Friday, October 21, 2011

Halfway Down: Milne Helps with the "Middleness"

A.A. Milne's poem positively leaps to mind today, my annual personal New Year's Day, with this particular birthday encumbered with the sense of middleness.

Halfway down the stairs
Is a stair
Where I sit.
There isn't any
Other stair
Quite like
It.

I'm not at the bottom,
I'm not at the top;
So this is the stair
Where
I always
Stop.


Milne's poem from When We Were Very Young has been described as a "juvenile meditation" of a small child sitting on a middle step of staircase, equally able to go up or down.

I grew up in a split-split level house. There were 3 sets of stairs from the ground floor to my bedroom at the top of the house (and a set of stairs down to the finished basement).

The stairs from the second bedroom level to the living room were the longest and most reminiscent of Ernest Shepard's illustration. I spent many happy hours on those stairs, especially when my parents were having parties. I had been put to bed, but I would "sneak" down to watch the grownups, who seemed very glamorous.


Bound By This Date
I like to think about my fellow celebrants—living and deceased—as well as interesting things that happened today, such as John Keats leaving London for Rome in 1820, 190 years ago today, where he will die in his apartment on the Spanish Steps on February 23, 1821, and the opening of the Guggenheim Museum in 1959.

As for celebrants, Samuel Coleridge is the first among equals. Then there's Dizzy Gillespie, Carrie Fisher, Elvin Bishop, Manfred Mann, Ursual K. Le Guin, Patrick Kavanagh, Alfred Nobel, Alfonse de Lamartine. And my favorite, the character Olivia Dunham on Fringe (the episode "The Cure" which took place on her birthday first aired on October 21, 2008.)

Bound By an Image
This birthday also calls to mind one of the most poetic visual images I have of my father. It was the day of his middle birthday, which was in June. I was in my bedroom at the top of the house and for some reason looked out my window to the backyard. It was raining very hard, and my father, who had been doing some sort of heavy yard work, had gone under the small awning of the tool shed in the very back corner of the property to wait out the rain.

I saw him in his yard outfit-—jeans and a white T-shirt-—squatting down, looking out over his beautiful property as the rain teemed. I imagined him thinking about all he had accomplished, and all he had not

He died seven years later. That's the tricky thing about the stairs. In real life, you don't know which stair you're standing on.

But for now, I'm happy not to worry about it but let "all sorts of funny thoughts run round my head."

Halfway up the stairs
Isn't up,
And it isn't down.
It isn't in the nursery,
It isn't in the town.
And all sorts of funny thoughts
Run round my head:

"It isn't really
Anywhere!
It's somewhere else
Instead!"


Kermit's nephew Robin sings a lovely rendition of the poem set to music by Harold Fraser-Simson. Sing us out Robin!





Thursday, October 20, 2011

21st Century All For One, On My Birthday!

It made me smile to see that the 3D, 21st century, action packed Three Musketeers opens tomorrow, on my birthday! Given my love for the novel, what are the odds it would be created and released this year, when my birthday is on a Friday? I have a feeling it will be awful—why couldn't Guy Ritchie have taken on Dumas rather than Conan Doyle—but I am thrilled that the team is being brought into this century. I will see it tomorrow along with the other faithful.




The definitive film version is from Richard Lester, with Michael York, Oliver Reed, Frank Finlay, Richard Chamberlain, Charlton Heston, and Faye Dunaway as Milady. I wrote about it and my love for the novels here.

Monday, October 3, 2011

Love Among the Torts: 25th Anniversary of L.A. Law




The sexy sax riff wailing over the black screen to the declarative thump of the car trunk, both primal and urban. As opening credits go, it offered the total package.

And so L.A. Law announced itself to weekly prime time with a classic Mike Post back-beat composition on Oct. 3, 1986 (after its two-hour pilot movie was shown twice the month before). From the close-up of the license plate for the Golden State we see bright sunshine bouncing off the windows of the tall, glass, L.A. buildings. It’s the same brightness we enjoyed in the '80s Remington Steele and Moonlighting, both zeitgeist influences on the lighter side of Law. Bochco’s own Hill Street Blues, with its large ensemble cast and interweaving storylines, was the more direct model for the legal drama. No longer on the gritty streets of the anonymous urban city, L.A. Law brought interesting, contemporary issues into the pristine, modern offices of McKenzie, Brackman, Chaney & Kuzak and mixed them up with quirky romantic entanglements and a dash of the bizarre.


