrick's Day. And though Crosby sang about a "belt of Bushmills," it's from Northern Ireland & these were the days when that mattered. No money to the IRA. So Dublin Jameson it was.

Tuesday, January 6, 2015

James Joyce's "The Dead": a.k.a Have Yourself a Merry "Little Christmas"



"His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead."

* * * * * *

For many, the Day of "The Dead" is el Dia de los Muertos.

For me, it’s January 6. Little Christmas. Twelfth Night. The Feast of Three Kings, the day to reread and savor the final story in James Joyce’s Dubliners and so experience Epiphany in all its meanings.

The word epiphany comes from the Greek “epiphaneia” meaning “manifestation." The feast originated in the Greek Orthodox faith, there called Theophany, and it celebrates when the Christ child’s divinity shone through his humanity, as acknowledged by the Magi’s adoration.

James Joyce is generally credited with the crossover of such a religiously charged word to secular life and literature. A Google search brings this definition: Epiphany in fiction, when a character suddenly experiences a deep realization about himself or herself; a truth that is grasped in an ordinary rather than a melodramatic moment.

Leave it to the angry Irish Catholic apostate—taught by the Jesuits at Belvedere College, a willing devotee of Aquinas—to be attracted to the Greek-inflected word and the sheer power of an idea manifested into discernible reality.

Joyce explored his own secular theology of epiphany in Stephen Hero—an early sketch for A Portrait of the Artist, which he hoped to publish as a novel that never happened. From that sketch: “By an epiphany he [Stephen Hero] meant 'a sudden spiritual manifestation,’ whether in the vulgarity of speech or of gesture or in a memorable phase of the mind itself. He believed that it was for the man of letters to record these epiphanies with extreme care, seeing that they themselves are the most delicate and evanescent of moments.”

The Little Christmas Party at Aunt Kate's

And so it is with extreme care that Joyce brings us the annual Little Christmas party at Aunt Kate’s Dublin home, where he captures “the most delicate and evanescent of moments” for the ages. The life in the story is deep and textured—-every sense is engaged, history swirls, humor abounds; we are rooted in place and time by specific references and stirred by timeless emotions. You can read the masterpiece here, and Wallace Gray’s notes are an excellent, down-to-earth guide to the references.

There are many epiphanies in this story, and much is made of Gabriel’s decision that “The time had come for him to set out on his journey westward”—to connect again with his Irish soul and not travel out to Belgium or Germany—in what is one of the most famous last paragraphs in literature.

But the epiphany I cherish most is the underlying one of Gabriel’s realization about his wife Gretta.

Gabriel’s first reaction to Gretta’s mood after hearing The Lass of Aughrim is “He longed to be master of her strange mood.”

He suffers through terrible emotions in their hotel room. His lust for Gretta quickly decays to anger when she mentions the boy in Galway from many years ago:

“While he had been full of memories of their secret life together, full of tenderness and joy and desire, she had been comparing him in her mind with another. A shameful consciousness of his own person assailed him. He saw himself as a ludicrous figure, acting as a pennyboy for his aunts, a nervous, well-meaning sentimentalist, orating to vulgarians and idealising his own clownish lusts, the pitiable fatuous fellow he had caught a glimpse of in the mirror. Instinctively he turned his back more to the light lest she might see the shame that burned upon his forehead.”

Oh Gabriel—all that self doubt, all that horrible self criticism because you think that Gretta is comparing you to another. It’s not about YOU. She’s simply filled with a memory of her own past. Please let her have that part of her life, and don’t punish her for it.

And then, Gabriel does just that.

“Gabriel, leaning on his elbow, looked for a few moments unresentfully. . . So she had had that romance in her life: a man had died for her sake. It hardly pained him now to think how poor a part he, her husband, had played in her life.

“He thought of how she who lay beside him had locked in her heart for so many years that image of her lover's eyes when he had told her that he did not wish to live.

“Generous tears filled Gabriel's eyes. He had never felt like that himself towards any woman, but he knew that such a feeling must be love.”

From that realization, Gabriel’s soul is opened, and once that happens, anything is possible.

