Click on the headline to link to a Wikipedia entry for the crime noir, Dark City.
DVD Review
Dark City, starring Charleston Heston, Lizabeth Scott, Dean Jagger, Jack Webb, Harry Morgan, Paramount Pictures, 1950
No question after running through a seemingly endless run of crime noir films that not all the films in the genre are equal. The classics like The Big Sleep, Maltese Falcon, Gilda, and Out Of The Past speak for themselves with fine plot lines and slightly awry femme fatales to brighten things up. The film under review, although not in that category, could have been better had it not gotten caught up in some melodramatic flim-flam and stayed the hard-boiled, gritty classic grifter story that it set out to be. The outlines of the plot surely gave more promise that was delivered.
Down in those post-World War II means streets out West a lot of war-weary, war-tousled, war-scarred guys tried to do, well, the best they could. And the best they could usually was some grifter scheme to make a score off some bozo mark and hit the road, hit the road fast, and leave no forwarding address. That is the substance of the plot here. Ex-soldier (World War II just in case you might have forgotten, or were not sure what war I was talking about since there are many to choose from these days) Dan Healy (played in an understated, post-war alienated, existential man kind of way by Charleston Heston before he became Moses or Ben Hur or whatever big screen techno-color champ he became later) make his downwardly mobile way to grifter-dom in some seedy skid row town.
Dan's thing is gambling and, of course, for such an endeavor you need suckers with dough, easily parted with dough. And, as well, some confederates in on the scam. That is the case here as Dan and two fellow grifters (one played by Jack Webb before he got “religion” and became Sergeant Friday on the 1950s television show, Dragnet) rope in the sucker, a guy holding a five thousand dollar check (serious money, serious money down on mean street then) although the money is not actually his. Needless to say a fool and his dough are soon parted.
And that is where things start to go wrong with this film (as well as in the lives of our three gamblers). Filled with remorse the mark (played by Don DeFore) can’t face the horror of going back and confessing to his employers that he blew the dough on gambling, and instead hanged himself in his lonely room. Not for him the easy road of blowing town and changing his name, toughing it out, or even filing a court claim against the miscreant gamblers. In short, nobody, nobody this side of Hollywood takes the rope on the facts presented here. And then it gets worst. See the mark has an older dominating brother who watches out for him. Now this suicide business once he finds out the cause gets him a little exercised. See the brother is a stone-cold psycho and he is out to even the score-three dead, very dead gamblers.
Well, if you have been paying attention you know that Charleston Heston, the star and therefore kill-proof, is one of those marked for extinction so the other two get their just desserts and old Heston squeaks by after some close moments. The problem is when we see finally see who the killer-brother is there is no way that anyone could believe, or at least I could believe, that this gorilla was anybody’s brother. Come on.
The other place where the film goes wrong is on the inevitable love interest angle. Now Danny boy, who spends a good part of the film moodily cutting up old torches from back in the day, has a sort of girlfriend. A very fetching smoky-voiced chanteuse, Fran, (played by Lizabeth Scott) girlfriend who wears her heart on her sleeve for him, although he is mostly indifferent to her. No femme fatale here-just a what you see is what you get gal who can sing the blues, while having them over her man who done her wrong. The problem is that the chemistry between Danny and Fran is all wrong, all wrong alls ways. Fran is the girl next door and Danny, is well Danny, a grifter and the two don’t mix. And the plot gets further muddied when Dan, trying to get a lead of where the mark’s brother is, starts to play footsie with the dead mark's non-grieving widow. So you see now what I mean when I say that not all crime noirs are created equal.
Showing posts with label grifters. Show all posts
Showing posts with label grifters. Show all posts
Saturday, November 12, 2011
Saturday, August 13, 2011
The Stuff Of Dreams- Harry Madden, “The Grifter,” R.I.P.
“Hey, Peter Paul, long time no see,” yelled Harry Madden, seemingly forever known as “The Grifter” in North Adamsville childhood lore, from across Commonwealth Avenue near Kenmore Square, or better for those who do not know Boston, near Fenway Park, the home of the Red Sox, on a hot summer’s day in 1967. Peter Paul Markin, a little high and in a funk thinking about his latest also seemingly endless problems with Joyell, took a couple flashes to recognized the Grifter, not having seen him in a couple of years. A couple of youth-changing 1960s years so that the Grifter’s eternal sharkskin suit, white shirt, thin, really almost stringy brown tie, and pattern leather black shoes, shined to a mirror look see, short 1950s style hair, short, with no facial hair showing anywhere, seemed strange in the new faded blue jeans, ratty tee-shirt, long-haired, bearded, scraggly or not, hard rock night.
What was not strange was the Grifter’s request, or rather demand, as he crossed the street and met up with Peter Paul, “Markin, lend me a hundred dollars, I’ve got a hot deal, a hot grass (marijuana, for the innocent, or unworldly) deal going down coming in straight from Mexico where I can make a score, a big score, and be on easy street, finally on easy street just like I said I would be back in those North Adamsville days when we dreamed our dreams. I‘ll pay you back double, hey, why don’t you give me two hundred and we can be partners and split down the right down the middle.”
Markin, warily and wearily in equal parts, replied quickly that he did not have two hundred dollars but that he could see his way clear to lending the hundred, for old times sake, and because, frankly, although not every word of their conversation is being restated here, the Grifter held a spell over the usually rational Markin, and everybody else whom he had ever encountered for more than two minutes. That was the Grifter’s charm, and his claim to North Adamsville fame. So the pair made their way a few blocks over to Markin’s tiny student ghetto apartment on Westland Avenue to get the money, share a little something for the head(that aforementioned grass, okay) from Markin’s stash, and talk over old times. That was the last time Markin saw Harry Madden, blessed childhood Harry Madden, alive.
Who knows when Harry became the Grifter. Maybe it was when they, along with a couple of other Adamsville South Elementary School classmates, decided that they would sell Kool-Aid one hot summer’s day in the early 1950s, Markin was not exactly sure of the year but it was when they were very young, in order to raise enough of a stake to go down to Carter’s Variety Store and load up on penny candy. Penny candy being the po’ boy’s (and girl’s too) way of satisfying their sweet tooth by buying it by the piece. Things like tootsie rolls, necco wafers, mary janes (no, not dope), chunkies, and so on. Stuff that dear mothers would not throw by the bagful into shopping carts on shopping days.
Well, the boys set up the Kool-Aid stand without much of a problem, using an old wooden crate for a stand, placing cups, and pitchers of Orange and Grape Kool-Aid on display for thirsty customers to dare to walk by at two cents a glass. And that day was a very hot one, and the neighborhood kids had a great thirst, a great thirst for those pitchers of Kool-Aid coming off the playing fields behind the old school. Harry, and he was just Harry then, came up with the bright idea that they could increase their profits and make enough money to get ice cream cones rather than just cheapjack penny candy if they added water, and, well, really just diluted the product a little. And that night, as they licked their chocolate, strawberry or vanilla cones amid satisfied chuckles, Harry had a band of brother that would follow him through hell.
Maybe it was when the band of brothers was twelve, perhaps thirteen, Markin again was not sure, when Harry, now already called the Grifter, came up with the idea that they should pool their lunch money together and buy a lottery ticket. And to hear the Grifter give his spiel they would thereafter all be on easy street, and maybe have so much money that they could leave dreary old school for the has-beens (the Grifter’s term for anybody who did not get in on one his schemes, without questions). Sold, idea sold as usual, when the Grifter put on the press for one of his “hot” ideas.
And the idea was sold solidly when they “hit,” for twenty dollars a few days later. What the others, Markin included, did not know was that the Grifter had just said they had made that hit, what after all did they know of lotteries except as the road to easy street. The Grifter had used his own money as the first prize, and all the later funds collected from his boys that whole school year went into his pocket for his real scheme- working some shell game that he lost the money on when a couple of rough customers stole his dough after telling him the facts of life. The facts of life being in this case that Lefty Looney held the exclusive rights to who and who did not promote shell games in Adamsville. It was only by accident that one of the band, Bizarre Benny not Markin, found out from a cousin the details of the Grifter’s game, having lost a few bucks at it.
Or maybe it was just from the womb that the Grifter had some gene, some grifter X or Y or G gene, embedded in his life system that made him an such an easy mark for the lure of easy street, for the bright lights of “being somebody,” some easy way somebody. In any case, in the end it was not pretty, as Markin heard the story a couple of years after that Kenmore Square chance meeting (or was it), while the Grifter’s friends and family were standing around the funeral home talking about his various schemes over the years, and about how he could have been somebody, somebody no question, if he had spent just a little less time worrying about easy street.
Apparently Harry, Markin says let’s call him Harry now at least to show a little respect for what he could have been and to kind of wash the grifter thing away from his memory, actually did use Markin’s hundred dollars to finance a wholesale drug purchase (marijuana, ganja, herb, weed, whatever you may have called it then, or call it now), sold the stuff on the street, making enough of a profit to make a bigger purchase, and more profit. Things looked very much like easy street just then. And in those early days selling dope to students, young working class kids, and even adults who hated their day jobs was as easy as hanging around the Boston Common, whispering a few words, and having people flock to you like lemmings to the sea. Especially if you had the good stuff, stuff like Acapulco Gold and Columbian Red, and Harry had it.
Then, as usual, Harry had to go one step beyond, although if you follow a certain logic Harry’s idea was not that crazy, starting out anyway. See the streets were okay for a while, but the legal questions, the surfeit of dealers and the decline of quality was killing the street market, or driving it indoors. Harry, sensing this, decided that he would take his tidy profits and buy into distributorship, a free lance distributorship. In short, sell to the street dealers and go indoors himself. And for a while he was again successful but the two things happened. The drug cartels at the higher levels were squeezing the Harrys out and putting their own people in the distribution system, and were moreover beginning to push high profit cocaine more than weed, and the profit margins at Harry’s level for the good stuff (that Gold and Red) were declining. Harry could daily see himself sinking, sinking back into Adamsville oblivion.
Harry though was never short of ideas, especially ideas on the fly. Harry came up with an idea, actually two inter-related ideas. First, to raise more capital he would cut his dope, cut it with oregano, twigs, whatever, to his street dealers. Second, he would, cut through the system and bring his own dope out of Mexico. Now cutting dope was generally something street punks did, did for the weekend “hippies” who were glad, glad as hell, to even have the idea, the essence of dope. However for a distributor this was poison. Now a lot of people have the image that your average street dealer, dealing out of his or her pocket, is just a mellow head spreading the good news.
But see Harry was dealing with street dealers from the ghetto and barrio then and cutting product on them was well, death. And before long Harry was forced to leave town or face the unknown wrath of several important street dealers who would just as soon cut up a skinny white hustler like Harry as look at him. According to one report, one unconfirmed report but with the ring of truth about it, Harry was within a day or two of “as look at him.”
And, of course, by then Harry had, straight-out had, to flee to Mexico to get right. Of course as well in Mexico, Sonora, Mexico as it turned out, Harry found out to his regret, while one could have all the money in the drug world if one was not connected, and more importantly as the structure of the cartels was getting in order, not part of the distribution system you were out of luck. Harry, naturally, believed he was born under a lucky star, he was still alive wasn’t he, and tried to arrange a large purchase to take out of Mexico, to make things right in Boston. But see in Sonora every drug deal went through Pablo Sanchez, or it didn’t go down.
When Senor Sanchez, or one of his agents, heard about it (through a guy who worked for the guy Harry was putting the deal together with from what was gathered) Harry was a marked man. The rest of the story is plain as day to see coming and, moreover, Markin got pretty shaky telling the rest of it but they found Harry looking very much like Swiss cheese in a back-alley Sonora street, face down. Yes, Harry, R.I.P.
Note: Markin wants one and all to know that Harry Madden was a grifter not a grafter. Harry was no ten-percent man taking some small piece of some other guy’s action, and practically on bended knees praying for that cut. No Harry, like a true grifter, small or large, made his own deals, big or small, good or bad, and he was the guy who gave the cuts, if that was his pleasure. Got it.
What was not strange was the Grifter’s request, or rather demand, as he crossed the street and met up with Peter Paul, “Markin, lend me a hundred dollars, I’ve got a hot deal, a hot grass (marijuana, for the innocent, or unworldly) deal going down coming in straight from Mexico where I can make a score, a big score, and be on easy street, finally on easy street just like I said I would be back in those North Adamsville days when we dreamed our dreams. I‘ll pay you back double, hey, why don’t you give me two hundred and we can be partners and split down the right down the middle.”
Markin, warily and wearily in equal parts, replied quickly that he did not have two hundred dollars but that he could see his way clear to lending the hundred, for old times sake, and because, frankly, although not every word of their conversation is being restated here, the Grifter held a spell over the usually rational Markin, and everybody else whom he had ever encountered for more than two minutes. That was the Grifter’s charm, and his claim to North Adamsville fame. So the pair made their way a few blocks over to Markin’s tiny student ghetto apartment on Westland Avenue to get the money, share a little something for the head(that aforementioned grass, okay) from Markin’s stash, and talk over old times. That was the last time Markin saw Harry Madden, blessed childhood Harry Madden, alive.
Who knows when Harry became the Grifter. Maybe it was when they, along with a couple of other Adamsville South Elementary School classmates, decided that they would sell Kool-Aid one hot summer’s day in the early 1950s, Markin was not exactly sure of the year but it was when they were very young, in order to raise enough of a stake to go down to Carter’s Variety Store and load up on penny candy. Penny candy being the po’ boy’s (and girl’s too) way of satisfying their sweet tooth by buying it by the piece. Things like tootsie rolls, necco wafers, mary janes (no, not dope), chunkies, and so on. Stuff that dear mothers would not throw by the bagful into shopping carts on shopping days.
Well, the boys set up the Kool-Aid stand without much of a problem, using an old wooden crate for a stand, placing cups, and pitchers of Orange and Grape Kool-Aid on display for thirsty customers to dare to walk by at two cents a glass. And that day was a very hot one, and the neighborhood kids had a great thirst, a great thirst for those pitchers of Kool-Aid coming off the playing fields behind the old school. Harry, and he was just Harry then, came up with the bright idea that they could increase their profits and make enough money to get ice cream cones rather than just cheapjack penny candy if they added water, and, well, really just diluted the product a little. And that night, as they licked their chocolate, strawberry or vanilla cones amid satisfied chuckles, Harry had a band of brother that would follow him through hell.
Maybe it was when the band of brothers was twelve, perhaps thirteen, Markin again was not sure, when Harry, now already called the Grifter, came up with the idea that they should pool their lunch money together and buy a lottery ticket. And to hear the Grifter give his spiel they would thereafter all be on easy street, and maybe have so much money that they could leave dreary old school for the has-beens (the Grifter’s term for anybody who did not get in on one his schemes, without questions). Sold, idea sold as usual, when the Grifter put on the press for one of his “hot” ideas.
And the idea was sold solidly when they “hit,” for twenty dollars a few days later. What the others, Markin included, did not know was that the Grifter had just said they had made that hit, what after all did they know of lotteries except as the road to easy street. The Grifter had used his own money as the first prize, and all the later funds collected from his boys that whole school year went into his pocket for his real scheme- working some shell game that he lost the money on when a couple of rough customers stole his dough after telling him the facts of life. The facts of life being in this case that Lefty Looney held the exclusive rights to who and who did not promote shell games in Adamsville. It was only by accident that one of the band, Bizarre Benny not Markin, found out from a cousin the details of the Grifter’s game, having lost a few bucks at it.
Or maybe it was just from the womb that the Grifter had some gene, some grifter X or Y or G gene, embedded in his life system that made him an such an easy mark for the lure of easy street, for the bright lights of “being somebody,” some easy way somebody. In any case, in the end it was not pretty, as Markin heard the story a couple of years after that Kenmore Square chance meeting (or was it), while the Grifter’s friends and family were standing around the funeral home talking about his various schemes over the years, and about how he could have been somebody, somebody no question, if he had spent just a little less time worrying about easy street.
Apparently Harry, Markin says let’s call him Harry now at least to show a little respect for what he could have been and to kind of wash the grifter thing away from his memory, actually did use Markin’s hundred dollars to finance a wholesale drug purchase (marijuana, ganja, herb, weed, whatever you may have called it then, or call it now), sold the stuff on the street, making enough of a profit to make a bigger purchase, and more profit. Things looked very much like easy street just then. And in those early days selling dope to students, young working class kids, and even adults who hated their day jobs was as easy as hanging around the Boston Common, whispering a few words, and having people flock to you like lemmings to the sea. Especially if you had the good stuff, stuff like Acapulco Gold and Columbian Red, and Harry had it.
Then, as usual, Harry had to go one step beyond, although if you follow a certain logic Harry’s idea was not that crazy, starting out anyway. See the streets were okay for a while, but the legal questions, the surfeit of dealers and the decline of quality was killing the street market, or driving it indoors. Harry, sensing this, decided that he would take his tidy profits and buy into distributorship, a free lance distributorship. In short, sell to the street dealers and go indoors himself. And for a while he was again successful but the two things happened. The drug cartels at the higher levels were squeezing the Harrys out and putting their own people in the distribution system, and were moreover beginning to push high profit cocaine more than weed, and the profit margins at Harry’s level for the good stuff (that Gold and Red) were declining. Harry could daily see himself sinking, sinking back into Adamsville oblivion.