Howard Rosenberg wrote of the premiere:
“There should be a law requiring more series like NBC's new L.A. Law. Its premiere, at 9 tonight immediately raises the level of the fall season about a dozen notches…Though vastly different in tone and texture, L.A. Law honors the tradition of that fine old CBS courtroom series of the 1960s, The Defenders."

That’s what’s hard to remember 25 years hence: what the landscape was before L.A.Law. We live in a world that knows Ally McBeal, Bobby Donnell of The Practice, Alan Shore and Denny Crane of Boston Legal, Patty Hewes of Damages. But before them audiences knew and loved Perry Mason (1957 to 66), Lawrence Preston, The Defenders (1961-65), Judd, for the Defense, (1967-69), Owen Marshall: Counselor at Law (1971-74). These characters were fairly one dimensional, stiff, less “life like” than those we know today. The TV naturalism that broke through in the '70s (as surely as color did the decade before) with likes of All in the Family and Maude and continued with Hill Street and St. Elsewhere in the '80s first hit the legal profession with L.A.Law. That’s one reason it was such a hit. It also was fresh and engaging, with good dialogue and smart perspectives on difficult issues. It earned 15 Emmys, with four for outstanding drama series in 1987, 1989, 1990 and 1991.

Love Among the Torts

What pulled me in as a viewer was the Grace Van Owen/Michael Kuzak romance. Grace was a model for young women in the '80s: reserved (which became dour as the seasons went on), good at her job, and the love interest of Harry Hamlin and Jimmy Smits. Who wouldn’t want to be her? Her style of dress started a trend. Rose Marie Turl of The Los Angeles Times reported in 1988 that “what has become known in the retail trade as 'the 'Law blouse' is surfacing all over Los Angeles. ‘I don't remember a blouse like this: the V-neck, the softness and the fact it works with any jacket,’ marvels Lee Hogan Cass, fashion director for the Broadway. ‘Wrap blouses have been in existence for a long time, but this is a little different version. It's a very feminine way of softening a suit.’“

I also got hooked into the surprise romance of Ann Kelsey (Jill Eikenberry) and Stuart Markowitz (Michael Tucker). Their romance became even more popular than Van Owen and Kuzak/Sifuentes, helped by the never defined Venus Butterfly. A storyline that transcended the series was Diana Muldaur as Rosalind Shays. She comes to the firm as a rainmaker, then maneuvers to oust Leland McKenzie (Richard Dysart). They become involved amid the doublecrossing, which was interesting enough, but it’s the scene at the elevator where Leland thinks Roz is upset that he won’t marry her, when she turns to enter the elevator and falls down the shaft to her death. (An episode mischievously titled "Good to the Last Drop.") It ranked No. 81 on TV Guide/TV Land's list of 100 Most Memorable TV Moments and it’s part of the bizarre edge to the series, which started with the partner Chaney dead at his desk.


Order in the Court

The comings and goings of the creative team of L.A. Law would make its own interesting series. Suffice to say it was created by Steven Bochco and Terry Louise Fisher and through the years saw the talents of David E. Kelley, John Tinker, John Masius and William Finklestein in creative control. By season six, ratings had dropped. Here’s the ever curmudgeonly John J. O’Connor from The New York Times on Oct. 17, 1991:
“The formula, with its office politics here and court cases there, has gone flat. The scenes in court have all the fizz of a set-in-concrete Matlock encounter as dramatic outbursts alternate regularly with brooding stares of significance, the camera lingering pointedly. The issues are current, but the scripts are strictly fill-in-the-blanks exploitations of topics like spouse abuse or the legal status of Vietnam M.I.A.'s. In short, L.A. Law has become totally predictable.”

In 1992, both Steven Bochco and David Kelley returned to the show, to see if they could bolster its popularity. It continued on to an eighth season, ending on May 19, 1994.

Cultural and Professional Impact

In 2009 the ABA Journal ran a poll for the best legal TV shows. Not surprisingly L.A. Law was voted No. 1, 15 years after it left the air. The editors’ comment is very telling: “For lawyers of a certain age, Leland McKenzie is the managing partner they are still looking for. Douglas Brackman Jr. is the manager they seem to end up with.”