Joyce leaves us in silver shadows, in the peace of falling snow that unites the living and the dead. Critics disagree as to whether Gabriel is spiritually dead at the end, or if now that he realizes he has never fully lived, something more is possible.

At each year’s reading, I like to think that Garbriel and Gretta go on to happier, more deeply conscious lives with each other. But it remains a serious question: do we ever know even the person who most intimately shares our life?




[photos from John Huston's excellent film adaptation of The Dead.]

Sunday, January 4, 2015

Evelyn Waugh's Epiphany & "Ellen's Invention"



I first wrote about Evelyn Waugh's 1950 novel Helena for Epiphany several years ago, before I had read it, because I knew its famous passage about the feast—pray always for all the learned, the oblique, the delicate—through sermons. 

And I knew the novel was historical fiction about he journey of St. Helen (or Helena)--the mother of Constantine, who converted the Roman Empire to the Holy Roman Empire when he himself converted to Christianity--to Syria Palestine in 320 or so to find the True Cross of the crucifixion, which she does from instructions from the Wandering Jew in a dream.

At one point in the novel Helena is at an Epiphany Mass in Bethlehem. She is tired, and as the service goes on and on her mind begins to compose a somewhat mystical dialogue to the Magi (abridged here).

"This is my day, she thought, "and these are my kind."

"Like me," she said to them, "you were late in coming. The shepherds were here long before; even the cattle. They had joined the chorus of angels before you were on your way.

"How laboriously you came, taking sights and calculations, where the shepherds had run barefoot!

“How odd you looked on the road, attended by what outlandish liveries, laden with such preposterous gifts!"

"You came at length to the final stage of your pilgrimage and the great star stood still above you. What did you do? You stopped to call on King Herod. Deadly exchange of compliments in which there began that unended war of mobs and magistrates against the innocent!

"Yet you came, and were not turned away. You too found room at the manger. Your gifts were not needed, but they were accepted and put carefully by, for they were brought with love. In that new order of charity that had just come to life there was room for you too.

"You are my special patrons," said Helena, "and patrons of all late-comers, of all who have had a tedious journey to make to the truth, of all who are confused with knowledge and speculation, of all who through politeness make themselves partners in guilt, of all who stand in danger by reason of their talents.

"For His sake who did not reject your curious gifts, pray always for all the learned, the oblique, the delicate."



Such beautiful thoughts about outsiders, late-comers of all kinds, and gifts that may not seem needed but are not turned away because they are brought with love. We should all keep such charity in our hearts all year round.


"Ellen's Invention"

I later stumbled upon the novel in a used book store, and reading the whole story found that it is a highly personal expression of faith of a Catholic believer converted from and living within the Anglican tradition.

The fact that it's from the same biting satirist who brought us Vile Bodies and The Loved Ones makes it more surprising. Just the idea of writing the "story" of Constantine's mother search for the True Cross is intriguing.

Here is how Waugh introduces us to his tale in his Preface:

"It is reported (and I, for one, believe it) that some few years ago a lady prominent for her hostility to the Church returned from a a visit to Palestine in a state of exultation. 'I got the real low-down at last,' she told her friends. 'The whole story of the crucifixion was made up by a British woman named Ellen. Why, the guide showed me the very place where it happened. Even the priests admit it. They call their chapel 'the Invention of the Cross.'"

It has not been my primary aim to disillusion this famous lady but to retell an old story."


Ellen is the Anglicized Helen. [I was baptized Helen because back in the day you needed a saint's name for the rite.] The allusion that St. Helen/Ellen was "a British woman" is part of a literary tradition (not factual) from 12 century Geoffrey of Monmouth down to G.K. Chesterton that she was a daughter of King Coel, married off to Constantius then having Constantine the Great,  thus giving a British pedigree to the Holy Roman Imperial line!

Like Brideshead Revisited, the novel is a prose poem filled with the most beautiful cadences possible. Wiki quotes Waugh as declaring it "far the best book I have ever written or ever will write," and that daughter Harriet later said, "the only one of his books that he ever cared to read aloud."

In the course of the novel Helen finds and excavates the chamber where the 3 crosses from Good Friday were stored.