Harry though was never short of ideas, especially ideas on the fly. Harry came up with an idea, actually two inter-related ideas. First, to raise more capital he would cut his dope, cut it with oregano, twigs, whatever, to his street dealers. Second, he would, cut through the system and bring his own dope out of Mexico. Now cutting dope was generally something street punks did, did for the weekend “hippies” who were glad, glad as hell, to even have the idea, the essence of dope. However for a distributor this was poison. Now a lot of people have the image that your average street dealer, dealing out of his or her pocket, is just a mellow head spreading the good news.
But see Harry was dealing with street dealers from the ghetto and barrio then and cutting product on them was well, death. And before long Harry was forced to leave town or face the unknown wrath of several important street dealers who would just as soon cut up a skinny white hustler like Harry as look at him. According to one report, one unconfirmed report but with the ring of truth about it, Harry was within a day or two of “as look at him.”
And, of course, by then Harry had, straight-out had, to flee to Mexico to get right. Of course as well in Mexico, Sonora, Mexico as it turned out, Harry found out to his regret, while one could have all the money in the drug world if one was not connected, and more importantly as the structure of the cartels was getting in order, not part of the distribution system you were out of luck. Harry, naturally, believed he was born under a lucky star, he was still alive wasn’t he, and tried to arrange a large purchase to take out of Mexico, to make things right in Boston. But see in Sonora every drug deal went through Pablo Sanchez, or it didn’t go down.
When Senor Sanchez, or one of his agents, heard about it (through a guy who worked for the guy Harry was putting the deal together with from what was gathered) Harry was a marked man. The rest of the story is plain as day to see coming and, moreover, Markin got pretty shaky telling the rest of it but they found Harry looking very much like Swiss cheese in a back-alley Sonora street, face down. Yes, Harry, R.I.P.
Note: Markin wants one and all to know that Harry Madden was a grifter not a grafter. Harry was no ten-percent man taking some small piece of some other guy’s action, and practically on bended knees praying for that cut. No Harry, like a true grifter, small or large, made his own deals, big or small, good or bad, and he was the guy who gave the cuts, if that was his pleasure. Got it.
Thursday, August 11, 2011
Out In The 1940s Crime Noir Night-The Stuff Of Dreams- Harry’s Dreams- Richard Widmark's “Night And The City"
Click on the headline to link to a Wikipedia entry for the film noir Night and the City.
DVD Review
Night And The City , Richard Widmark, Gene Tierney, Herbert Lom, directed by George Dassin, Paramount Studios, 1946
No question I am a film noir, especially a crime film noir, aficionado. Recently I have been on a tear reviewing various crime noir efforts and drawing comparisons between the ones that “speak” to me and those that, perhaps, should have been better left on the cutting room floor. The classics are easy: films like Out Of the Past, Gilda, The Lady From Shang-hai, and The Big Sleep need no additional comment from me as their plot lines stand on their own merits. Others, because they have a fetching, or wicked, for that matter, femme fatale to muddy the waters also get a pass, or as in Gilda a double nod for the plot and for the femme fatale. (Be still my heart, at the thought of Rita Hayworth, ah, dancing and singing, okay lip- synching, and looking, well, fetching while doing those difficult tasks.) Some, like the film reviewed here, Night and the City, while not strong on plot line or femme fatale-ness (ouch) get a nod for other reasons. Little reasons like having a young Harry Fabian, oops, Richard Widmark, practically scream out his grifter’s dreams with his expressive face. And have that face, the faces of other characters in the film, and places beautifully directed and captured on film. Not bad for a B-rated movie.
But now to the characterizations that make this such an interesting and well-acted (by Richard Widmark anyway) film. You know, know deep in your bones, if you were brought up in a working class or poor neighborhood, and maybe in other neighborhoods too, the grifter Harry Fabian played here by Widmark, The guy, and it was almost always a guy back in the days, who was smart, well smart enough, friendly, almost too friendly, always willing to accept a little dough, a little touch dough for his endeavor, always with a little larceny in his heart, always looking for easy street, always looking for the short cut to glory, and never quite getting there. And always, always, having to be fast of foot, and fast of sneak away to stay just the south side of the law when that surefire scheme also goes south. That’s our Harry.
And Harry was the guy that your mother warned you about from early on to not be like or you would "wind up just like him." And that was the magic mantra that held you in check, for a while anyway until you got your own Harry thoughts. And if I had to visualize my neighborhood Harrys then one Richard Widmark, a young Widmark would not be a bad way to do so. No question jut-jawed, slightly hazy wide-eyed, made for no heavy-lifting, light of foot and made to slip into small dark places Widmark would make the top of any crime noir aficionados idea of guy that fits the bill in this genre.
And grifter Harry had a dream which is central to the plot. The dream like those of a million other grifters, drifters and midnight sifters, hell just every poor guy looking to get out from under, to get out from under, and to, as Harry constantly put it, “be somebody.” Yes, that's the ticket, and that idea drives the story line (and Harry’s angst). See Harry’s dreams, Harry's immediate post World War II London-set dreams are not earth- shattering to say the least, at least on the face of it. Just to corner the wrestling racket market and become an important impresario to the plebeian masses that throng to such events. Problem is, as is always the grifter’s fate, the market s already cornered, already sewed up and already underworld muscle-protected.
So Harry tried an end-around using the head wrestling mobster’s (Herbert Lom) father to promote real wrestling, that is Greco-Roman wrestling which is said head mobster’s father’s specialty. Yes, I know already you can see Harry’s problem a mile away, even if he cannot. Other than about twelve hard-core Olympic Games aficionados nobody cares, wants to care, or will ever care about Greco-Roman wrestling. Certainly not against the masked marvel, bad boys, “real” wrestling that is (now) driven by teenage boys (and teenage girls, a little). But that is Harry’s opening and he is bound to take it, working his “magic” on the father who is some kind of Greco-roman aficionado maniac himself. The clash is on, including a stellar defense of Greco-Roman wrestling in the flesh by the old man.
Of course like all old men who try to do a young man’s work he overexerts himself and dies after the heat of battle. Such things happen, but for Harry this is the kiss of death because as it turns out head mobster was fond of his father, very fond. Harry’s number is therefore up. And watching the scenes and gritty faces of the actors in the process of that number being up drives the last portion of the film and makes this a true noir classic.
Note: No femme fatales here, obviously, but there are women who enter Harry’s life. One, an unhappy wife of a mid-level grafter, wants to use Harry to get out from under her own heavy burden of marriage to said grafter. More importantly, and a little incongruously, Harry has a straight girlfriend, of sorts, played by Gene Tierney, who loves/protects him through think and thin. And who Harry doesn’t have enough sense to stick by, except when he is in trouble- needing quick dough mainly. It was painful from my own knowledge of such things to see Harry rummaging through her pocketbook looking for dough to make some awry deal right, to allow him to “be somebody” for another five minutes. Whoa.
DVD Review
Night And The City , Richard Widmark, Gene Tierney, Herbert Lom, directed by George Dassin, Paramount Studios, 1946
No question I am a film noir, especially a crime film noir, aficionado. Recently I have been on a tear reviewing various crime noir efforts and drawing comparisons between the ones that “speak” to me and those that, perhaps, should have been better left on the cutting room floor. The classics are easy: films like Out Of the Past, Gilda, The Lady From Shang-hai, and The Big Sleep need no additional comment from me as their plot lines stand on their own merits. Others, because they have a fetching, or wicked, for that matter, femme fatale to muddy the waters also get a pass, or as in Gilda a double nod for the plot and for the femme fatale. (Be still my heart, at the thought of Rita Hayworth, ah, dancing and singing, okay lip- synching, and looking, well, fetching while doing those difficult tasks.) Some, like the film reviewed here, Night and the City, while not strong on plot line or femme fatale-ness (ouch) get a nod for other reasons. Little reasons like having a young Harry Fabian, oops, Richard Widmark, practically scream out his grifter’s dreams with his expressive face. And have that face, the faces of other characters in the film, and places beautifully directed and captured on film. Not bad for a B-rated movie.
But now to the characterizations that make this such an interesting and well-acted (by Richard Widmark anyway) film. You know, know deep in your bones, if you were brought up in a working class or poor neighborhood, and maybe in other neighborhoods too, the grifter Harry Fabian played here by Widmark, The guy, and it was almost always a guy back in the days, who was smart, well smart enough, friendly, almost too friendly, always willing to accept a little dough, a little touch dough for his endeavor, always with a little larceny in his heart, always looking for easy street, always looking for the short cut to glory, and never quite getting there. And always, always, having to be fast of foot, and fast of sneak away to stay just the south side of the law when that surefire scheme also goes south. That’s our Harry.
And Harry was the guy that your mother warned you about from early on to not be like or you would "wind up just like him." And that was the magic mantra that held you in check, for a while anyway until you got your own Harry thoughts. And if I had to visualize my neighborhood Harrys then one Richard Widmark, a young Widmark would not be a bad way to do so. No question jut-jawed, slightly hazy wide-eyed, made for no heavy-lifting, light of foot and made to slip into small dark places Widmark would make the top of any crime noir aficionados idea of guy that fits the bill in this genre.
And grifter Harry had a dream which is central to the plot. The dream like those of a million other grifters, drifters and midnight sifters, hell just every poor guy looking to get out from under, to get out from under, and to, as Harry constantly put it, “be somebody.” Yes, that's the ticket, and that idea drives the story line (and Harry’s angst). See Harry’s dreams, Harry's immediate post World War II London-set dreams are not earth- shattering to say the least, at least on the face of it. Just to corner the wrestling racket market and become an important impresario to the plebeian masses that throng to such events. Problem is, as is always the grifter’s fate, the market s already cornered, already sewed up and already underworld muscle-protected.
So Harry tried an end-around using the head wrestling mobster’s (Herbert Lom) father to promote real wrestling, that is Greco-Roman wrestling which is said head mobster’s father’s specialty. Yes, I know already you can see Harry’s problem a mile away, even if he cannot. Other than about twelve hard-core Olympic Games aficionados nobody cares, wants to care, or will ever care about Greco-Roman wrestling. Certainly not against the masked marvel, bad boys, “real” wrestling that is (now) driven by teenage boys (and teenage girls, a little). But that is Harry’s opening and he is bound to take it, working his “magic” on the father who is some kind of Greco-roman aficionado maniac himself. The clash is on, including a stellar defense of Greco-Roman wrestling in the flesh by the old man.
Of course like all old men who try to do a young man’s work he overexerts himself and dies after the heat of battle. Such things happen, but for Harry this is the kiss of death because as it turns out head mobster was fond of his father, very fond. Harry’s number is therefore up. And watching the scenes and gritty faces of the actors in the process of that number being up drives the last portion of the film and makes this a true noir classic.
Note: No femme fatales here, obviously, but there are women who enter Harry’s life. One, an unhappy wife of a mid-level grafter, wants to use Harry to get out from under her own heavy burden of marriage to said grafter. More importantly, and a little incongruously, Harry has a straight girlfriend, of sorts, played by Gene Tierney, who loves/protects him through think and thin. And who Harry doesn’t have enough sense to stick by, except when he is in trouble- needing quick dough mainly. It was painful from my own knowledge of such things to see Harry rummaging through her pocketbook looking for dough to make some awry deal right, to allow him to “be somebody” for another five minutes. Whoa.
Monday, August 8, 2011
The Ghost Classmate-For P., North Adamsville Class Of 1964
Click on the headline to link to a YouTube film clip of Arlo Guthrie singing a song made famous by his father, Woody, Hobo's Lullaby.
Peter Paul Markin comment:
Every once in a while I am reminded that it has been more than 45 years since we, the Class of 1964, went though the hallowed halls of the old school, old North Adamsville High School. In 2010, when this is written, those of us that went to North Adamsville Junior High School (now Middle School) are facing our 50th anniversary since graduation. Those who went to Adamsville Central get a year's reprieve since your junior high school days extended into ninth grade for some reason, but your day is coming.
Next year will mark 50 years since we all merged together, or those of us on the river side of the Waterview Street border line that separated us from the unspeakable, unfathomable, unlamented, savages of Adamsville High School unlike the genteel intellectuals and their hangers-on who were privileged to go to North, to form the Class of 1964. To mark the occasion I have written a little something.
Or rather Frankie Riley (Francis Xavier Riley, officially), you remember Frankie, the king hell king of the North Adamsville school boy be-bop night and resident king corner boy at Salducci’s Pizza Parlor “up the Downs” (no further explanation necessary on the phrase, I hope.) has told me a story that I have written down here. I wrote it but it is strictly Frankie’s take on the thing, just like in the old days when I was his unpaid, unappreciated “scribe” and “go-for.” Christ that mad man owes me big time, big time indeed, for “creating” his legend almost out of whole cloth and he has been soaking up the glory ever since. Some day if there is any justice in this sorry old world the real Frankie story will be told, no fiction, and no holds barred.
If you don’t, don’t remember Frankie that is, I have written a few stories that you can peruse at your leisure. Frankie, just to give a quick "thumbnail" sketch of his doing after high school did not wind up in Walpole State Correctional Institution (now Cedar Junction if you have been out of town for a while) as everybody in North Adamsville, except his corner boys, well except me anyway, expected, graduated from college, went to law school and became a successful lawyer and leading behind-the-scene bigwig in state Democratic Party politics. Go figure, right. There were a few “bumps” along the way but overall he came out of things, as per Frankie usual, without a scratch. That last part, that part about his politics, is important because as a good “politico,” a good bourgeois politico as I would call him (holding my nose while saying it but he knows my position so it’s okay to say that) Frankie always kept his ear to the ground about the doings in North Adamsville, and about his fellow 1964 classmates. The following tale, although not as light-heartedly written as some of my earlier screeds, my earlier Frankie-influenced tales, I believe, makes a point that is worth thinking about.
****
Not everyone who went through our old high school, our beloved, misbegotten North Adamsville High School, survived to tell the tale, or at least the way the tale was suppose to be told, or how they wanted it told. Moreover, we, as a class, after over 45 years, are long enough in the tooth to have accumulated a growing list of causalities, of the wounded and broken, of the beaten down and disheveled. This story, short note really, is going to be about one of our classmates who got lost in the shuffle somehow and it is only here, and only by me [meaning Frankie-PPM] that he will get his epochal struggles voiced. I will not mention his name for you may have sat across from him in class, or given him what passed for "the nod" in the hallway back in the day, or had something of a 'crush' on him because from pictures of him taken back then he certainly had that 'something' physically all the girls were swooning over. Let's just call him, as the title suggests- the ghost classmate (and in the interest of saving precious space in order to tell his story, shorten it to “GC”).
Now I will surprise you, I think. I did not know GC in our school days; at least I have no recollection of him from that time. And you know I knew, as a class officer and as resident king hell king of the Salducci’s Pizza parlor corner boy be-bop night as goofy Markin likes to describe me (and not half-badly at that, come to think of it) I met him, or rather he met me, when we were in our early twenties in front one of the skid row run-down "hotels" (okay flophouse) that dotted the low-rent (then) streets of the waterfront of San Francisco. My reason for being there is a tale for another day, after all this is GC's story, but rest assured I was not in that locale on vacation, nor was he. [Frankie, as he will freely admit now had a drinking/drug problem, a 12-step-sized problem-PPM] Ironically, at our first meeting we were both in the process of pan-handling the same area when the light of recognition hit him. After the usual exchange of personal information, and assorted other lies we spent some weeks together doing, as they say, “the best we could.” Then, one night, he split taking all his, and my, worldly possessions.
Fast forward. A few years later, when I was in significantly better circumstances, if not exactly in the clover, I was walking down Beacon Street in Boston when someone across the street on the Common started to yell my name. Yelled it out, to be honest, in a way that I would usually look down at my shoes, or elsewhere, to avoid having to make any sign of recognition. Well, the long and short of it, was that it was old GC, looking even more disheveled than when I had last seen him. After an exchange of personal data and other details, including a fair representation of lies on both sides, I bought him some dinner. At my starting to be “old haunt”, the Parker House, just to show the swells and ward-heelers I was still a “man of the people.” [PPM, don’t say a word- FXR] The important thing to know, however, is that from that day until very recently I have always been in touch with the man as he has descended further and further into the depths of the skid row ethos. But enough of the rough out-line, let me get to the heart of the matter.
I have left GC's circumstances deliberated vague until now. The reader might assume, given the circumstances of our first meeting, GC to be a man driven to the edge by alcohol, or drugs or any of the other common maladies that break a man's body, or his spirit. Those we can relate to, if not fully understand. No, GC was broken by his own almost psychotically-driven need to succeed, and in the process constantly failing. He had been, a number of times, diagnosed as clinically depressed. I am not sure I can convey, this side of a psychiatrist's couch, that condition in language the reader could comprehend. All that I can say is this man was so inside himself with the need to do the right thing, the honorable thing, and the 'not bad' thing, that he never could do any of those. What a terrible rock to have to keep rolling up the mountain.