John Leonard had some harsh words for its impact on its descendants in a 2008 review of Raising the Bar:
“But Bochco’s next big hit, L.A. Law, after a long and lurid run of big money and soap shenanigans, inspired so much contempt in the popular culture for private-practice law that subsequent noble-noodle shows like Shannon’s Deal, Eddie Dodd, The Wright Verdicts, The Trials of Rosie O’Neill and Sweet Justice never stood a ratings chance.”

Were we really poisoned by the money and slickness of McKenzie, Brackman? Perhaps. There were many cultural casualties of the 1980s. We’ll see if Kathy Bates and Harry’s Law purifies the image of our legal profession for a new generation.

An Anniversary Rider

Back in 1993, Steven Bochco and the cast and creative team of L.A. Law were the honorees of the gala of the then-Museum of Television & Radio, now The Paley Center for Media. Bochco filmed a short piece for it with the partners at McKenzie, Brackman debating whether they should go to the gala. You can see this never-seen-outside-of that-dinner video on The Paley Center for Media site. So pop on over to see Leland McKenzie, Douglas Brackman, Ann Kelsey, Arnie Becker, Jonathan Rollins and the gang in the conference room, one last time.

Friday, September 23, 2011

Libra’s National Holiday

It’s Autumnal Equinox day! To most people that means equal length of day and night. Of course it’s much more complicated than that, but at the least it’s when the sun “appears to cross the celestial equator from south to north.”

The sense of evenness, of balance, is the cornerstone of most new age therapies (followed closely by fighting “inflammation”).

For we Librans— born under the stars that are The Scales--balance is in our DNA. We strive for peace and harmony and evenness. We like when things even out, and are no longer off keel, out of kilter (keel I know from sailing, but what is a kilter?) Making the time of equal light and equal light our national holiday.


The Even Steven of “The Opposite”


Leave it to Seinfeld to bring this idea to the quartet. The subtheme of the classic “Opposite” episode---where George finds success by doing everything the opposite of who he is and what he does—is Jerry, Mr. Even Steven.

Jerry: “Yesterday I lost a job, and then I got another one, and then I missed a TV show, and later on they re-ran it. And then today I missed a train, went outside and caught a bus. It never fails! I always even out!”

Kramer to Jerry: "You know who you are? Even Steven."

Jerry: “Elaine, don't get too down. Everything will even out. See, I have two friends. You were up, he was down. Now he's up, you're down. You see how it all evens out for me?”

Jerry Seinfeld the comedian is an Aires. I couldn’t find a birth day for the character, but I’d bet he’s a Libra.

Tuesday, September 20, 2011

The Great War & Modern Memory: The Sublime Gash of War Horse


"Every war is ironic because every war is worse than expected... Its means are so melodramatically disproportionate to its ends... Millions were destroyed because two people, the Archduke Francis Ferdinand and his consort, were shot... But the Great War was more ironic than any before or since. It was a hideous embarrassment to the prevailing meliorist myth... It reversed the idea of Progress."
Paul Fussell

I entered college with an attachment to the First World War, if that’s what you can call it, because of T.E.Lawrence. I had read through Seven Pillars of Wisdom in high school and fallen under its heady romantic spell. Lawrence was a gifted writer who embodied the English literary tradition from the inside, and he wrote his own mythology simply because he could: he knew the power of the trope and how to wield it (and saw an opportunity in the newsreels of his own personal Barnum, Lowell Thomas).

To my Freshmen amazement, there was a class on World War One Literature, taught by Paul Fussell, based on his own National Book Award-winning The Great War and Modern Memory. It’s a cultural study/close reading of the literary tradition before WW1—particularly poetry--- and how it changed during and in relation to the war. We didn’t study Lawrence, but I discovered the vast and profound literature of Siegfried Sassoon, Robert Graves, Wilfred Owen, and the work of Sir Martin Gilbert, John Keegan, and Bernard Bergonzi.

All of which came to mind at a recent performance of War Horse at the Vivian Beaumont Theater.

The Western Front

The play is an adaptation of a children’s book written by Michael Morpurgo and published in the UK in 1982. Morpurgo knew a WWI veteran from his local pub who had been in the Devon Yeomanry and worked with horses. He wrote the book to tell of the experience of the last war with substantial cavalry forces, and all the suffering modern warfare brought to man and beast alike.

And so the story of Albert, a boy from a poor farm family, and Joey, the horse he raises from a foal amid a tangle of family tensions and sadness. His dad sells Joey into the army, and when the captain who promised he would look after Joey is killed, Albert runs away to France and joins the Yeomentry to find him.