And so Waugh ends his tale in the last chapter entitled "Ellen's Invention," a mocking of the Anglican lady in the Preface who attributed the crucifixion to her:

"Helena's many prayers seem to have received unequal answers. Constantine was at long last baptized and died in the expectation of an immediate, triumphal entry to Paradise. Britain for a time became Christian, and 136 parish churches were dedicated to Helena. The Holy Places have been alternately honoured and desecrated, lost and won, bought and bargained for, throughout the centuries. But the wood has endured. In splinters and shavings gorgeously encased it has travelled the world over and found a joyous welcome among every race. For it states a fact.

"Hounds are checked, hunting wild. A horn calls clear through the covert. Helena casts them back on the scent.
 

"Above all the babble of her age and ours, she makes one blunt assertion. And there alone is Hope."

Wednesday, December 24, 2014

Merry Christmas, 2014 Edition


There is little mirth in the world today, and especially closer to home in my beloved Gotham. The word "merry" seems very out of place this year.

So it is with a heavy heart I go to sing in the celebrations to welcome the Word Made Flesh, the Son of God by Name,  to the world. The juxtaposition of this Holy Night against man's inhumanity to man that seems like a bad movie plot right now.  Or a twisted Twitter trope: Baby Jesus, YOU HAD ONE JOB: PRINCE OF PEACE. (Ok, bad theology, but feeling frustrated and disillusioned with the human race He came to save.)

For those who enter these churches, I am glad that they will find beauty in the music by some of the city's finest musicians. And sometimes small contributions, to specific individuals within your reach, is all you have.


Isaiah 9:6, and later, Handel

For unto us a Child is born,
unto us
a Son is given:
unto us
a Son is given
and the government shall be upon His shoulder:
and His name shall be called
Wonderful, Counsellor, the mighty God, the everlasting Father, the Prince of Peace.



(painting: Pieter Bruegel the Elder)

The Carol of a Chrismtas Carol: God Rest You Merry[ily], Gentlemen




The choir of King's College, Cambridge, is in the middle of it's Advent Lessons & Carols service, singing this classic carol. Their phrasing is impeccable, and you can hear the comma between "merry" and "gentlemen." Thank goodness.  But that is not always the case, leading to several hundred years of 'happy guys,' rather than a soul 'being well and happily kept' by God.

I love that Charles Dickens chose "God Rest You Merry, Gentlemen" to represent the whole kit and kaboodle to Scrooge.

"...at the first sound of — "God bless you merry, gentlemen! May nothing you dismay!"— Scrooge seized the ruler with such energy of action, that the singer fled in terror”


This carol was first written down in the 18th century, with no known composer.

As a song it is a triumph of clear, simple exposition of faith: the Son of God came by name to save us from sin and bring us comfort and joy. That’s what it’s all about, Charlie Brown.

As syntax, it is a little less successful, because "merry" is an adverb in hiding describing ‘how God should rest you’ where rest is the sense of "keep" or make," and not an adjective describing gentlemen, even when that comma goes astray (God rest you merry gentlemen). Which, I’m sorry to say, it did in the juvenile edition of the Dickens story that I bought for my niece. Sigh.

There is also the "ye" versus "you." Because it feels like it's from Merry Olde England, most people reach for the "ye." But "ye" is the nominative case, and so would not have been used as the object.  And we know this because in one of the earliest surviving written documents for the song, from 1760 London, when thees and thous were in abundance, the word is "you." It's also what Dickens transcribed in 1843 for his story, and it's what Bing Crosby so clearly sings, so that settles it.



God rest you merry, gentlemen,
Let nothing you dismay,

Remember Christ our Saviour
Was born on Christmas day,
To save us all from Satan's power
When we were gone astray:

O tidings of comfort and joy,
comfort and joy,
O tidings of comfort and joy.
 

From God our heavenly Father
A blessèd angel came,
And unto certain shepherds
Brought tidings of the same,
How that in Bethlehem was born
The Son of God by name:

O tidings ...