Here, however, to my mind is the real tragic part of this story, and the one point that I hope you will take away from this narration. GC and I talked many times about our youthful dreams, about how we were going to conquer this or that "mountain" and go on to the next one, how we would right this or that grievous wrong in the world, and about the need, to borrow the English revolutionary and poet John Milton's words, to discover the "paradise within, happier far". [This last part is strictly PPM, I would not be caught dead reading poetry, not damn English poetry-FXR.] Over the years though GC's dreams got measurably smaller and smaller, and then smaller still until there were no more dreams, only existence. That, my friends, is the stuff of tragedy, not conjured up Shakespearean (blasted Englishman) tragedy, but real tragedy.
Hobo's Lullaby
by Goebel Reeves
Go to sleep you weary hobo
Let the towns drift slowly by
Can't you hear the steel rail humming
That's a hobo's lullaby
Do not think about tomorrow
Let tomorrow come and go
Tonight you're in a nice warm boxcar
Safe from all the wind and snow
I know the police cause you trouble
They cause trouble everywhere
But when you die and go to heaven
You won't find no policemen there
I know your clothes are torn and ragged
And your hair is turning grey
Lift your head and smile at trouble
You'll find happiness some day
So go to sleep you weary hobo
Let the towns drift slowly by
Don't you feel the steel rail humming
That's a hobo's lullaby
©1961,1962 (Renewed) Fall River Music, Inc. (BMI)
All Rights Reserved.
Peter Paul Markin comment:
Every once in a while I am reminded that it has been more than 45 years since we, the Class of 1964, went though the hallowed halls of the old school, old North Adamsville High School. In 2010, when this is written, those of us that went to North Adamsville Junior High School (now Middle School) are facing our 50th anniversary since graduation. Those who went to Adamsville Central get a year's reprieve since your junior high school days extended into ninth grade for some reason, but your day is coming.
Next year will mark 50 years since we all merged together, or those of us on the river side of the Waterview Street border line that separated us from the unspeakable, unfathomable, unlamented, savages of Adamsville High School unlike the genteel intellectuals and their hangers-on who were privileged to go to North, to form the Class of 1964. To mark the occasion I have written a little something.
Or rather Frankie Riley (Francis Xavier Riley, officially), you remember Frankie, the king hell king of the North Adamsville school boy be-bop night and resident king corner boy at Salducci’s Pizza Parlor “up the Downs” (no further explanation necessary on the phrase, I hope.) has told me a story that I have written down here. I wrote it but it is strictly Frankie’s take on the thing, just like in the old days when I was his unpaid, unappreciated “scribe” and “go-for.” Christ that mad man owes me big time, big time indeed, for “creating” his legend almost out of whole cloth and he has been soaking up the glory ever since. Some day if there is any justice in this sorry old world the real Frankie story will be told, no fiction, and no holds barred.
If you don’t, don’t remember Frankie that is, I have written a few stories that you can peruse at your leisure. Frankie, just to give a quick "thumbnail" sketch of his doing after high school did not wind up in Walpole State Correctional Institution (now Cedar Junction if you have been out of town for a while) as everybody in North Adamsville, except his corner boys, well except me anyway, expected, graduated from college, went to law school and became a successful lawyer and leading behind-the-scene bigwig in state Democratic Party politics. Go figure, right. There were a few “bumps” along the way but overall he came out of things, as per Frankie usual, without a scratch. That last part, that part about his politics, is important because as a good “politico,” a good bourgeois politico as I would call him (holding my nose while saying it but he knows my position so it’s okay to say that) Frankie always kept his ear to the ground about the doings in North Adamsville, and about his fellow 1964 classmates. The following tale, although not as light-heartedly written as some of my earlier screeds, my earlier Frankie-influenced tales, I believe, makes a point that is worth thinking about.
****
Not everyone who went through our old high school, our beloved, misbegotten North Adamsville High School, survived to tell the tale, or at least the way the tale was suppose to be told, or how they wanted it told. Moreover, we, as a class, after over 45 years, are long enough in the tooth to have accumulated a growing list of causalities, of the wounded and broken, of the beaten down and disheveled. This story, short note really, is going to be about one of our classmates who got lost in the shuffle somehow and it is only here, and only by me [meaning Frankie-PPM] that he will get his epochal struggles voiced. I will not mention his name for you may have sat across from him in class, or given him what passed for "the nod" in the hallway back in the day, or had something of a 'crush' on him because from pictures of him taken back then he certainly had that 'something' physically all the girls were swooning over. Let's just call him, as the title suggests- the ghost classmate (and in the interest of saving precious space in order to tell his story, shorten it to “GC”).
Now I will surprise you, I think. I did not know GC in our school days; at least I have no recollection of him from that time. And you know I knew, as a class officer and as resident king hell king of the Salducci’s Pizza parlor corner boy be-bop night as goofy Markin likes to describe me (and not half-badly at that, come to think of it) I met him, or rather he met me, when we were in our early twenties in front one of the skid row run-down "hotels" (okay flophouse) that dotted the low-rent (then) streets of the waterfront of San Francisco. My reason for being there is a tale for another day, after all this is GC's story, but rest assured I was not in that locale on vacation, nor was he. [Frankie, as he will freely admit now had a drinking/drug problem, a 12-step-sized problem-PPM] Ironically, at our first meeting we were both in the process of pan-handling the same area when the light of recognition hit him. After the usual exchange of personal information, and assorted other lies we spent some weeks together doing, as they say, “the best we could.” Then, one night, he split taking all his, and my, worldly possessions.
Fast forward. A few years later, when I was in significantly better circumstances, if not exactly in the clover, I was walking down Beacon Street in Boston when someone across the street on the Common started to yell my name. Yelled it out, to be honest, in a way that I would usually look down at my shoes, or elsewhere, to avoid having to make any sign of recognition. Well, the long and short of it, was that it was old GC, looking even more disheveled than when I had last seen him. After an exchange of personal data and other details, including a fair representation of lies on both sides, I bought him some dinner. At my starting to be “old haunt”, the Parker House, just to show the swells and ward-heelers I was still a “man of the people.” [PPM, don’t say a word- FXR] The important thing to know, however, is that from that day until very recently I have always been in touch with the man as he has descended further and further into the depths of the skid row ethos. But enough of the rough out-line, let me get to the heart of the matter.
I have left GC's circumstances deliberated vague until now. The reader might assume, given the circumstances of our first meeting, GC to be a man driven to the edge by alcohol, or drugs or any of the other common maladies that break a man's body, or his spirit. Those we can relate to, if not fully understand. No, GC was broken by his own almost psychotically-driven need to succeed, and in the process constantly failing. He had been, a number of times, diagnosed as clinically depressed. I am not sure I can convey, this side of a psychiatrist's couch, that condition in language the reader could comprehend. All that I can say is this man was so inside himself with the need to do the right thing, the honorable thing, and the 'not bad' thing, that he never could do any of those. What a terrible rock to have to keep rolling up the mountain.
Here, however, to my mind is the real tragic part of this story, and the one point that I hope you will take away from this narration. GC and I talked many times about our youthful dreams, about how we were going to conquer this or that "mountain" and go on to the next one, how we would right this or that grievous wrong in the world, and about the need, to borrow the English revolutionary and poet John Milton's words, to discover the "paradise within, happier far". [This last part is strictly PPM, I would not be caught dead reading poetry, not damn English poetry-FXR.] Over the years though GC's dreams got measurably smaller and smaller, and then smaller still until there were no more dreams, only existence. That, my friends, is the stuff of tragedy, not conjured up Shakespearean (blasted Englishman) tragedy, but real tragedy.
Hobo's Lullaby
by Goebel Reeves
Go to sleep you weary hobo
Let the towns drift slowly by
Can't you hear the steel rail humming
That's a hobo's lullaby
Do not think about tomorrow
Let tomorrow come and go
Tonight you're in a nice warm boxcar
Safe from all the wind and snow
I know the police cause you trouble
They cause trouble everywhere
But when you die and go to heaven
You won't find no policemen there
I know your clothes are torn and ragged
And your hair is turning grey
Lift your head and smile at trouble
You'll find happiness some day
So go to sleep you weary hobo
Let the towns drift slowly by
Don't you feel the steel rail humming
That's a hobo's lullaby
©1961,1962 (Renewed) Fall River Music, Inc. (BMI)
All Rights Reserved.
Thursday, July 28, 2011
Out In The 1940s Crime Noir Night-“The Naked City”-A Film Review
Click on the headline to link to a Wikipedia entry for The Naked City.
DVD Review
The Naked City, starring Barry Fitzgerald, Howard Duff, Universal International, 1946
No question I am a film noir, especially a crime film noir, aficionado. Recently I have been on a tear reviewing various crime noir efforts and drawing comparisons between the ones that “speak” to me and those that, perhaps, should have been better left on the cutting room floor. The classics are easy and need no additional comment from me as their plot lines stand on their own merits. Others, because they have a fetching, or wicked, for that matter, femme fatale to muddy the waters also get a pass. Some, such as the film under review from 1946, The Naked City, offer neither although the stark New York City cinematography and the voice-over narration place it firmly in the genre. This film is that old noir stand-by from the period, the police procedural with its never-ending cautionary tale about how “crime does not pay.”
A little plot summary is in order. Yes, New York City, well the New York City of the 1940s and 1950s had eight million stories, although maybe really just two, rich and poor, or maybe better getting richer or sliding down poorer, but that is the subject for another day. Of course telling eight million stories, other than as a few seconds relief slice-of-life scenes, would make me very sleepy, very sleepy indeed. So the plot line reduces the sleepiness to a minimum by telling one story, or rather one murder story that wraps quite a few people in its tentacles, including one major city homicide squad. A squad led by perennial Irish actor Barry Fitzgerald as the foot-sore but worldly-wise detective in charge. The grift (profit motive) that drives the story line is stealing jewelry from those self-same getting richer New York City swells, including an inside society swell finger man. But things turn awry when one drop-dead beautiful model (maybe I should not have used just that phrase, but I will let it stand) winds up being murdered by her some of her thieving confederates.
The twists and turns, such as they are, revolve around a mystery man lover, suitor, whatever it was never really clear, except he was daffy over that drop-dead beautiful model, and finding him as the logical guy to have done, or ordered the murder. In New Jack City and elsewhere that is hard to do, one and one half hours hard to do. But in the end Barry and his homicide squad cohorts get their man, a strangely agile bad man for noir who are usually just straight thugs. And the city moves on to the next…murder, mayhem or whatever. Not exactly my cup of tea in noir but if I recall this film was the model for a television series of the same name so somebody must have though well of it beyond the slice-of-New York life scenes interspersed in the story and the great black and white cinematography of the Big Apple just after the end of World War II.
DVD Review
The Naked City, starring Barry Fitzgerald, Howard Duff, Universal International, 1946
No question I am a film noir, especially a crime film noir, aficionado. Recently I have been on a tear reviewing various crime noir efforts and drawing comparisons between the ones that “speak” to me and those that, perhaps, should have been better left on the cutting room floor. The classics are easy and need no additional comment from me as their plot lines stand on their own merits. Others, because they have a fetching, or wicked, for that matter, femme fatale to muddy the waters also get a pass. Some, such as the film under review from 1946, The Naked City, offer neither although the stark New York City cinematography and the voice-over narration place it firmly in the genre. This film is that old noir stand-by from the period, the police procedural with its never-ending cautionary tale about how “crime does not pay.”
A little plot summary is in order. Yes, New York City, well the New York City of the 1940s and 1950s had eight million stories, although maybe really just two, rich and poor, or maybe better getting richer or sliding down poorer, but that is the subject for another day. Of course telling eight million stories, other than as a few seconds relief slice-of-life scenes, would make me very sleepy, very sleepy indeed. So the plot line reduces the sleepiness to a minimum by telling one story, or rather one murder story that wraps quite a few people in its tentacles, including one major city homicide squad. A squad led by perennial Irish actor Barry Fitzgerald as the foot-sore but worldly-wise detective in charge. The grift (profit motive) that drives the story line is stealing jewelry from those self-same getting richer New York City swells, including an inside society swell finger man. But things turn awry when one drop-dead beautiful model (maybe I should not have used just that phrase, but I will let it stand) winds up being murdered by her some of her thieving confederates.
The twists and turns, such as they are, revolve around a mystery man lover, suitor, whatever it was never really clear, except he was daffy over that drop-dead beautiful model, and finding him as the logical guy to have done, or ordered the murder. In New Jack City and elsewhere that is hard to do, one and one half hours hard to do. But in the end Barry and his homicide squad cohorts get their man, a strangely agile bad man for noir who are usually just straight thugs. And the city moves on to the next…murder, mayhem or whatever. Not exactly my cup of tea in noir but if I recall this film was the model for a television series of the same name so somebody must have though well of it beyond the slice-of-New York life scenes interspersed in the story and the great black and white cinematography of the Big Apple just after the end of World War II.
Wednesday, July 27, 2011
The Real Scoop Behind “Brother, Can You Spare A Dime?”
Click on the headline to link to a YouTube film clip of Tom Waits performing the classic Great Depression song, Brother, Can You Spare A Dime?.
“Hey, brother (or sister), can you spare a dime?,” followed by “Got an extra cigarette, pal (or gal)?” Ya, Billy Bailey, used-to-be brash corner boy William James Bailey, certainly had the panhandler lingo down, down pat, after only a few days on the bum. Worst though on the bum in his own home town, his ever-loving’ roots, Boston. On the bum this time, this time a real fall and not just some short money, pick up some spare change, free campsite, Volkswagen bus pick-up sharing stews, brews and dope hitchhike road looking for the great blue-pink American West night with some honey, some Angelica honey, bum like a few years back.
Those days he practically made a religion, ya a religion out of living “free,” living out of the knapsack, living under bridge, no sweat, if need be. But those “golden days” dried up a few years back and now here in 1976 he was facing a real skid row choice. How it happened he will get to along the way but first let’s set the parameters of what 1976 panhandling, to put an eloquent name on it for “bumming”, shiftless bumming , looked like and how to survive in the new age of everybody me-ing themselves, even with people who were not on the bum. Christ, lord the times were hard, hard times in old Babylon, no question.
See, a guy, a guy who called himself “Shorty” McGee for obviously physical reasons but who knows what his real name was, maybe he didn’t remember either after all the rum-dum sterno heat years and the endless backsides of skid row haunts, that he had hitched up with for a minute, an overnight minute at the Salvation Harbor Lights Center over in the South End kind of hipped him to the obvious tricks of the new down-at the-heels road. Like putting the two requests together when you were panhandling. See, Shorty said it was all a matter of psychology, of working the crowd, the downtown crowd, the bustling Park Street Station crowd, and the Copley Square sunning themselves crowd just right to get you out of their sights and back to whatever sweet thing they were doing. So you endlessly put the two requests together, time after time after time, and always. And what happened was that when they turned you down for the dough, or maybe took you literally and pieced you off with just a dime, Christ a dime that wouldn’t even buy a cup of joe, could feel good about themselves, if they smoked, smoked cigarettes anyway, by passing you a butt. Billy thought, nice, this Shorty really does have it worked out just about right. Of course dimes and drags were not going to get him out from under, not this time.
Well, rather than leaving the reader out in the dark, Billy Bailey this fair 1976 spring was not just on the bum, but on the lam as well, keeping his head very far down just in case there were some guys who were looking for him, or worst, the cops, in case some irate victim of one of his scams took a notion to “fry his ass.” Of course he was counting on them, those victims, being mainly friends and acquaintances, of not putting “the heat” on him since he had already promised through the grapevine that he would make restitution. But we are getting a little ahead of the story, let’s step back.
The early 1970s were not kind to “free spirits” the previous name for what on this day were “free-loaders” and Billy, well, got behind in his expenses, and his bills, his ever expanding bills. But see the transition from free “s” to free “l” caught him off-guard, moreover he was just then in the throes of a fit of “the world owes me a living,” a serious fit. Why? Well see, he as a pauper son of the desperate working poor, “felt” that since he missed out on the golden age benefits of his youth that he was to make up the difference by putting the “touch” on the richer (not really rich but richer, no question) friends that he had acquired through his doing this and that, mainly high-end drug connections.
The long and short it was that he would “borrow” money off Friend A under some scam pretext of putting it to good use (yes, his good use, including several long airplane fight trips to California and other points west-no more hitchhike roads for this moving up the food chain lad) and then borrow dough off Friend B to cover some of his debt to Friend A. Something like an unconscious classic Ponzi scheme, as it turned out. And then when he got to Friend X or somewhere around there things got way too complicated and he started “kiting” checks, and on and on as far deep into his white collar crime mind a he could think. That could only go on a for a short while and he calculated that "short while" almost to the day when he would have to go “underground” and that day had sprung up a couple of weeks ago.
So it took no accountant or smart-ass attorney to know that dimes and drags were not going to get him back on his feet. Nor many of the schemes that Shorty had outlined over at Harbor Lights as ways to grab quick cash were. These were chicken feed for his needs, even his immediate needs, although some of the scams would fill the bill for a rum-dum or life-long skid row bum. But here is the secret, the deep secret that Billy Bailey held in his heart, after a few nights on bus station benches, cold spring night park benches, a night bout under the Andersen Bridge over by old haunt Harvard Square, and a few nights that he would rather not discuss just in case, he finally figured out, figured out kicking and screaming, that the world did not owe him a living and that if he wanted to survive past thirty he had better get the stardust and grit out of his eyes. But just this minute, just this undercover spring 1976 minute, he needed to work the Commons. “Hey, brother, hey sister, can you spare a dime?” “Pal, have you got an extra cigarette?”