The play is engaging on many levels. The puppetry of the horses is as spectacular as everyone says it is. It doesn’t take long before you don’t even “see” the talented puppeteers. The story draws you in, although in the second act it devolves into clichés, and the French mother and child are shrill and painfully overacted. The battle scenes are compelling, with their flashes of painfully bright lights and seriously loud shell explosions.

But for me, the piercing artistic element is Rae Smith’s gash of a rear projection screen that hovers above the action.

The Rend in History

On her website Smith calls the screen shape a “torn page,” referencing the sketchbook of Captain Nicholls, who draws Joey. Sketches of the town and the farm are projected there as scenery, as well as more abstract images for the shell explosions (which one critic saw as Vorticism echoing the short-lived literary magazine, BLAST).

But it’s so much more than that, even if not by conscious design. It symbolizes the great gaping gash in the universe that was World War One, which cut the 20th century off from the rest of history. The carnage was so unspeakable—-from the use of gas warfare to the 500,000 who died in the mud of Passchendale--that civilization shattered.

Artists captured that shatter, not always consciously, but simply because it was real. T.S. Eliot reflects the rupture in The Waste Land: April is no longer the sweetest month (Chaucer) but the cruelest, breeding lilacs out of the dead. Voices are adrift; I will show you fear in a handful of dust.

Hemingway knew that language could no longer be trusted, language that once talked of the glory of dying for your country. He could use no adjectives, no adverbs, just safe, simple words. Isn’t it pretty to think so.

And so that piece of stagecraft is a startling visual, in the 21st century, of where we have been. It’s the rend in the universe we are all still suffering from. I felt comforted that this concept was an element in the play. In the middle of one of the battle scenes that gash is filled with a projection of enormous poppies. It's a beautiful visual moment.


Who’s War Was It Anyway?


Who'll sing the anthem and who'll tell the story?
Will the line hold? Will it scatter and run?
Will we at last be united in glory?
Only remembered for what we have done


I first saw War Horse in London, in the West End in July 2009. As the second act battle scenes come to a close, I kept waiting for some reference to the American troops. Not a whole scene, just a line of dialogue about the Yanks coming over. Just some nod that something happened between the battles in France and Armistice Day.

But there was nothing. This struck me as bad history at the least, and a terrible cultural snub at worst. Especially in a play that opens with a man singing “Who’ll tell the story? Only remembered for what we have done.” So this story does not remember the American allies.

The forgetting goes beyond the play. Last year before the 2012 London Olympics I wrote about my recent experiences of Englishmen of a certain age honestly not knowing the Americans fought in World War 1, offering a photo of King George pinning a medal on an American Doughboy, and the list of the 8 American World War 1 cemeteries in France, Belgium, and England.


Paul Fussell offers some explanation for this cultural blind spot in an intro he wrote for the 25th anniversary edition of his Great War & Modern Memory in 2000. He was commenting on the reception his book was given twenty-five years earlier:

“From England came evidence of further annoyance at my book. There, some readers seemed to feel that no American has a right to probe into what they regard as their business.”

National identity is a deep-seeded construct. Tribal feelings can only be “civilized” out of us so far. That’s something I can respect.

Saturday, September 10, 2011

Why I Want to Remember




Because the tales of the few survivors from near the impact zones are harrowing beyond belief. The 911 tapes released reveal the desperate, terrified people calling for help, screaming about the heat and the flames and the smoke, begging for someone to “come get us,” until they succumbed to the fire or died when the towers collapsed.

Because the tales of people who weren’t killed on impact had to choose——try to go higher in the buildings because they couldn’t breathe or battle to walk down-—and too many chose to go up and walked to their certain death.

Of course there are layers and layers of issues and reality to “9/11.” And the cultural personification of all of that can sometimes be bewildering, tedious, crass, empty-feeling.

But none of that is important. All that matters is remembering, as best we can, that so many of the nearly 3,000 had the agony of knowing they were in mortal danger---whether trapped in an airplane hijacked by terrorists, or in the Twin Towers or the Pentagon--with absolutely no preparation or context, and they died violently, into oblivion. So few bodies were recovered from any of the attack areas.

Our brothers and sisters were murdered for no other reason than that they worked in one of the world’s great symbols of freedom.

We simply can’t remember these people enough.

Rest in peace.

(Flag from back page of NYTimes from Sept. 16, 2001)

Friday, September 9, 2011