(update from 2009 post)

Friday, December 19, 2014

My Vistations of "A Christmas Carol"




 A Christmas Carol was first published today, December 19, 1843.  I wrote this post in 2009 when I saw the Disney 3-D version written by Robert Zemeckis and starring Jim Carrey with  Gary Oldman, Colin Firth, Bob Hoskins, Robin Wright Penn, and Cary Elwes. It still bothers me that Scrooge is not shorthand for a redeemed soul. Read on.

* * * * *

I have endeavoured in this Ghostly little post, to raise the Ghost of an Idea, which shall not put my readers out of humour with themselves, with each other, with the season, or with me. May it haunt their houses pleasantly, and no one wish to lay it.

Their faithful Friend and Servant,
M.A., December 2009


Stave One: The First of the Three Versions

Seeing the new 3D Disney version over Thanksgiving sent me off to finally read the novella  to see if they were making stuff up. Their Ghost of Christmas Past looked like a cousin of Lumiere from Beauty and the Beast, and at one point Scrooge seemed to be paying homage to The Rescuers, so I was concerned, although overall the adaptation was very true and enjoyable.

Turns out the GOCP depiction was accurate. Dickens’s description of the first spirit is elaborate, protracted, and very odd. The figure is old and young: “being now a thing with one arm, now with one leg, now with twenty legs, now a pair of legs without a head, now a head without a body.”

It holds a piece of holly in one hand, and there’s more:


But the strangest thing about it was, that from the crown of its head there sprung a bright clear jet of light, by which all this was visible; and which was doubtless the occasion of its using, in its duller moments, a great extinguisher for a cap, which it now held under its arm.”

So the depiction wasn’t a Disneyfication: it is very much like a candle, and it carries its own candle snuffer, which it will use to take leave of Scrooge (Dickens never uses “he” or “she” for this spirit.) Turning Scrooge into a 3” high person as he’s fleeing the Ghost of Christmas Yet to Come, however, was very silly, and not of Dickens. The depiction of Christmas Present is true, and he ages to the point of death at the stroke of midnight just like Dickens says he does.


All in all, the Disney version gives life to the story, although if you want a serious film experience, you must, must go the 1951 Alastair Sim version. That’s a brilliant, artful adaptation with Sim’s masterful portrayal of every cell, fiber, and nuance of Ebeneezer. I believe that the magic is because both the actor and the director were of Celtic blood. More about that here.


 

Stave Two: The Second of the Three Versions

The Paley Center recently screened Mister Magoo’s Christmas Carol. It was the first animated special created specifically for TV, predating Rudolph by 2 years. The Magoo character first appeared in a theatrical cartoon short in 1949 (The Ragtime Bear.) Jule Styne and Bob Merrill were hired to write the score, and then went on to write the score for Funny Girl shortly after.

The songs are good. “The Lord’s Bright Blessing” “Ringle, Ringle” and “We’re Despicable” are appealing but not as sticky or classic as “Silver and Gold” and Holly, Jolly Christmas.” And they decided to reorder the Spirits, so that the Ghost of Christmas Present comes first, then Christmas Past. Ye shall not tamper with Dickens!

I like to think that this sacrilege is why Mr. Magoo didn’t entirely enter the Christmas canon, but it’s more likely that the whole ruse of his being dangerously myoptic seemed progressively less funny as society became more sensitized to people with disabilities.

Stave Three: The Last of the Spirits

The manuscript itself. With all these media versions swirling about, I made the pilgrimage down to see it sitting quietly encased in J. P. Morgan’s study, this year turned to page 38. The script handwriting is dense, tightly spaced.

The New York Times partnered with the Morgan Library to photograph the entire manuscript and allow us to see where and how Charles changed his mind.

One change is that he had a tangent about Hamlet being a chump, which he decided not to use. A scholar suggested Shakeapeare was too popular to attack like that, and it does have the scent of an Oedipal issue.

Dickens did keep his hilarious issues with the expression “dead as a door-nail.”

Old Marley was as dead as a door-nail.

Mind! I don't mean to say that I know, of my own knowledge, what there is particularly dead about a door-nail. I might have been inclined, myself, to regard a coffin-nail as the deadest piece of ironmongery in the trade. But the wisdom of our ancestors is in the simile; and my unhallowed hands shall not disturb it, or the Country's done for. You will therefore permit me to repeat, emphatically, that Marley was as dead as a door-nail.”