Postscript: Not all wisdom ends happily, and not all good intentions grow to fruition. Yes, Billy paid off his debts to his friends, mostly. However, Billy Bailey was killed while “muling” in a drug war shoot-out in Juarez, Mexico in late 1979.
“Hey, brother (or sister), can you spare a dime?,” followed by “Got an extra cigarette, pal (or gal)?” Ya, Billy Bailey, used-to-be brash corner boy William James Bailey, certainly had the panhandler lingo down, down pat, after only a few days on the bum. Worst though on the bum in his own home town, his ever-loving’ roots, Boston. On the bum this time, this time a real fall and not just some short money, pick up some spare change, free campsite, Volkswagen bus pick-up sharing stews, brews and dope hitchhike road looking for the great blue-pink American West night with some honey, some Angelica honey, bum like a few years back.
Those days he practically made a religion, ya a religion out of living “free,” living out of the knapsack, living under bridge, no sweat, if need be. But those “golden days” dried up a few years back and now here in 1976 he was facing a real skid row choice. How it happened he will get to along the way but first let’s set the parameters of what 1976 panhandling, to put an eloquent name on it for “bumming”, shiftless bumming , looked like and how to survive in the new age of everybody me-ing themselves, even with people who were not on the bum. Christ, lord the times were hard, hard times in old Babylon, no question.
See, a guy, a guy who called himself “Shorty” McGee for obviously physical reasons but who knows what his real name was, maybe he didn’t remember either after all the rum-dum sterno heat years and the endless backsides of skid row haunts, that he had hitched up with for a minute, an overnight minute at the Salvation Harbor Lights Center over in the South End kind of hipped him to the obvious tricks of the new down-at the-heels road. Like putting the two requests together when you were panhandling. See, Shorty said it was all a matter of psychology, of working the crowd, the downtown crowd, the bustling Park Street Station crowd, and the Copley Square sunning themselves crowd just right to get you out of their sights and back to whatever sweet thing they were doing. So you endlessly put the two requests together, time after time after time, and always. And what happened was that when they turned you down for the dough, or maybe took you literally and pieced you off with just a dime, Christ a dime that wouldn’t even buy a cup of joe, could feel good about themselves, if they smoked, smoked cigarettes anyway, by passing you a butt. Billy thought, nice, this Shorty really does have it worked out just about right. Of course dimes and drags were not going to get him out from under, not this time.
Well, rather than leaving the reader out in the dark, Billy Bailey this fair 1976 spring was not just on the bum, but on the lam as well, keeping his head very far down just in case there were some guys who were looking for him, or worst, the cops, in case some irate victim of one of his scams took a notion to “fry his ass.” Of course he was counting on them, those victims, being mainly friends and acquaintances, of not putting “the heat” on him since he had already promised through the grapevine that he would make restitution. But we are getting a little ahead of the story, let’s step back.
The early 1970s were not kind to “free spirits” the previous name for what on this day were “free-loaders” and Billy, well, got behind in his expenses, and his bills, his ever expanding bills. But see the transition from free “s” to free “l” caught him off-guard, moreover he was just then in the throes of a fit of “the world owes me a living,” a serious fit. Why? Well see, he as a pauper son of the desperate working poor, “felt” that since he missed out on the golden age benefits of his youth that he was to make up the difference by putting the “touch” on the richer (not really rich but richer, no question) friends that he had acquired through his doing this and that, mainly high-end drug connections.
The long and short it was that he would “borrow” money off Friend A under some scam pretext of putting it to good use (yes, his good use, including several long airplane fight trips to California and other points west-no more hitchhike roads for this moving up the food chain lad) and then borrow dough off Friend B to cover some of his debt to Friend A. Something like an unconscious classic Ponzi scheme, as it turned out. And then when he got to Friend X or somewhere around there things got way too complicated and he started “kiting” checks, and on and on as far deep into his white collar crime mind a he could think. That could only go on a for a short while and he calculated that "short while" almost to the day when he would have to go “underground” and that day had sprung up a couple of weeks ago.
So it took no accountant or smart-ass attorney to know that dimes and drags were not going to get him back on his feet. Nor many of the schemes that Shorty had outlined over at Harbor Lights as ways to grab quick cash were. These were chicken feed for his needs, even his immediate needs, although some of the scams would fill the bill for a rum-dum or life-long skid row bum. But here is the secret, the deep secret that Billy Bailey held in his heart, after a few nights on bus station benches, cold spring night park benches, a night bout under the Andersen Bridge over by old haunt Harvard Square, and a few nights that he would rather not discuss just in case, he finally figured out, figured out kicking and screaming, that the world did not owe him a living and that if he wanted to survive past thirty he had better get the stardust and grit out of his eyes. But just this minute, just this undercover spring 1976 minute, he needed to work the Commons. “Hey, brother, hey sister, can you spare a dime?” “Pal, have you got an extra cigarette?”
Postscript: Not all wisdom ends happily, and not all good intentions grow to fruition. Yes, Billy paid off his debts to his friends, mostly. However, Billy Bailey was killed while “muling” in a drug war shoot-out in Juarez, Mexico in late 1979.
Sunday, July 10, 2011
"Ain't Got No Time For The Corner Boys Down In The Street Making All That Noise"- The World Of Whitey Bulger And The Early Boston Corner Boys
Click on the headline to link to a Boston Sunday Globe article, dated July 10, 2011 concerning the old time corner boy life in Boston, the time of the now media-saturated Whitey Bulger and his cohorts.
Markin comment:
I have spent much time in this space detailing my own corner boy experiences in North Adamsville, a town very close to Whitey Bulger's South Boston haunts, in the 1950s. This article explores that same world, just a generation before. More importantly, if you look closely at the picture accompanying this article that could have been a picture of Markin, his pal Billy Bradley and his other pal Frankie Riley growing up. Fortunately for Frankie and me (although it was a close thing)we followed the Tom Waits lyrics- "ain't got no time for corner boys down in the streets making all that noise." Billy (and my two brothers), unfortunately didn't listen so well.
Markin comment:
I have spent much time in this space detailing my own corner boy experiences in North Adamsville, a town very close to Whitey Bulger's South Boston haunts, in the 1950s. This article explores that same world, just a generation before. More importantly, if you look closely at the picture accompanying this article that could have been a picture of Markin, his pal Billy Bradley and his other pal Frankie Riley growing up. Fortunately for Frankie and me (although it was a close thing)we followed the Tom Waits lyrics- "ain't got no time for corner boys down in the streets making all that noise." Billy (and my two brothers), unfortunately didn't listen so well.
Wednesday, July 6, 2011
Out In The 1950s Crime Noir Night- Hey Guys, Crime Doesn’t Pay- John Huston’s “The Asphalt Jungle” - A Film Review
Click on the headline to link to a Wikipedia entry for John Huston's, The Asphalt Jungle.
DVD Review
The Asphalt Jungle, starring Sam Jaffe, Sterling Hayden, James Whitimore, (and a small, but striking, role by a very young Marilyn Monroe) directed by John Huston, M-G-M Pictures, 1950
No question I am a film noir, especially a crime film noir, aficionado. Recently I have been on a tear reviewing various crime noir efforts and drawing comparisons between the ones that “speak” to me and those that, perhaps, should have been left on the cutting room floor. The classics are easy: films like Out Of the Past, Gilda, The Lady From Shang-hai, and The Big Sleep need no additional comment from me as their plot lines stand on their own merits. Others, because they have a fetching, or wicked, for that matter, femme fatale to muddy the waters also get a pass, or as in Gilda a double nod for the plot and for the femme fatale. (Be still my heart, at the thought of Rita Hayworth, ah, dancing and singing, okay lip synching, and looking, well, fetching while doing those difficult tasks.) I have even tried to salvage some noir efforts by touting their plot lines, and others by their use of shadowy black and white cinematography to overcome plot problems. Like The Third Man (and, in that case, the edgy musical score, with more zither than you probably ever thought possible, as well). That brings us this film under review, 1950's The Asphalt Jungle, starring Sam Jaffee as the wizened, harden old con trying for one last chance at “easy street” with a big caper, and Sterling Hayden as, well, the “hooligan,” the “muscle”, the guy who has to clean up after, but also is looking for his own version of that easy street.
From the headline to this review you can tell that I have kind of telegraphed the problem here; crime doesn’t pay, okay. But that “wisdom” has not stopped a million "from hunger" guys (and not a few dames) from taking the quick plunge to easy street since way back, way back in phaoroah’s times probably. And it has not stopped Hollywood directors and producers from using that theme as the plot line for their cinematic efforts, some good, some bad, here very good. But in this film the beauty of the thing, despite the familiarity of the plot line and the predictable ending, is that the acting carries the day, especially by Jaffee and Hayden.
Doc (the role played by Sam Jaffee), old time con that he is, just released from stir for some previous big plan crime, had plenty of time on his hands up at the pen to work through his latest plan for easy street. A big plan involving knocking over a big jewelry store, having the merchandise “fenced,” and then off he goes to sun and senoritas, young senoritas by the way, the dirty old man, down in Mexico. Mexico before the drug cartels.
Such an effort need up front cash, and some major backing, to procure the master safe cracker, the expert wheelman and, just in case things get rough, the hooligan,(here Bix, played by Sterling Hayden), the guy who takes all the pot-shots for short money and also to secure a conduit to fence this high roller stuff after the heist. And that is where things start to go awry.
See, one of reasons that crime doesn’t pay, pay in the long or short haul, is that not everybody is on the level. Sure the safe cracker, the wheel man, and the hooligan, the “proles” are on the level. Especially farm boy Bix turned loose in the ugly, asphalt jungle city just looking for a stake to get back home to Kentucky and out of the city soils. Problem is the up-front dough guys, one way or the other, are not on the level. One has no dough (although it was easy to see why that was so since he was, well let’s just call it “keeping time” with a young honey, played by Marilyn Monroe, and even I could see where keeping her "happy”, and gladly, would eat up a guy’s wallet), and the other will wilt under the slightest pressure, police pressure. A few slap arounds and he will sing like a bird, the rat. But who had time to check with the Better Business Bureau when you are in the rackets to check the “fence’s” references (and bank book). Needless to say that while the jewel heist is pulled off, although not without complications, deadly complications in the end, the rest of the story is one where everyone in the theater gets the very painful message already telegraphed above.
Director Huston, however, is aiming at more, as he mentions in the introduction to the film, he wants to investigate that thin line between the bad guys and the good guys, and the good guys are not always the cops and respectable folks. Doc, for instance, is cool customer, and although he makes a few serious mistakes of judgment in whom to, and who not, trust he is a likeable crook. Bix, ditto, because he is a stand-up guy, gives one hundred per cent, for what he is paid to do, and does not leave his buddies in the lurch.
There is no real femme fatale here driving the male action forward to their oblivions but there is Doll, and Doll, Doll has got it bad for Bix, ya, real bad, and so the tensions between them help round out this film. Doll though never figured out the ABCs-that hanging around wrong gees, even stand-up gees, was anything but heartbreak hotel. But sometimes that is the way dames are, thankfully.
Note: I have on previous occasions needed to act the scold in regard to certain actions of the characters in crime noir films. Here I have to take Brother Hayden to task for not learning that crime does not pay. Hayden played Johnny in the 1953 crime noir The Killing, also a caper involving big dough, big dough from a racetrack handle and another perfect plan gone awry. The Asphalt Jungle precedes The Killing, so Brother Hayden shouldn’t you have learned by 1953 that these perfect plans, cinematically at least, are bound to go awry. Smarten up.
DVD Review
The Asphalt Jungle, starring Sam Jaffe, Sterling Hayden, James Whitimore, (and a small, but striking, role by a very young Marilyn Monroe) directed by John Huston, M-G-M Pictures, 1950
No question I am a film noir, especially a crime film noir, aficionado. Recently I have been on a tear reviewing various crime noir efforts and drawing comparisons between the ones that “speak” to me and those that, perhaps, should have been left on the cutting room floor. The classics are easy: films like Out Of the Past, Gilda, The Lady From Shang-hai, and The Big Sleep need no additional comment from me as their plot lines stand on their own merits. Others, because they have a fetching, or wicked, for that matter, femme fatale to muddy the waters also get a pass, or as in Gilda a double nod for the plot and for the femme fatale. (Be still my heart, at the thought of Rita Hayworth, ah, dancing and singing, okay lip synching, and looking, well, fetching while doing those difficult tasks.) I have even tried to salvage some noir efforts by touting their plot lines, and others by their use of shadowy black and white cinematography to overcome plot problems. Like The Third Man (and, in that case, the edgy musical score, with more zither than you probably ever thought possible, as well). That brings us this film under review, 1950's The Asphalt Jungle, starring Sam Jaffee as the wizened, harden old con trying for one last chance at “easy street” with a big caper, and Sterling Hayden as, well, the “hooligan,” the “muscle”, the guy who has to clean up after, but also is looking for his own version of that easy street.
From the headline to this review you can tell that I have kind of telegraphed the problem here; crime doesn’t pay, okay. But that “wisdom” has not stopped a million "from hunger" guys (and not a few dames) from taking the quick plunge to easy street since way back, way back in phaoroah’s times probably. And it has not stopped Hollywood directors and producers from using that theme as the plot line for their cinematic efforts, some good, some bad, here very good. But in this film the beauty of the thing, despite the familiarity of the plot line and the predictable ending, is that the acting carries the day, especially by Jaffee and Hayden.
Doc (the role played by Sam Jaffee), old time con that he is, just released from stir for some previous big plan crime, had plenty of time on his hands up at the pen to work through his latest plan for easy street. A big plan involving knocking over a big jewelry store, having the merchandise “fenced,” and then off he goes to sun and senoritas, young senoritas by the way, the dirty old man, down in Mexico. Mexico before the drug cartels.
Such an effort need up front cash, and some major backing, to procure the master safe cracker, the expert wheelman and, just in case things get rough, the hooligan,(here Bix, played by Sterling Hayden), the guy who takes all the pot-shots for short money and also to secure a conduit to fence this high roller stuff after the heist. And that is where things start to go awry.
See, one of reasons that crime doesn’t pay, pay in the long or short haul, is that not everybody is on the level. Sure the safe cracker, the wheel man, and the hooligan, the “proles” are on the level. Especially farm boy Bix turned loose in the ugly, asphalt jungle city just looking for a stake to get back home to Kentucky and out of the city soils. Problem is the up-front dough guys, one way or the other, are not on the level. One has no dough (although it was easy to see why that was so since he was, well let’s just call it “keeping time” with a young honey, played by Marilyn Monroe, and even I could see where keeping her "happy”, and gladly, would eat up a guy’s wallet), and the other will wilt under the slightest pressure, police pressure. A few slap arounds and he will sing like a bird, the rat. But who had time to check with the Better Business Bureau when you are in the rackets to check the “fence’s” references (and bank book). Needless to say that while the jewel heist is pulled off, although not without complications, deadly complications in the end, the rest of the story is one where everyone in the theater gets the very painful message already telegraphed above.
Director Huston, however, is aiming at more, as he mentions in the introduction to the film, he wants to investigate that thin line between the bad guys and the good guys, and the good guys are not always the cops and respectable folks. Doc, for instance, is cool customer, and although he makes a few serious mistakes of judgment in whom to, and who not, trust he is a likeable crook. Bix, ditto, because he is a stand-up guy, gives one hundred per cent, for what he is paid to do, and does not leave his buddies in the lurch.
There is no real femme fatale here driving the male action forward to their oblivions but there is Doll, and Doll, Doll has got it bad for Bix, ya, real bad, and so the tensions between them help round out this film. Doll though never figured out the ABCs-that hanging around wrong gees, even stand-up gees, was anything but heartbreak hotel. But sometimes that is the way dames are, thankfully.
Note: I have on previous occasions needed to act the scold in regard to certain actions of the characters in crime noir films. Here I have to take Brother Hayden to task for not learning that crime does not pay. Hayden played Johnny in the 1953 crime noir The Killing, also a caper involving big dough, big dough from a racetrack handle and another perfect plan gone awry. The Asphalt Jungle precedes The Killing, so Brother Hayden shouldn’t you have learned by 1953 that these perfect plans, cinematically at least, are bound to go awry. Smarten up.
Saturday, June 25, 2011
Out In The Be-Bop 1960s Night- The Time Of Frankie’s Carnival Time
Click on the headline to link to a YouTube film clip of Tom Waits performing his song Jersey Girl that formed part of the inspiration for this post.
An old man walks, walks haltingly down a North Adamsville street, maybe Hancock Street, or maybe a street just off it, a long street like West Main Street, he has forgotten which exactly in the time between his walking and his telling me his story. Near the high school anyway, North Adamsville High School, where he graduated from back in the mist of time, the 1960s mist of time. A time when he was known, far and wide, as the king, the king hell king, if the truth be known, of the schoolboy be-bop night. And headquartered, properly headquartered, at Salducci’s Pizza Parlor as was his due as the reigning schoolboy king of the night. But that schoolboy corner boy king thing is an old story, an old story strictly for cutting up old torches, according to the old man, Frankie, yes, Francis Xavier Riley, as if back from the dead, and not fit, not fit by a long shot for what he has to tell me about his recent “discovery,” and its meaning.
Apparently as Frankie, let us skip the formalities and just call him Frankie, walked down that nameless, maybe unnamable street he was stricken by sight of a sign on a vagrant telephone pole announcing that Jim Byrd’s Carnival and Traveling Show was coming to town and setting up tent at the Veteran’s Stadium in the first week in June, this past June, for the whole week. And seeing this sign, this vagrant sign on this vagrant telephone pole, set off a stream of memories from when the king hell king of the schoolboy corner boy night was so enthralled with the idea of the “carny” life, of this very Jim Byrd’s Carnival and Traveling Show carnival life, that he had plans, serious plans, to run away, run away with it when it left town. Conditioned, and of course there was always a condition: if Ma Riley, or Pa Riley if it came to it, although Pa was usually comfortably ensconced in the Dublin Pub over on Sagamore Street and was not a big factor in Frankie’s life when it came time for him to make his mark as king hell king, just bothered him one more time, bothered about what was never specified.
In any case rather than running away with the carnival Frankie served his high school corner boy term as king hell king, went to college and then to law school, ran a successful mid-sized law practice, raised plenty of kids and political hell and never looked back. And not until he saw that old-time memory sign did he think of regrets for not having done what he said that “he was born for.” And rather than have the reader left with another in the endless line of cautionary tales, or of two roads, one not taken tales, or any of that, Frankie, Frankie in his own words, wants to expand on his carnival vision reincarnation:
Who knows when a kid first gets the carnival bug, maybe it was down in cradle times hearing the firecrackers in the heated, muggy Fourth Of July night when in old, old time North Adamsville a group of guys, a group of guys called the “Associates”, mainly Dublin Pub guys, and at one time including my father, Joe Riley, Senior, grabbed some money from around the neighborhood. And from the local merchants like Doc over at Doc’s Drug Store, and Mario over at Estrella’s Grocery Store, Mac, owner of the Dublin Pub, and always, always, Tonio, owner of Salducci’s Pizza Parlor. What they did with this money was to hire a small time, usually very small time, carnival outfit, something with a name like Joe’s Carny, or the like, maybe with a merry-go-round, some bumping cars, a whip thing, a few one-trick ponies, and ten or twelve win-a-doll-for-your-lady tents. On the side maybe a few fried dough, pizza, sausage and onions kind of eateries, with cotton candy to top it off. And in a center tent acts, clown acts, trapeze acts with pretty girls dangling every which way, jugglers, and the like. Nothing fancy, no three-ring circus, or monster theme amusement park to flip a kid’s head stuff. Like I say small time, but not small time enough to not enflame the imagination of every kid, mainly every boy kid, but a few girls too if I remember right, with visions of setting up their own show.
Or maybe it was when this very same Jim Byrd, a dark-haired, dark-skinned (no, not black, not in 1950s North Adamsville, christ no, but maybe a gypsy or half-gypsy, if that is possible). A friendly guy, slightly wiry, a slightly side-of-his-mouth-talking guy just like a lawyer, who actually showed me some interesting magic tricks when I informed him, aged eight, that I wanted to go “on the road” with him first brought his show to town. Brought it to Veteran’s Stadium then too. That’s when I knew that that old time Associates thing, that frumpy Fourth of July set-up-in-a-minute-thing-and-then-gone was strictly amateur stuff. See Jim’s had a Ferris wheel, Jim had a Mini-Roller Coaster, and he had about twenty-five or thirty win-a-doll, cigarettes, teddy bears, or candy tents. But also shooting galleries, gypsy fortune-telling ladies with daughters with black hair and laughing eyes selling roses, or the idea of roses. And looking very foxy, the daughters that is, although I did not know what foxy was then. Oh ya, sure Jim had the ubiquitous fried dough, sausage and onion, cardboard pizza stuff too. Come on now this was a carnival, big time carnival, big time to an eight year old carnival. Of course he had that heartburn food. But what set Jim’s operation off was that central tent. Sure, yawn, he had the clowns, tramp clowns, Clarabelle clowns, what have you, and the jugglers, juggling everything but mainly a lot of whatever it was they were juggling , and even the acrobats, bouncing over each other like rubber balls. The big deal, the eight year old big deal though, was the animals, the real live tigers and lions that performed in a cage in center stage with some blonde safari-weary tamer doing the most incredible tricks with them. Like, well, like having them jump through hoops, and flipping over each other and the trainer too. Wow.
But now that I think about it seriously the real deal of the carny life was not either the Associates or Jim Byrd’s, although after I tell you about this Jim’s would enter into my plans because that was the carnival, the only carnival I knew, to run away with. See down in Huntsville, a town on the hard ocean about twenty miles from North Adamsville there was what would now be called nothing but an old-time amusement park, a park like you still might see if you went to Seaside Heights down on the Jersey shore. This park, this Wild Willie’s Amusement Park, was the aces although as you will see not a place to run away to since everything stayed there, summer open or winter closed. I was maybe nine or ten when I first went there but the story really hinges on when I was just turning twelve, you know, just getting ready to make my mark on the world, the world being girls. Yes, that kind of turning twelve. But nine or twelve this Wild Willie’s put even Jim Byrd’s show to shame. Huge roller-coasters (yes, the plural is right, three altogether), a wild mouse, whips, dips, flips and very other kind of ride, covered and uncovered, maybe fifteen or twenty, all based on the idea of trying to make you scared, and want to go on again, and again to “conquer” that scared. And countless win things (ya, cigarettes, dolls, teddy bears, candy, and so on in case you might have forgotten). I won’t even mention that hazardous to your health but merciful, fried dough, cardboard pizza (in about twenty flavors), sausage and onions, cotton candy and salt water taffy because, frankly I am tired of mentioning it and even a flea circus or a flea market today would feel compelled to offer such treats so I will move on.
What it had that really got me going, at first anyway, was about six pavilions worth of pinball machines, all kinds of pinball machines just like today there are a zillion video games at such places. But what these pinball machines had (beside alluring come-hither and spend some slot machine dough on me pictures of busty young women on the faces of the machines) were guys, over sixteen year old teenage guys, mainly, some older, some a lot older at night, who could play those machines like wizards, racking up free games until the cows came home. I was impressed, impressed to high heaven. And watching them, watching them closely were over sixteen year old girls, some older, some a lot older at night, who I wondered, wondered at when I was nine but not twelve might not be interfering with their pinball magic. Little did I know then that the pinball wizardry was for those sixteen year old, some older, some a lot older girls.
But see, if you didn’t already know, nine or twelve-year old kids were not allowed to play those machines. You had to be sixteen (although I cadged a few free games left on machines as I got a little older, and I think the statute of limitations has run out on this crime so I can say not sixteen years or older). So I gravitated toward the skee ball games located in one of those pinball pavilions, games that anybody six to sixty or more could play. You don’t know skees. Hey where have you been? Skee, come on now. Go over to Seaside Heights on the Jersey shore, or Old Orchard up on the Maine coast and you will have all the skees you want, or need. And if you can’t waggle your way to those hallowed spots then I will give a little run-down. It’s kind of like bowling, candle-pin bowling (small bowling balls for you non-New Englanders) with a small ball and it’s kind of like archery or darts because you have to get the balls, usually ten or twelve to a game, into tilted holes.
The idea is to get as high a score as possible, and in amusement park land after your game is over you get coupons depending on how many points you totaled. And if you get enough points you can win, well, a good luck rabbit’s foot, like I won for Karen stick-girl (a stick girl was a girl who didn’t yet have a shape, a womanly shape, and maybe that word still is used, okay) one time, one turning twelve-year old time, who thought I was the king of the night one time because I gave her one from my “winning,” and maybe still does. Still does think I am king of the hill. But a guy, an old corner boy guy that I knew back then, a kind of screwy guy who hung onto my tail at Salducci’s like I was King Solomon, a guy named Markin, already wrote that story once. Although he got one part wrong, the part about how I didn’t know right from left about girls and gave this Karen stick girl the air when, after showering her with that rabbit’s foot, she wanted me to go with her and sit on the old seawall down at Huntsville Beach and I said no-go. I went, believe me I went, and we both practically had lockjaw for two weeks after we got done. But you know how stories get twisted when third parties who were not there, had no hope of being there, and had questionable left from right girl knowledge themselves start their slanderous campaigns on you. Yes, you know that scene, I am sure.
So you see, Karen stick and lockjaw aside, I had some skill at skees, and the way skees and the carny life came together was when, well let me call her Gypsy Love, because like the name of that North Adamsville vagrant telephone pole street where I saw the Byrd’s carnival in town sign that I could not remember the name of I swear I can’t, or won’t remember her’s. All I remember those is that jet-black long hair, shiny dark-skinned glean (no, no again, she was not black, christ, no way, not in 1950s Wild Willie’s, what are you kidding me?), that thirteen-year old winsome smile, half innocent, half-half I don’t know what, that fast-forming girlish womanly shape and those laughing, Spanish gypsy black eyes that would haunt a man’s sleep, or a boy’s. And that is all I need to remember, and you too if you have any imagination. See Gypsy Love was the daughter of Madame La Rue, the fortune-teller in Jim Byrd’s carnival. I met her in turning twelve time when she tried to sell me a rose, rose for my girlfriend, my non-existent just then girlfriend. Needless to say I was immediately taken with her and told her that although I had no girlfriend I would buy her a rose.
And that, off and on, over the next year is where we bounced around in our “relationship.” One day I was down at Wild Willie’s and I spotted her and asked her why she wasn’t on the road with Jim Byrd’s show. Apparently Madame LaRue had had a falling out with Jim, quit the traveling show and landed a spot at Wild Willie’s. And naturally Gypsy Love followed mother, selling flowers to the rubes at Wild Willie’s. So naturally, naturally to me, I told Gypsy Love to follow me over to the skees and I would win her a proper prize. And I did, I went crazy that day. A big old lamp for her room. And Gypsy Love asked me, asked me very nicely thank you, if I wanted to go down by the seawall and sit for a while. And let’s get this straight, no third party who wasn’t there, no wannbe there talk, please, I followed her, followed her like a lemming to the sea. And we had the lockjaw for a month afterward to prove it. And you say, you dare to say I was not born for that life, that carnival life. Ha.
An old man walks, walks haltingly down a North Adamsville street, maybe Hancock Street, or maybe a street just off it, a long street like West Main Street, he has forgotten which exactly in the time between his walking and his telling me his story. Near the high school anyway, North Adamsville High School, where he graduated from back in the mist of time, the 1960s mist of time. A time when he was known, far and wide, as the king, the king hell king, if the truth be known, of the schoolboy be-bop night. And headquartered, properly headquartered, at Salducci’s Pizza Parlor as was his due as the reigning schoolboy king of the night. But that schoolboy corner boy king thing is an old story, an old story strictly for cutting up old torches, according to the old man, Frankie, yes, Francis Xavier Riley, as if back from the dead, and not fit, not fit by a long shot for what he has to tell me about his recent “discovery,” and its meaning.
Apparently as Frankie, let us skip the formalities and just call him Frankie, walked down that nameless, maybe unnamable street he was stricken by sight of a sign on a vagrant telephone pole announcing that Jim Byrd’s Carnival and Traveling Show was coming to town and setting up tent at the Veteran’s Stadium in the first week in June, this past June, for the whole week. And seeing this sign, this vagrant sign on this vagrant telephone pole, set off a stream of memories from when the king hell king of the schoolboy corner boy night was so enthralled with the idea of the “carny” life, of this very Jim Byrd’s Carnival and Traveling Show carnival life, that he had plans, serious plans, to run away, run away with it when it left town. Conditioned, and of course there was always a condition: if Ma Riley, or Pa Riley if it came to it, although Pa was usually comfortably ensconced in the Dublin Pub over on Sagamore Street and was not a big factor in Frankie’s life when it came time for him to make his mark as king hell king, just bothered him one more time, bothered about what was never specified.
In any case rather than running away with the carnival Frankie served his high school corner boy term as king hell king, went to college and then to law school, ran a successful mid-sized law practice, raised plenty of kids and political hell and never looked back. And not until he saw that old-time memory sign did he think of regrets for not having done what he said that “he was born for.” And rather than have the reader left with another in the endless line of cautionary tales, or of two roads, one not taken tales, or any of that, Frankie, Frankie in his own words, wants to expand on his carnival vision reincarnation:
Who knows when a kid first gets the carnival bug, maybe it was down in cradle times hearing the firecrackers in the heated, muggy Fourth Of July night when in old, old time North Adamsville a group of guys, a group of guys called the “Associates”, mainly Dublin Pub guys, and at one time including my father, Joe Riley, Senior, grabbed some money from around the neighborhood. And from the local merchants like Doc over at Doc’s Drug Store, and Mario over at Estrella’s Grocery Store, Mac, owner of the Dublin Pub, and always, always, Tonio, owner of Salducci’s Pizza Parlor. What they did with this money was to hire a small time, usually very small time, carnival outfit, something with a name like Joe’s Carny, or the like, maybe with a merry-go-round, some bumping cars, a whip thing, a few one-trick ponies, and ten or twelve win-a-doll-for-your-lady tents. On the side maybe a few fried dough, pizza, sausage and onions kind of eateries, with cotton candy to top it off. And in a center tent acts, clown acts, trapeze acts with pretty girls dangling every which way, jugglers, and the like. Nothing fancy, no three-ring circus, or monster theme amusement park to flip a kid’s head stuff. Like I say small time, but not small time enough to not enflame the imagination of every kid, mainly every boy kid, but a few girls too if I remember right, with visions of setting up their own show.
Or maybe it was when this very same Jim Byrd, a dark-haired, dark-skinned (no, not black, not in 1950s North Adamsville, christ no, but maybe a gypsy or half-gypsy, if that is possible). A friendly guy, slightly wiry, a slightly side-of-his-mouth-talking guy just like a lawyer, who actually showed me some interesting magic tricks when I informed him, aged eight, that I wanted to go “on the road” with him first brought his show to town. Brought it to Veteran’s Stadium then too. That’s when I knew that that old time Associates thing, that frumpy Fourth of July set-up-in-a-minute-thing-and-then-gone was strictly amateur stuff. See Jim’s had a Ferris wheel, Jim had a Mini-Roller Coaster, and he had about twenty-five or thirty win-a-doll, cigarettes, teddy bears, or candy tents. But also shooting galleries, gypsy fortune-telling ladies with daughters with black hair and laughing eyes selling roses, or the idea of roses. And looking very foxy, the daughters that is, although I did not know what foxy was then. Oh ya, sure Jim had the ubiquitous fried dough, sausage and onion, cardboard pizza stuff too. Come on now this was a carnival, big time carnival, big time to an eight year old carnival. Of course he had that heartburn food. But what set Jim’s operation off was that central tent. Sure, yawn, he had the clowns, tramp clowns, Clarabelle clowns, what have you, and the jugglers, juggling everything but mainly a lot of whatever it was they were juggling , and even the acrobats, bouncing over each other like rubber balls. The big deal, the eight year old big deal though, was the animals, the real live tigers and lions that performed in a cage in center stage with some blonde safari-weary tamer doing the most incredible tricks with them. Like, well, like having them jump through hoops, and flipping over each other and the trainer too. Wow.
But now that I think about it seriously the real deal of the carny life was not either the Associates or Jim Byrd’s, although after I tell you about this Jim’s would enter into my plans because that was the carnival, the only carnival I knew, to run away with. See down in Huntsville, a town on the hard ocean about twenty miles from North Adamsville there was what would now be called nothing but an old-time amusement park, a park like you still might see if you went to Seaside Heights down on the Jersey shore. This park, this Wild Willie’s Amusement Park, was the aces although as you will see not a place to run away to since everything stayed there, summer open or winter closed. I was maybe nine or ten when I first went there but the story really hinges on when I was just turning twelve, you know, just getting ready to make my mark on the world, the world being girls. Yes, that kind of turning twelve. But nine or twelve this Wild Willie’s put even Jim Byrd’s show to shame. Huge roller-coasters (yes, the plural is right, three altogether), a wild mouse, whips, dips, flips and very other kind of ride, covered and uncovered, maybe fifteen or twenty, all based on the idea of trying to make you scared, and want to go on again, and again to “conquer” that scared. And countless win things (ya, cigarettes, dolls, teddy bears, candy, and so on in case you might have forgotten). I won’t even mention that hazardous to your health but merciful, fried dough, cardboard pizza (in about twenty flavors), sausage and onions, cotton candy and salt water taffy because, frankly I am tired of mentioning it and even a flea circus or a flea market today would feel compelled to offer such treats so I will move on.
What it had that really got me going, at first anyway, was about six pavilions worth of pinball machines, all kinds of pinball machines just like today there are a zillion video games at such places. But what these pinball machines had (beside alluring come-hither and spend some slot machine dough on me pictures of busty young women on the faces of the machines) were guys, over sixteen year old teenage guys, mainly, some older, some a lot older at night, who could play those machines like wizards, racking up free games until the cows came home. I was impressed, impressed to high heaven. And watching them, watching them closely were over sixteen year old girls, some older, some a lot older at night, who I wondered, wondered at when I was nine but not twelve might not be interfering with their pinball magic. Little did I know then that the pinball wizardry was for those sixteen year old, some older, some a lot older girls.