Hilarious! I love it!!

Stave 4: The End of It


This tale has not been out of print since it was written in 1843. It helped to create the Victorian Christmas celebrations that took root. Mr. Fezziwig alone could have done that. The fact that he wrote it in 6 weeks is the stuff of genius.

As a character of world literature, Scrooge was given a raw deal. His name is associated with abject misanthropy. Yet the point of the story is his (secular) redemption: at the end we are told he is filled with charity and love and generosity. He is the embodiment of the secular spirit Christmas; his name could have come down to us as its synonym. Why doesn't anyone remember that?

“He became as good a friend, as good a master, and as good a man, as the good old city knew, or any other good old city, town, or borough, in the good old world. . . . and it was always said of him, that he knew how to keep Christmas well, if any man alive possessed the knowledge. May that be truly said of us, and all of us! And so, as Tiny Tim observed, God Bless Us, Every One!”

Maybe in this century the tide will turn for him. He is the avatar of hope: life can harden our hearts, but Scrooge reminds us every year that it can be different. The past does not have to have power over our future. Thank you, Mr. Dickens. What a beautiful gift you have given us.

Thursday, December 12, 2013

The New Yorker: Rea Irvin Covering the Season for Us.


"New York City is the capital of the American Christmas. The Puritan settlements to the north banned the holiday as Popish and pagan; and so it was, descended from the ancient Roman solstitial Saturnalia."

Thus saith John Updike in his foreward to Christmas at the New Yorker, a compendium of thematic stories, poems, humor, and art since its 1925 founding. It is a terrific book, a veritable universe of stellar writing from Thurber, Perelman, Mencken, Nabokov, Keillor, and so on.

The Puritans didn’t get their way, and so we continued to have the annual December celebrations, for some connected to the birth of Christ, but for many, not.

The weekly covers of The New Yorker---a cultural epicenter of the capital of the American Christmas--are haikus on the spectrum of the season, from the holy to the wholly kitsch.

Some of the most appealing are from Rea Irvin, the father of Eustace Tilley himself. Born in San Francisco in 1881, he had an extraordinary range of styles and visions but is not referenced much these days.

Here is Emily Gordon on Irvin, from a 2008 article in Print: "Despite his pivotal role in defining The New Yorker in its earliest years, Irvin has not garnered the attention given to his editorial counterparts, and much of his life and work remain a mystery." Wiki tells us that he died at the ripe old age of 90, in 1972, in Frederiksted, Saint Croix, U.S. Virgin Islands.

Irvin's Christmas Covers
The cover up top is one of my favorite: A chic turn on Gloria, In Excelsis Deo, hovering above what might be Palm Beach of the 1930s. Since he died on St. Croix, I like to think he got his vision for seeing that chic archangel.

Next I like the roaring twenties (1925), toy Daddy Fat Cat plying the Toy Ballerina with pearls, one of those hints of the adult world that ebbed and flowed over the years in the magazine.


Then there is a pair of strange Santa depictions. 1926 speaks to the universal need for Santa, with ethnically diverse men all sporting Santa hats and fake beards. A very global vision for its day.

  



1931 brings a disturbing, hulking Kris Kringle, menacing what I imagine is a "nonbeliever in Santa" while he sleeps with a garish, serpent-like toy. Some tribes believe that demons can enter the body through the ear. Let’s leave it at that.


1932 brought a trio of angels bearing tokens of Wall Street: a banker's tie, box of cigars, and basket of cash. Their upward gaze suggests they are entreating the Higher Power with these early gifts, which is a little chilling given the Crash of 1929 and Great Depression with so many people's lives ruined. 



1944 saw a somber cover for a readership still at war.




Tuesday, December 10, 2013

It's an Angry Life: Capra's Confounding Holiday Classic



Several years ago Dan Eisenberg of put out a call for a one-day Blog-a-thon, when those things were happening, on It’s a Wonderful Life. He wanted people to either explain what all the fuss is about, or agree that it could be added to Mary and Yale’s Academy of the Overrated, (joining Gustav Mahler, Isak Dinesen, Karl Jung, F. Scott Fitzgerald, Lenny Bruce, Vincent Van Gogh, Ingmar Bergman).