But see, if you didn’t already know, nine or twelve-year old kids were not allowed to play those machines. You had to be sixteen (although I cadged a few free games left on machines as I got a little older, and I think the statute of limitations has run out on this crime so I can say not sixteen years or older). So I gravitated toward the skee ball games located in one of those pinball pavilions, games that anybody six to sixty or more could play. You don’t know skees. Hey where have you been? Skee, come on now. Go over to Seaside Heights on the Jersey shore, or Old Orchard up on the Maine coast and you will have all the skees you want, or need. And if you can’t waggle your way to those hallowed spots then I will give a little run-down. It’s kind of like bowling, candle-pin bowling (small bowling balls for you non-New Englanders) with a small ball and it’s kind of like archery or darts because you have to get the balls, usually ten or twelve to a game, into tilted holes.
The idea is to get as high a score as possible, and in amusement park land after your game is over you get coupons depending on how many points you totaled. And if you get enough points you can win, well, a good luck rabbit’s foot, like I won for Karen stick-girl (a stick girl was a girl who didn’t yet have a shape, a womanly shape, and maybe that word still is used, okay) one time, one turning twelve-year old time, who thought I was the king of the night one time because I gave her one from my “winning,” and maybe still does. Still does think I am king of the hill. But a guy, an old corner boy guy that I knew back then, a kind of screwy guy who hung onto my tail at Salducci’s like I was King Solomon, a guy named Markin, already wrote that story once. Although he got one part wrong, the part about how I didn’t know right from left about girls and gave this Karen stick girl the air when, after showering her with that rabbit’s foot, she wanted me to go with her and sit on the old seawall down at Huntsville Beach and I said no-go. I went, believe me I went, and we both practically had lockjaw for two weeks after we got done. But you know how stories get twisted when third parties who were not there, had no hope of being there, and had questionable left from right girl knowledge themselves start their slanderous campaigns on you. Yes, you know that scene, I am sure.
So you see, Karen stick and lockjaw aside, I had some skill at skees, and the way skees and the carny life came together was when, well let me call her Gypsy Love, because like the name of that North Adamsville vagrant telephone pole street where I saw the Byrd’s carnival in town sign that I could not remember the name of I swear I can’t, or won’t remember her’s. All I remember those is that jet-black long hair, shiny dark-skinned glean (no, no again, she was not black, christ, no way, not in 1950s Wild Willie’s, what are you kidding me?), that thirteen-year old winsome smile, half innocent, half-half I don’t know what, that fast-forming girlish womanly shape and those laughing, Spanish gypsy black eyes that would haunt a man’s sleep, or a boy’s. And that is all I need to remember, and you too if you have any imagination. See Gypsy Love was the daughter of Madame La Rue, the fortune-teller in Jim Byrd’s carnival. I met her in turning twelve time when she tried to sell me a rose, rose for my girlfriend, my non-existent just then girlfriend. Needless to say I was immediately taken with her and told her that although I had no girlfriend I would buy her a rose.
And that, off and on, over the next year is where we bounced around in our “relationship.” One day I was down at Wild Willie’s and I spotted her and asked her why she wasn’t on the road with Jim Byrd’s show. Apparently Madame LaRue had had a falling out with Jim, quit the traveling show and landed a spot at Wild Willie’s. And naturally Gypsy Love followed mother, selling flowers to the rubes at Wild Willie’s. So naturally, naturally to me, I told Gypsy Love to follow me over to the skees and I would win her a proper prize. And I did, I went crazy that day. A big old lamp for her room. And Gypsy Love asked me, asked me very nicely thank you, if I wanted to go down by the seawall and sit for a while. And let’s get this straight, no third party who wasn’t there, no wannbe there talk, please, I followed her, followed her like a lemming to the sea. And we had the lockjaw for a month afterward to prove it. And you say, you dare to say I was not born for that life, that carnival life. Ha.
Wednesday, June 22, 2011
*When “Doctor Gonzo” Was 'King Of The Hill'-The Master Journalism Of Hunter S. Thompson-"Songs Of The Doomed"
*When “Doctor Gonzo” Was 'King Of The Hill'-The Master Journalism Of Hunter S. Thompson-"Songs Of The Doomed"
Book Review
Songs Of The Doomed; Gonzo Papers Volume Three, Hunter S. Thompson, 1978
In a review of Hunter Thompson's early journalistic work compiled under the title , The Great Shark Hunt, a retrospective sampling of his works through the early 1970s, many which appeared in the pages of Rolling Stone magazine during its more radical, hipper phase, I noted the following points that are useful to repost here in reviewing Songs Of The Doomed, another later , similar compilation of his journalistic pieces:
“Generally the most the trenchant social criticism, commentary and analysis complete with a prescriptive social program ripe for implementation has been done by thinkers and writers who work outside the realm of bourgeois society, notably socialists, like Karl Marx. Vladimir Lenin, and Leon Trotsky and other less radical progressive thinkers. Bourgeois society rarely allows itself, in self-defense if nothing else, to be skewered by trenchant criticism from within. This is particularly true when it comes from a man of big, high life appetites, a known dope fiend, a furious wild man gun freak, and all-around edge city lifestyle addict like the late, massively lamented, massively lamented in this quarter in any case, Dr. Hunter S. Thompson. Nevertheless, although he was far, very far, from any thought of a socialist solution to society's current problems and would reject such a designation, I think out of hand, we could travel part of the way with him. We saw him as a kindred spirit. He was not one of us-but he was one of us. All honor to him for pushing the envelope of mad truth-seeking journalism in new directions and for his pinpricks at the hypocrisy of bourgeois society. Such men are dangerous.
I am not sure whether at the end of the day Hunter Thompson saw himself, or wanted to been seen, as a voice, or the voice, of his generation but he would not be an unworthy candidate. In any case, his was not the voice of the generation of 1968, my generation, being just enough older to have been formed by an earlier, less forgiving milieu, coming of adult age in the drab Cold War, red scare, conformist 1950s that not even the wildly popular Mad Men can resurrect as a time which honored fruitful and edgy work, except on the coastal margins of society. His earlier writings show that effect. Nevertheless, only a few, and with time it seems fewer in each generation, allow themselves to search for some kind of truth even if they cannot go the whole distance. This compilation under review is a hodgepodge of articles over the best part of Thompson’s career, the part culminating with the demise of the arch-fiend, arch-political fiend, Richard Nixon. As with all journalists, as indeed with all writers especially those who are writing under the pressure of time-lines and for mass circulation media, these pieces show an uneven quality. Hunter's manic work habits, driven by high dope infusions and high-wire physical stress, only added to the frenzied corners of his work which inevitably was produced under some duress, a duress that drove his hard-boiled inner demons onward. However the total effect is to blast old bourgeois society almost to its foundations. Others, hopefully, will push on further.
One should note that "gonzo" journalism is quite compatible with socialist materialism. That is, the writer is not precluded from interpreting the events described within a story by interposing himself/herself as an actor in that story. The worst swindle in journalism, fostered by the formal journalism schools, as well as in the formal schools of other disciplines like history and political science, is that somehow one must be ‘objective’. Reality is better served if the writer puts his/her analysis correctly and then gets out of the way. In his best work that was Hunter’s way.
As a member of the generation of 1968 I would note that the period covered by this compilation was a period of particular importance in American history, the covering of which won Hunter his spurs as a journalist. Hunter, like many of us, cut his political teeth on wrestling with the phenomena of one Richard Milhous Nixon, at one time President of the United States, all-around political chameleon and off-hand common criminal. His articles beginning in 1968 when Nixon was on the rising curve of his never ending “comeback” trail to his fated (yes, fated) demise in the aftermath of the Watergate are required reading (and funny to boot). Thompson went out of his way, way out of his way, and with pleasure, skewering that man when he was riding high. He was moreover just as happy to kick Nixon when he was down, just for good measure. Nixon, as Robert Kennedy in one of his more lucid comments noted, represented the "dark side" of the American spirit- the side that appears today as the bully boy of the world and as craven brute. If for nothing else Brother Thompson deserves a place in the pantheon of journalistic heroes for this exercise in elementary political hygiene. Anyone who wants to rehabilitate THAT man before history please consult Thompson’s work.
Beyond the Nixon-related articles that form the core of the book there are some early pieces that are definitely not Gonzo-like. They are more straightforward journalism to earn a buck, although they show the trademark insightfulness that served Thompson well over the early part of his career. Read his pieces on Ernest Hemingway-searching in Idaho, the non-student left in the 1960’s, especially the earnest early 1960s before the other shoe dropped and we were all confronted with the madness of the beast, unchained , the impact of the ‘beats’ on the later counter cultural movements and about the ‘hippie’ invasion of San Francisco. The seminal piece on the Kentucky Derby in 1970 which is his ‘failed’ (according to him, not others) initial stab at “gonzo” journalism is a must read. And finally, if nothing else read the zany adventures of the articles that give us the title of the book, “The Great Shark Hunt”, and his ‘tribute’ to his friend the “Brown Buffalo” of future legend, Oscar Acosta. Those are high water marks in the great swirl of Hunter S. Thompson’s career. Hunter, I hope you find the Brown Buffalo wherever you are. Read this book. Read all his books.”
As for the pieces here, mainly the journalistic pieces that form the core of this compilation, the format of the book is divided up into decades starting from the pre-gonzo days of the1950s (although you can detect a certain flare for putting himself inside the story even then, note Prince Jellyfish) to the woe-begone mad efforts (on local law enforcement’s part) to legally destroy Brother Thompson in the early 1990s. In between, Thompson runs through side commentaries on the whys and wherefore of his famous “fear and loathing” works that were the bedrock of his version of gonzo journalism. Additionally, in the 1980s he makes, to my mind, something of a comeback with his reportage on the Pulitzer divorce proceedings in Palm Beach and some of his work (published more extensively elsewhere in another compilation as well) for the San Francisco Examiner. One piece, one short piece that may sum up what Hunter Thompson was trying to do, and what make be his best individual piece of flat-out king hell king good Hemingway/Fitzgerald writing is High Water Mark from Fear and Loathing In Las Vegas. That is “high” Thompson as well as very good exposition of where and when the tide ebbed for those of us seeking a “newer world” in the 1960s. Buy the ticket; take the ride as he would say.
Book Review
Songs Of The Doomed; Gonzo Papers Volume Three, Hunter S. Thompson, 1978
In a review of Hunter Thompson's early journalistic work compiled under the title , The Great Shark Hunt, a retrospective sampling of his works through the early 1970s, many which appeared in the pages of Rolling Stone magazine during its more radical, hipper phase, I noted the following points that are useful to repost here in reviewing Songs Of The Doomed, another later , similar compilation of his journalistic pieces:
“Generally the most the trenchant social criticism, commentary and analysis complete with a prescriptive social program ripe for implementation has been done by thinkers and writers who work outside the realm of bourgeois society, notably socialists, like Karl Marx. Vladimir Lenin, and Leon Trotsky and other less radical progressive thinkers. Bourgeois society rarely allows itself, in self-defense if nothing else, to be skewered by trenchant criticism from within. This is particularly true when it comes from a man of big, high life appetites, a known dope fiend, a furious wild man gun freak, and all-around edge city lifestyle addict like the late, massively lamented, massively lamented in this quarter in any case, Dr. Hunter S. Thompson. Nevertheless, although he was far, very far, from any thought of a socialist solution to society's current problems and would reject such a designation, I think out of hand, we could travel part of the way with him. We saw him as a kindred spirit. He was not one of us-but he was one of us. All honor to him for pushing the envelope of mad truth-seeking journalism in new directions and for his pinpricks at the hypocrisy of bourgeois society. Such men are dangerous.
I am not sure whether at the end of the day Hunter Thompson saw himself, or wanted to been seen, as a voice, or the voice, of his generation but he would not be an unworthy candidate. In any case, his was not the voice of the generation of 1968, my generation, being just enough older to have been formed by an earlier, less forgiving milieu, coming of adult age in the drab Cold War, red scare, conformist 1950s that not even the wildly popular Mad Men can resurrect as a time which honored fruitful and edgy work, except on the coastal margins of society. His earlier writings show that effect. Nevertheless, only a few, and with time it seems fewer in each generation, allow themselves to search for some kind of truth even if they cannot go the whole distance. This compilation under review is a hodgepodge of articles over the best part of Thompson’s career, the part culminating with the demise of the arch-fiend, arch-political fiend, Richard Nixon. As with all journalists, as indeed with all writers especially those who are writing under the pressure of time-lines and for mass circulation media, these pieces show an uneven quality. Hunter's manic work habits, driven by high dope infusions and high-wire physical stress, only added to the frenzied corners of his work which inevitably was produced under some duress, a duress that drove his hard-boiled inner demons onward. However the total effect is to blast old bourgeois society almost to its foundations. Others, hopefully, will push on further.
One should note that "gonzo" journalism is quite compatible with socialist materialism. That is, the writer is not precluded from interpreting the events described within a story by interposing himself/herself as an actor in that story. The worst swindle in journalism, fostered by the formal journalism schools, as well as in the formal schools of other disciplines like history and political science, is that somehow one must be ‘objective’. Reality is better served if the writer puts his/her analysis correctly and then gets out of the way. In his best work that was Hunter’s way.
As a member of the generation of 1968 I would note that the period covered by this compilation was a period of particular importance in American history, the covering of which won Hunter his spurs as a journalist. Hunter, like many of us, cut his political teeth on wrestling with the phenomena of one Richard Milhous Nixon, at one time President of the United States, all-around political chameleon and off-hand common criminal. His articles beginning in 1968 when Nixon was on the rising curve of his never ending “comeback” trail to his fated (yes, fated) demise in the aftermath of the Watergate are required reading (and funny to boot). Thompson went out of his way, way out of his way, and with pleasure, skewering that man when he was riding high. He was moreover just as happy to kick Nixon when he was down, just for good measure. Nixon, as Robert Kennedy in one of his more lucid comments noted, represented the "dark side" of the American spirit- the side that appears today as the bully boy of the world and as craven brute. If for nothing else Brother Thompson deserves a place in the pantheon of journalistic heroes for this exercise in elementary political hygiene. Anyone who wants to rehabilitate THAT man before history please consult Thompson’s work.
Beyond the Nixon-related articles that form the core of the book there are some early pieces that are definitely not Gonzo-like. They are more straightforward journalism to earn a buck, although they show the trademark insightfulness that served Thompson well over the early part of his career. Read his pieces on Ernest Hemingway-searching in Idaho, the non-student left in the 1960’s, especially the earnest early 1960s before the other shoe dropped and we were all confronted with the madness of the beast, unchained , the impact of the ‘beats’ on the later counter cultural movements and about the ‘hippie’ invasion of San Francisco. The seminal piece on the Kentucky Derby in 1970 which is his ‘failed’ (according to him, not others) initial stab at “gonzo” journalism is a must read. And finally, if nothing else read the zany adventures of the articles that give us the title of the book, “The Great Shark Hunt”, and his ‘tribute’ to his friend the “Brown Buffalo” of future legend, Oscar Acosta. Those are high water marks in the great swirl of Hunter S. Thompson’s career. Hunter, I hope you find the Brown Buffalo wherever you are. Read this book. Read all his books.”
As for the pieces here, mainly the journalistic pieces that form the core of this compilation, the format of the book is divided up into decades starting from the pre-gonzo days of the1950s (although you can detect a certain flare for putting himself inside the story even then, note Prince Jellyfish) to the woe-begone mad efforts (on local law enforcement’s part) to legally destroy Brother Thompson in the early 1990s. In between, Thompson runs through side commentaries on the whys and wherefore of his famous “fear and loathing” works that were the bedrock of his version of gonzo journalism. Additionally, in the 1980s he makes, to my mind, something of a comeback with his reportage on the Pulitzer divorce proceedings in Palm Beach and some of his work (published more extensively elsewhere in another compilation as well) for the San Francisco Examiner. One piece, one short piece that may sum up what Hunter Thompson was trying to do, and what make be his best individual piece of flat-out king hell king good Hemingway/Fitzgerald writing is High Water Mark from Fear and Loathing In Las Vegas. That is “high” Thompson as well as very good exposition of where and when the tide ebbed for those of us seeking a “newer world” in the 1960s. Buy the ticket; take the ride as he would say.
Book Review
Songs Of The Doomed; Gonzo Papers Volume Three, Hunter S. Thompson, 1978
In a review of Hunter Thompson's early journalistic work compiled under the title , The Great Shark Hunt, a retrospective sampling of his works through the early 1970s, many which appeared in the pages of Rolling Stone magazine during its more radical, hipper phase, I noted the following points that are useful to repost here in reviewing Songs Of The Doomed, another later , similar compilation of his journalistic pieces:
“Generally the most the trenchant social criticism, commentary and analysis complete with a prescriptive social program ripe for implementation has been done by thinkers and writers who work outside the realm of bourgeois society, notably socialists, like Karl Marx. Vladimir Lenin, and Leon Trotsky and other less radical progressive thinkers. Bourgeois society rarely allows itself, in self-defense if nothing else, to be skewered by trenchant criticism from within. This is particularly true when it comes from a man of big, high life appetites, a known dope fiend, a furious wild man gun freak, and all-around edge city lifestyle addict like the late, massively lamented, massively lamented in this quarter in any case, Dr. Hunter S. Thompson. Nevertheless, although he was far, very far, from any thought of a socialist solution to society's current problems and would reject such a designation, I think out of hand, we could travel part of the way with him. We saw him as a kindred spirit. He was not one of us-but he was one of us. All honor to him for pushing the envelope of mad truth-seeking journalism in new directions and for his pinpricks at the hypocrisy of bourgeois society. Such men are dangerous.
I am not sure whether at the end of the day Hunter Thompson saw himself, or wanted to been seen, as a voice, or the voice, of his generation but he would not be an unworthy candidate. In any case, his was not the voice of the generation of 1968, my generation, being just enough older to have been formed by an earlier, less forgiving milieu, coming of adult age in the drab Cold War, red scare, conformist 1950s that not even the wildly popular Mad Men can resurrect as a time which honored fruitful and edgy work, except on the coastal margins of society. His earlier writings show that effect. Nevertheless, only a few, and with time it seems fewer in each generation, allow themselves to search for some kind of truth even if they cannot go the whole distance. This compilation under review is a hodgepodge of articles over the best part of Thompson’s career, the part culminating with the demise of the arch-fiend, arch-political fiend, Richard Nixon. As with all journalists, as indeed with all writers especially those who are writing under the pressure of time-lines and for mass circulation media, these pieces show an uneven quality. Hunter's manic work habits, driven by high dope infusions and high-wire physical stress, only added to the frenzied corners of his work which inevitably was produced under some duress, a duress that drove his hard-boiled inner demons onward. However the total effect is to blast old bourgeois society almost to its foundations. Others, hopefully, will push on further.
One should note that "gonzo" journalism is quite compatible with socialist materialism. That is, the writer is not precluded from interpreting the events described within a story by interposing himself/herself as an actor in that story. The worst swindle in journalism, fostered by the formal journalism schools, as well as in the formal schools of other disciplines like history and political science, is that somehow one must be ‘objective’. Reality is better served if the writer puts his/her analysis correctly and then gets out of the way. In his best work that was Hunter’s way.
As a member of the generation of 1968 I would note that the period covered by this compilation was a period of particular importance in American history, the covering of which won Hunter his spurs as a journalist. Hunter, like many of us, cut his political teeth on wrestling with the phenomena of one Richard Milhous Nixon, at one time President of the United States, all-around political chameleon and off-hand common criminal. His articles beginning in 1968 when Nixon was on the rising curve of his never ending “comeback” trail to his fated (yes, fated) demise in the aftermath of the Watergate are required reading (and funny to boot). Thompson went out of his way, way out of his way, and with pleasure, skewering that man when he was riding high. He was moreover just as happy to kick Nixon when he was down, just for good measure. Nixon, as Robert Kennedy in one of his more lucid comments noted, represented the "dark side" of the American spirit- the side that appears today as the bully boy of the world and as craven brute. If for nothing else Brother Thompson deserves a place in the pantheon of journalistic heroes for this exercise in elementary political hygiene. Anyone who wants to rehabilitate THAT man before history please consult Thompson’s work.
Beyond the Nixon-related articles that form the core of the book there are some early pieces that are definitely not Gonzo-like. They are more straightforward journalism to earn a buck, although they show the trademark insightfulness that served Thompson well over the early part of his career. Read his pieces on Ernest Hemingway-searching in Idaho, the non-student left in the 1960’s, especially the earnest early 1960s before the other shoe dropped and we were all confronted with the madness of the beast, unchained , the impact of the ‘beats’ on the later counter cultural movements and about the ‘hippie’ invasion of San Francisco. The seminal piece on the Kentucky Derby in 1970 which is his ‘failed’ (according to him, not others) initial stab at “gonzo” journalism is a must read. And finally, if nothing else read the zany adventures of the articles that give us the title of the book, “The Great Shark Hunt”, and his ‘tribute’ to his friend the “Brown Buffalo” of future legend, Oscar Acosta. Those are high water marks in the great swirl of Hunter S. Thompson’s career. Hunter, I hope you find the Brown Buffalo wherever you are. Read this book. Read all his books.”
As for the pieces here, mainly the journalistic pieces that form the core of this compilation, the format of the book is divided up into decades starting from the pre-gonzo days of the1950s (although you can detect a certain flare for putting himself inside the story even then, note Prince Jellyfish) to the woe-begone mad efforts (on local law enforcement’s part) to legally destroy Brother Thompson in the early 1990s. In between, Thompson runs through side commentaries on the whys and wherefore of his famous “fear and loathing” works that were the bedrock of his version of gonzo journalism. Additionally, in the 1980s he makes, to my mind, something of a comeback with his reportage on the Pulitzer divorce proceedings in Palm Beach and some of his work (published more extensively elsewhere in another compilation as well) for the San Francisco Examiner. One piece, one short piece that may sum up what Hunter Thompson was trying to do, and what make be his best individual piece of flat-out king hell king good Hemingway/Fitzgerald writing is High Water Mark from Fear and Loathing In Las Vegas. That is “high” Thompson as well as very good exposition of where and when the tide ebbed for those of us seeking a “newer world” in the 1960s. Buy the ticket; take the ride as he would say.
Book Review
Songs Of The Doomed; Gonzo Papers Volume Three, Hunter S. Thompson, 1978
In a review of Hunter Thompson's early journalistic work compiled under the title , The Great Shark Hunt, a retrospective sampling of his works through the early 1970s, many which appeared in the pages of Rolling Stone magazine during its more radical, hipper phase, I noted the following points that are useful to repost here in reviewing Songs Of The Doomed, another later , similar compilation of his journalistic pieces:
“Generally the most the trenchant social criticism, commentary and analysis complete with a prescriptive social program ripe for implementation has been done by thinkers and writers who work outside the realm of bourgeois society, notably socialists, like Karl Marx. Vladimir Lenin, and Leon Trotsky and other less radical progressive thinkers. Bourgeois society rarely allows itself, in self-defense if nothing else, to be skewered by trenchant criticism from within. This is particularly true when it comes from a man of big, high life appetites, a known dope fiend, a furious wild man gun freak, and all-around edge city lifestyle addict like the late, massively lamented, massively lamented in this quarter in any case, Dr. Hunter S. Thompson. Nevertheless, although he was far, very far, from any thought of a socialist solution to society's current problems and would reject such a designation, I think out of hand, we could travel part of the way with him. We saw him as a kindred spirit. He was not one of us-but he was one of us. All honor to him for pushing the envelope of mad truth-seeking journalism in new directions and for his pinpricks at the hypocrisy of bourgeois society. Such men are dangerous.
I am not sure whether at the end of the day Hunter Thompson saw himself, or wanted to been seen, as a voice, or the voice, of his generation but he would not be an unworthy candidate. In any case, his was not the voice of the generation of 1968, my generation, being just enough older to have been formed by an earlier, less forgiving milieu, coming of adult age in the drab Cold War, red scare, conformist 1950s that not even the wildly popular Mad Men can resurrect as a time which honored fruitful and edgy work, except on the coastal margins of society. His earlier writings show that effect. Nevertheless, only a few, and with time it seems fewer in each generation, allow themselves to search for some kind of truth even if they cannot go the whole distance. This compilation under review is a hodgepodge of articles over the best part of Thompson’s career, the part culminating with the demise of the arch-fiend, arch-political fiend, Richard Nixon. As with all journalists, as indeed with all writers especially those who are writing under the pressure of time-lines and for mass circulation media, these pieces show an uneven quality. Hunter's manic work habits, driven by high dope infusions and high-wire physical stress, only added to the frenzied corners of his work which inevitably was produced under some duress, a duress that drove his hard-boiled inner demons onward. However the total effect is to blast old bourgeois society almost to its foundations. Others, hopefully, will push on further.
One should note that "gonzo" journalism is quite compatible with socialist materialism. That is, the writer is not precluded from interpreting the events described within a story by interposing himself/herself as an actor in that story. The worst swindle in journalism, fostered by the formal journalism schools, as well as in the formal schools of other disciplines like history and political science, is that somehow one must be ‘objective’. Reality is better served if the writer puts his/her analysis correctly and then gets out of the way. In his best work that was Hunter’s way.
As a member of the generation of 1968 I would note that the period covered by this compilation was a period of particular importance in American history, the covering of which won Hunter his spurs as a journalist. Hunter, like many of us, cut his political teeth on wrestling with the phenomena of one Richard Milhous Nixon, at one time President of the United States, all-around political chameleon and off-hand common criminal. His articles beginning in 1968 when Nixon was on the rising curve of his never ending “comeback” trail to his fated (yes, fated) demise in the aftermath of the Watergate are required reading (and funny to boot). Thompson went out of his way, way out of his way, and with pleasure, skewering that man when he was riding high. He was moreover just as happy to kick Nixon when he was down, just for good measure. Nixon, as Robert Kennedy in one of his more lucid comments noted, represented the "dark side" of the American spirit- the side that appears today as the bully boy of the world and as craven brute. If for nothing else Brother Thompson deserves a place in the pantheon of journalistic heroes for this exercise in elementary political hygiene. Anyone who wants to rehabilitate THAT man before history please consult Thompson’s work.
Beyond the Nixon-related articles that form the core of the book there are some early pieces that are definitely not Gonzo-like. They are more straightforward journalism to earn a buck, although they show the trademark insightfulness that served Thompson well over the early part of his career. Read his pieces on Ernest Hemingway-searching in Idaho, the non-student left in the 1960’s, especially the earnest early 1960s before the other shoe dropped and we were all confronted with the madness of the beast, unchained , the impact of the ‘beats’ on the later counter cultural movements and about the ‘hippie’ invasion of San Francisco. The seminal piece on the Kentucky Derby in 1970 which is his ‘failed’ (according to him, not others) initial stab at “gonzo” journalism is a must read. And finally, if nothing else read the zany adventures of the articles that give us the title of the book, “The Great Shark Hunt”, and his ‘tribute’ to his friend the “Brown Buffalo” of future legend, Oscar Acosta. Those are high water marks in the great swirl of Hunter S. Thompson’s career. Hunter, I hope you find the Brown Buffalo wherever you are. Read this book. Read all his books.”
As for the pieces here, mainly the journalistic pieces that form the core of this compilation, the format of the book is divided up into decades starting from the pre-gonzo days of the1950s (although you can detect a certain flare for putting himself inside the story even then, note Prince Jellyfish) to the woe-begone mad efforts (on local law enforcement’s part) to legally destroy Brother Thompson in the early 1990s. In between, Thompson runs through side commentaries on the whys and wherefore of his famous “fear and loathing” works that were the bedrock of his version of gonzo journalism. Additionally, in the 1980s he makes, to my mind, something of a comeback with his reportage on the Pulitzer divorce proceedings in Palm Beach and some of his work (published more extensively elsewhere in another compilation as well) for the San Francisco Examiner. One piece, one short piece that may sum up what Hunter Thompson was trying to do, and what make be his best individual piece of flat-out king hell king good Hemingway/Fitzgerald writing is High Water Mark from Fear and Loathing In Las Vegas. That is “high” Thompson as well as very good exposition of where and when the tide ebbed for those of us seeking a “newer world” in the 1960s. Buy the ticket; take the ride as he would say.
Monday, June 13, 2011
Out In The 1940s Crime Noir Night-“The Dark Corner”- A Film Review
Click on the headline to link to a Wikipedia entry for the crime noir, The Dark Corner.
DVD Review
The Dark Corner, Clifton Webb, Lucille Ball, William Bendix, Mark Stevens, directed by Henry Hathaway, 1946
As I have mentioned before at the start of other reviews in this crime noir genre I am an aficionado, especially of those 1940s detective epics like the film adaptations of Dashiell Hammett’s Sam Spade in The Maltese Falcon and Raymond Chandler’s Phillip Marlowe in The Big Sleep. Nothing like that gritty black and white film, ominous musical background and shadowy moments to stir the imagination. Others in the genre like Gilda, The Lady From Shang-hai, and Out Of The Past rate a nod because in addition to those attributes mentioned above they have classic femme fatales to add a little off-hand spice to the plot line, and, oh ya, they look nice too. Beyond those classics this period (say, roughly from the mid-1940s to mid-1950s produced many black and white film noir set pieces, some good some not so good. For plot line, and plot interest, the film under review, The Dark Corner, is under that former category.
And here is why. The dialogue, even though the film itself was under the direction of Henry Hathaway a more than competent noir director, if not of the first order, is, well, way too smaltzy for a good crime noir. First off the love interest between the framed-up detective, Brad Galt (played by Mark Stevens), and his girl Friday secretary (played by Lucille Ball) is played up front and without subtly and lacks the dramatic cat and mouse build-up of classic noirs. In any case whatever Ms. Ball’s later recognized talents as a screw-ball comic, and they were considerable, here as a lower-class "good girl" with all the right morals, all the right world-wiseness for her joe, and all the right instincts to stand by her man set my teeth on edge. That lack of tension between two such leading characters spills over into the rest of the doings. This one does not even have the cutesy “Oh, you devil Sam” of Sam Spade and his girl Friday secretary, Gladys, in The Maltese Falcon.
A little summary of the plot line is in order to demonstrate that lack of tension. Said detective is being framed again in New York (and had already been framed before, although not in New York but San Francisco) by, he believes, his SF ex-detective agency partner. That, however, is merely a blind ruse used by a certain high-powered high society art dealer (played, naturally, by Clifton Webb, a central casting fit for such a role if there every were one), an art dealer with a young wife. After all the other misdirection this one was telegraphed the minute that we see the “divine” pair together, and that fact is cemented when we see said ex-partner and lovely trophy wife ready to take off right under the nose of Mr. High Society. But a high society art dealer, with a young wife or not, does not get where he is without a strong possessive desire and so the frame is on and our detective is made to fit the frame, and fit it very easily until our real culprit is discovered and dealt with. And dealt with forthrightly, as all overwrought, possessive older husbands are dealt with in noir. By the pent-up hatred of that trophy wife, after she finds out that dear hubby has killed her man. You don’t need to know much more to know what that will mean, or that the framed guy and his good girl Friday will eventually walk down the aisle together. Doesn’t this sound a little too familiar? Like, maybe a low-rent Laura in spots? Hmm.
Note: Clifton Webb, as mentioned above, seems to have been a gold-plated central casting stereotype for the repressed, possessive, and, well, psychopathic high-powered high society swell with an eye (or maybe two eyes) for lovely young women. As seen here, and more famously, in the classic crime noir, Laura. Apparently Mr. Webb never learned that those 1940s lovelies may be wily enough to latch on to a rich man for fame and fortune but are a little headstrong about being roped in, roped in completely by, well, an old lecher, high class or not. It doesn’t take a Mayfair swell to know this is not a country for old men. Any young joe could have told him that.
DVD Review
The Dark Corner, Clifton Webb, Lucille Ball, William Bendix, Mark Stevens, directed by Henry Hathaway, 1946
As I have mentioned before at the start of other reviews in this crime noir genre I am an aficionado, especially of those 1940s detective epics like the film adaptations of Dashiell Hammett’s Sam Spade in The Maltese Falcon and Raymond Chandler’s Phillip Marlowe in The Big Sleep. Nothing like that gritty black and white film, ominous musical background and shadowy moments to stir the imagination. Others in the genre like Gilda, The Lady From Shang-hai, and Out Of The Past rate a nod because in addition to those attributes mentioned above they have classic femme fatales to add a little off-hand spice to the plot line, and, oh ya, they look nice too. Beyond those classics this period (say, roughly from the mid-1940s to mid-1950s produced many black and white film noir set pieces, some good some not so good. For plot line, and plot interest, the film under review, The Dark Corner, is under that former category.
And here is why. The dialogue, even though the film itself was under the direction of Henry Hathaway a more than competent noir director, if not of the first order, is, well, way too smaltzy for a good crime noir. First off the love interest between the framed-up detective, Brad Galt (played by Mark Stevens), and his girl Friday secretary (played by Lucille Ball) is played up front and without subtly and lacks the dramatic cat and mouse build-up of classic noirs. In any case whatever Ms. Ball’s later recognized talents as a screw-ball comic, and they were considerable, here as a lower-class "good girl" with all the right morals, all the right world-wiseness for her joe, and all the right instincts to stand by her man set my teeth on edge. That lack of tension between two such leading characters spills over into the rest of the doings. This one does not even have the cutesy “Oh, you devil Sam” of Sam Spade and his girl Friday secretary, Gladys, in The Maltese Falcon.