Oh, the fuss is well deserved.

MARY'S VOICE
I love him, dear Lord. Watch over
him tonight.

JANIE'S VOICE
Please, God. Something's the matter
with Daddy.

ZUZU'S VOICE
Please bring Daddy back.


It’s a Wonderful Life tells a story that would exist whether Philip Van Doren Stern had ever written his 1943 short story it's based on, “The Greatest Gift,” or not. It’s part of being a sentient person to wonder what would things be like if you weren’t here, either from your death now, or backdating the idea to never being on the planet.

But what raises it up to a great film is its earthiness and common-sense sensibility. It draws situations with just a few strokes that have deep resonance for the experience of the solid middle class after World War II and following generations, like the family dinner scene before the high school graduation dance, the father’s fatigue at working at a job he doesn’t like, and George’s ideas of getting out: “I'm shakin' the dust of this crummy little town off my feet and I'm gonna see the world.”

But most importantly, it captures the anger that lies just beneath the surface of so much of “nice” domestic life, a byproduct of all the primal life forces held in a precarious balance for family life to be possible at all.

Jimmy Stewart’s performance is strong throughout, and his anger is particularly convincing in various scenes.

In the phone call scene with Mary he portrays “panic of commitment” without cliché.

Script direction:
George can stand it no longer. He drops the phone with a crash grabs Mary by the shoulders and shakes her. Mary begins to cry.


“Now you listen to me. I don't want any plastics and I don't want any ground floors. And I don't want to get married *ever* to anyone! You understand that? I want to do what I want to do.”

He’s angry and his sexual energy is dangerous as he’s drawn to Mary, his lust overwhelming his wanderlust. This is not a sentimental vignette. It is a clear-eyed look at one of the age-old realities of civilization: men don’t particularly want to participate.

George’s anger at Uncle Billy when he discovers the money has been lost is sharp: “Where's that money, you silly stupid old fool? Where's that money? Do you realize what this means? It means bankruptcy and scandal and prison. That's what it means. One of us is going to jail - well, it's not gonna be me.”

When George gets home he isn’t able to tell Mary what’s happened, he can only RAGE against the pedestrian details of his life: the broken banister, the kid banging on the piano, how cold the house is, the teacher who sent ZuZu home sick.

He is a hulking presence, terrorizing the family with his anger:

Mary (in an outburst) “George, why must you torture the children?”

That’s when George runs out of the house and to his appointed destiny with Clarence.


PETE
Is Daddy in trouble?

JANIE
Shall I pray for him?

MARY
Yes, Janie, pray very hard.

TOMMY
Me, too?

MARY
You too, Tommy.
(on phone)
Hello, Uncle Billy?


George’s sojourn in the universe where he never existed is carefully plotted, and the details are deep. The town is ugly and the people mean and crass. He finds his mother is a harsh, suspicious landlady and Mary a withered, mousy woman. Mr. Gower is a rummy child murderer, his brother is in the cemetery and by extension, all the men in the transport because his brother wasn’t there to save them. The dots are strongly connected, and his actual impact on these lives is clear. Again, I see no mawkish sentiment here.

George’s nightmare is short-lived, as he returns to the bridge and prays to live again: "I want to live again. I want to live again. Please, God, let me live again."

The snow returns and he is back to his life. My favorite part is him running through the town; it is the perfect visualization of a feeling of unbridled hope and joy. For the moment, anger—-which is fueled by the maddening details of life and experience-- is banished by the desire for life itself.

I think it is an excellent film. I think if Clarence’s line “Ridiculous of you to think of killing yourself for money,” helps one person gain perspective and stop from hurting themselves when things are grim, then it’s more than an excellent film. And I like its realistic depiction of prayer. It reminds us that we don’t know how grace works, but people have experienced its power, and so it should show up occasionally in our cinema lives in a real way.

Here’s a great gift from Imdb: the whole script is online.