A little summary of the plot line is in order to demonstrate that lack of tension. Said detective is being framed again in New York (and had already been framed before, although not in New York but San Francisco) by, he believes, his SF ex-detective agency partner. That, however, is merely a blind ruse used by a certain high-powered high society art dealer (played, naturally, by Clifton Webb, a central casting fit for such a role if there every were one), an art dealer with a young wife. After all the other misdirection this one was telegraphed the minute that we see the “divine” pair together, and that fact is cemented when we see said ex-partner and lovely trophy wife ready to take off right under the nose of Mr. High Society. But a high society art dealer, with a young wife or not, does not get where he is without a strong possessive desire and so the frame is on and our detective is made to fit the frame, and fit it very easily until our real culprit is discovered and dealt with. And dealt with forthrightly, as all overwrought, possessive older husbands are dealt with in noir. By the pent-up hatred of that trophy wife, after she finds out that dear hubby has killed her man. You don’t need to know much more to know what that will mean, or that the framed guy and his good girl Friday will eventually walk down the aisle together. Doesn’t this sound a little too familiar? Like, maybe a low-rent Laura in spots? Hmm.
Note: Clifton Webb, as mentioned above, seems to have been a gold-plated central casting stereotype for the repressed, possessive, and, well, psychopathic high-powered high society swell with an eye (or maybe two eyes) for lovely young women. As seen here, and more famously, in the classic crime noir, Laura. Apparently Mr. Webb never learned that those 1940s lovelies may be wily enough to latch on to a rich man for fame and fortune but are a little headstrong about being roped in, roped in completely by, well, an old lecher, high class or not. It doesn’t take a Mayfair swell to know this is not a country for old men. Any young joe could have told him that.
Sunday, June 12, 2011
Out In The 1940s Crime Noir Night- Ernest Hemingway’s “The Killers”- A Film Adaptation-A Second Take (1964)
Click on the headline to link to a Wikipedia entry for the 1964 The Killers.
DVD Review
The Killers, starring Lee Marvin, Angie Dickerson, Ronald Reagan, Clu Gulanger, based on a short story by Ernest Hemingway, Universal Studios, 1964
As I have mentioned before at the start of other reviews in this crime noir genre I am an aficionado, especially those 1940s detective epics like the film adaptations of Dashiell Hammett’s Sam Spade in The Maltese Falcon and Raymond Chandler’s Phillip Marlowe in The Big Sleep. Nothing like that gritty black and white film, ominous musical background and shadowy moments to stir the imagination. Others in the genre like Gilda, The Lady From Shang-hai, and Out Of The Past rate a nod because in addition to those attributes mentioned above they have classic femme fatales to add a little off-hand spice to the plot line, and, oh ya, they look nice too. Beyond those classics this period (say, roughly from the mid-1940s to mid-1950s produced many black and white film noir set pieces, some good some not so good. I mentioned in a review of the 1946 version of the film under review, The Killers, starring Burt Lancaster (as the smitten fall guy) and Ava Gardner (as the femme fatale, what else) that for plot line, and plot interest, femme fatale interest and sheer duplicity that film was in the former category. This techno-color version pales (no pun intended) by comparison although in spots the twists in the plot line here are interesting.
Neither screen adaptation owes much, except the opening passages, to Ernest Hemingway’s short story of the same name. The beauty of the shortness of the Heminway story is that it left plenty of room for other possibilities to expand on his plot line. But in the end the central question of all three vehicles is the question- why did two professional killers, serious, badass killers want to kill the seemingly harmless fall guy (here, Johnny North, always a Johnny somewhere in these noir things, played by a young John Cassavetes)?. And why didn’t they run when they had the chance. But come on now, wake up, you know as well as I do that it’s about a dame, a frill, a frail, a women, and not just any woman, but a high roller femme fatale. In this case that frill I is Sheila Farr (here played by Angie Dickerson who whatever her charms for a 1960s audience pales, again no pun intended, to the earlier version’s Kitty Collins played by sultry, yes sultry, Ava Gardner, as a colleen).
As I have noted recently in a review of the 1945 crime noir, Fallen Angel, femme fatales come in all shapes, sizes and dispositions. But high or low all want some dough, and a man who has it or knows how to get it. This is no modernist, post-1970s concept but hard 1940s realities extended into the early 1960s. And duplicity is just one of the “feminine wiles” that will help get the dough. Now thoroughly modern Sheila, like Kitty is not all that choosy about the dough's source, any mug will do, but she has some kind of sixth sense that it is not Johnny, at least not in the long haul and that notion will drive the action for a bit.
And if you think about it, of course Sheila is going with the smart guy, the guy with things really figured out (Jack, played here by a demure Ronald Reagan wearing a smashing greased down pompadour hair-do and looking very non-presidential). And old chump Johnny is nothing but a busted-up old palooka of a race car driving (Swede was a prize fighter) past his prime and looking for some easy money. No, no way Kitty is going to wind up with him in that shoddy rooming house out in the sticks hustling for short dough on the jalopy circuit , waiting for the other shoe to fall.
Let’s run through the plot a little and it will start to make more sense. You already know that other shoe dropped for Johnny. And why he just waited for the fates to rush in on him. What you didn’t know is that to get some easy dough for another run at Sheila’s come hither affections he, Johnny North, is involved along with Sheila's current paramour, Jack, and a couple of other midnight grifters in a major hold-up of a old-timey rural U.S. Mail truck (go big, or don’t go at all, right) The heist goes off like clockwork. Where it gets dicey is pay-off time. Just like with the earlier version’s Kitty and Big Jim Sheila and Jack are dealing the others out, and dealing them out big time. And they get away with it for a while until the guys who did the “hit” on Johnny (played by Lee Marvin and Clu Glanger) get all balled up trying to figure out why Johnny just cast his fate to the wind start to figure things out.
And they lead, or are led, naturally to figure out the big double-cross. But double-crossing people, even simple midnight grifters, is not good criminal practice and so all hell breaks loose. Watch this film. And take the same advise I gave in the 1946 review stay away from dark-haired Irish beauties AND also tall, leggy, brunettes with no heart, especially if you are just an average Joe. Okay.
Note: This is not the first Hemingway writing, or an idea for a writing, that has appeared in film totally different from the original idea. More famous, and rightly so is his sea tale, To Have Or Have Not, that William Faulkner wrote the screenplay for and that Humphrey Bogart and Lauren Bacall turned into a steamy (1940s steamy, okay) black and white film classic.
Added note:
Ernest Hemingway was a prolific short story writer and I have argued in the past elsewhere in this space that perhaps some of these were his best literary efforts. Needless to say, a writer whose command of a sparse and functional style is going do very nicely when Hollywood comes a-calling. In this case the short story was indeed short. A couple of hired killers come into a lunch counter looking for someone on the run. He doesn't show and that is the end of the story. Although we presume his fate is foresworn. But not for Hollywood. In this remake of the 1946 film that starred Burt Lancaster the hired killers (played by Lee Marvin and Clu Gulager) remain but they are thoughtful (and greedy). They want to know why Johnny North (the guy on the run) does not run and stands for the hit. As befits a 1960's film they want to get the motive and will get it come hell or high water. Naturally, there is a woman (a young Angie Dickerson) involved that leads old Johnny astray. From there the film goes through a series of flashbacks to figure out how Johnny became the fall guy. The original is a little closer to Hemingway's sense of the dynamics that lead to the patsy's fatalism but this is an interesting take, as well.
DVD Review
The Killers, starring Lee Marvin, Angie Dickerson, Ronald Reagan, Clu Gulanger, based on a short story by Ernest Hemingway, Universal Studios, 1964
As I have mentioned before at the start of other reviews in this crime noir genre I am an aficionado, especially those 1940s detective epics like the film adaptations of Dashiell Hammett’s Sam Spade in The Maltese Falcon and Raymond Chandler’s Phillip Marlowe in The Big Sleep. Nothing like that gritty black and white film, ominous musical background and shadowy moments to stir the imagination. Others in the genre like Gilda, The Lady From Shang-hai, and Out Of The Past rate a nod because in addition to those attributes mentioned above they have classic femme fatales to add a little off-hand spice to the plot line, and, oh ya, they look nice too. Beyond those classics this period (say, roughly from the mid-1940s to mid-1950s produced many black and white film noir set pieces, some good some not so good. I mentioned in a review of the 1946 version of the film under review, The Killers, starring Burt Lancaster (as the smitten fall guy) and Ava Gardner (as the femme fatale, what else) that for plot line, and plot interest, femme fatale interest and sheer duplicity that film was in the former category. This techno-color version pales (no pun intended) by comparison although in spots the twists in the plot line here are interesting.
Neither screen adaptation owes much, except the opening passages, to Ernest Hemingway’s short story of the same name. The beauty of the shortness of the Heminway story is that it left plenty of room for other possibilities to expand on his plot line. But in the end the central question of all three vehicles is the question- why did two professional killers, serious, badass killers want to kill the seemingly harmless fall guy (here, Johnny North, always a Johnny somewhere in these noir things, played by a young John Cassavetes)?. And why didn’t they run when they had the chance. But come on now, wake up, you know as well as I do that it’s about a dame, a frill, a frail, a women, and not just any woman, but a high roller femme fatale. In this case that frill I is Sheila Farr (here played by Angie Dickerson who whatever her charms for a 1960s audience pales, again no pun intended, to the earlier version’s Kitty Collins played by sultry, yes sultry, Ava Gardner, as a colleen).
As I have noted recently in a review of the 1945 crime noir, Fallen Angel, femme fatales come in all shapes, sizes and dispositions. But high or low all want some dough, and a man who has it or knows how to get it. This is no modernist, post-1970s concept but hard 1940s realities extended into the early 1960s. And duplicity is just one of the “feminine wiles” that will help get the dough. Now thoroughly modern Sheila, like Kitty is not all that choosy about the dough's source, any mug will do, but she has some kind of sixth sense that it is not Johnny, at least not in the long haul and that notion will drive the action for a bit.
And if you think about it, of course Sheila is going with the smart guy, the guy with things really figured out (Jack, played here by a demure Ronald Reagan wearing a smashing greased down pompadour hair-do and looking very non-presidential). And old chump Johnny is nothing but a busted-up old palooka of a race car driving (Swede was a prize fighter) past his prime and looking for some easy money. No, no way Kitty is going to wind up with him in that shoddy rooming house out in the sticks hustling for short dough on the jalopy circuit , waiting for the other shoe to fall.
Let’s run through the plot a little and it will start to make more sense. You already know that other shoe dropped for Johnny. And why he just waited for the fates to rush in on him. What you didn’t know is that to get some easy dough for another run at Sheila’s come hither affections he, Johnny North, is involved along with Sheila's current paramour, Jack, and a couple of other midnight grifters in a major hold-up of a old-timey rural U.S. Mail truck (go big, or don’t go at all, right) The heist goes off like clockwork. Where it gets dicey is pay-off time. Just like with the earlier version’s Kitty and Big Jim Sheila and Jack are dealing the others out, and dealing them out big time. And they get away with it for a while until the guys who did the “hit” on Johnny (played by Lee Marvin and Clu Glanger) get all balled up trying to figure out why Johnny just cast his fate to the wind start to figure things out.
And they lead, or are led, naturally to figure out the big double-cross. But double-crossing people, even simple midnight grifters, is not good criminal practice and so all hell breaks loose. Watch this film. And take the same advise I gave in the 1946 review stay away from dark-haired Irish beauties AND also tall, leggy, brunettes with no heart, especially if you are just an average Joe. Okay.
Note: This is not the first Hemingway writing, or an idea for a writing, that has appeared in film totally different from the original idea. More famous, and rightly so is his sea tale, To Have Or Have Not, that William Faulkner wrote the screenplay for and that Humphrey Bogart and Lauren Bacall turned into a steamy (1940s steamy, okay) black and white film classic.
Added note:
Ernest Hemingway was a prolific short story writer and I have argued in the past elsewhere in this space that perhaps some of these were his best literary efforts. Needless to say, a writer whose command of a sparse and functional style is going do very nicely when Hollywood comes a-calling. In this case the short story was indeed short. A couple of hired killers come into a lunch counter looking for someone on the run. He doesn't show and that is the end of the story. Although we presume his fate is foresworn. But not for Hollywood. In this remake of the 1946 film that starred Burt Lancaster the hired killers (played by Lee Marvin and Clu Gulager) remain but they are thoughtful (and greedy). They want to know why Johnny North (the guy on the run) does not run and stands for the hit. As befits a 1960's film they want to get the motive and will get it come hell or high water. Naturally, there is a woman (a young Angie Dickerson) involved that leads old Johnny astray. From there the film goes through a series of flashbacks to figure out how Johnny became the fall guy. The original is a little closer to Hemingway's sense of the dynamics that lead to the patsy's fatalism but this is an interesting take, as well.
Wednesday, June 8, 2011
Out In The 1940s Crime Noir Night- Ernest Hemingway’s “The Killers”- A Film Adaptation
Click on the headline to link to a Wikipedia entry for the film adaptation of Ernest Hemingway's The Killers.
DVD Review
The Killers, starring Edmond O’Brian, Burt Lancaster, and Ava Gardner, based on a short story by Ernest Hemingway, 1946
As I have mentioned before at the start of other reviews in this genre I am an aficionado of film noir, especially those 1940s detective epics like the film adaptations of Dashiell Hammett’s Sam Spade in The Maltese Falcon and Raymond Chandler’s Phillip Marlowe in The Big Sleep. Nothing like that gritty black and white film, ominous musical background and shadowy moments to stir the imagination. Others in the genre like Gilda, The Lady From Shang-hai, and Out Of The Past rate a nod because in addition to those attributes mentioned above they also have classic femme fatales to add a little off-hand spice to the plot line, and, oh ya, they look nice too. Beyond those classics this period (say, roughly from the mid-1940s to mid-1950s) produced many black and white film noir set pieces, some good some not so good. For plot line, and plot interest, femme fatale interest and sheer duplicity the film under review, The Killers, is under that former category.
Although the screen adaptation owes little, except the opening passages, to Ernest Hemingway’s short story of the same name this is primo 1940s crime noir stuff. Here, although Hemingway left plenty of room for other possibilities in his plot line, the question is why did two professional killers, serious, bad-ass killers want to kill the seemingly harmless “Swede” (played by a young, rough-hewn Burt Lancaster). But come on now, wake up, you know as well as I do that it’s about a dame, a frill, a frail, a woman, and not just any woman, but a high roller femme fatale. In this case that would be Kitty Collins (played by sultry, very sultry, husky-voiced, dark-haired Ava Gardner) as just a poor colleen trying to get up from under and a femme fatale that has the boys, rich or poor, begging for more.
As I have noted recently in a review of the 1945 crime noir, Fallen Angel, femme fatales come in all shapes, sizes and dispositions. But, high or low, all want some dough, and man who has it or knows how to get it. This is no modernist, post-1970s concept but hard 1940s realities. And duplicity, big-time duplicity, is just one of the “feminine wiles” that will help get the dough. Now thoroughly modern Kitty is not all that choosy about the dough's source, any mug will do, but she has some kind of sixth sense that it is not the Swede, at least not in the long haul, and that notion will drive the action for a bit. And if you think about it, of course Kitty is going with the smart guy. And old Swede is nothing but a busted-up old palooka of a prize fighter past his prime and looking, just like every other past his prime guy, for some easy money. No, no way Kitty is going to wind up with him in some shoddy flea-bitten rooming house out in the sticks, just waiting for the other shoe to fall.
Let’s run through the plot a little and it will start to make more sense. You already know that other shoe dropped for Swede. And why he just waited for the fates to rush in on him. What you didn’t know is that to get some easy dough for another run at Ms. Kitty’s affections he, Swede, is involved along with Kitty’s current paramour, “Big Jim”, and a couple of other midnight grifters in a major hold-up of a hat factory (who would have guessed that is where the dough, real dough, was). The heist goes off like clockwork. Where it gets dicey is pay-off time. Kitty and Big Jim are dealing the others out, and dealing them out big time. And they get away with it for a while until an insurance investigator (ya, I know, what would such a guy want to get involved in this thing) trying to figure out why Swede just cast his fate to the wind starts to figure things out. And they lead naturally to the big double-cross. But double-crossing people, even simple midnight grifters, is not good criminal practice and so all hell breaks loose. Watch this film. And stay away from dark-haired Irish beauties with no heart, especially if you are just an average Joe. Okay.
Note: This is not the first Hemingway writing, or an idea for a writing, that has appeared in film totally different from the original idea. More famous, and rightly so, is his sea tale, To Have Or Have Not, that William Faulkner wrote the screenplay and that Humphrey Bogart and Lauren Bacall turned into a steamy (1940s steamy, okay) black and white film classic.
Wednesday, November 3, 2010
**Out In The Be-Bop Night- Scenes From Search For The Blue-Pink Great American West Night-Hayes Bickford Breakout 1962
Click on the headline to link to a photograph of a Hayes-Bickford on Huntington Avenue in Boston (no Cambridge one available) to add a little flavor to this entry.
The scene below stands (or falls) as a moment in support of that eternal search mentioned in the headline.
Scene Two: Got The Urge For Going In Search Of The Blue- Pink Great American West Night- Hayes-Bickford Breakout 1962
Here I am again sitting, 3 o’clock in the morning sitting, bleary-eyed, slightly distracted after mulling over the back and forth of the twelve hundredth run-in (nice way to put it, right?) with Ma that has driven me out into this chilly October 1962 early morning. And where do I find myself sitting at this time of morning? Tired, but excitedly expectant, on an uncomfortable, unpadded bench seat on this rolling old clickity-clack monster of a Red Line subway car as it now waggles its way out past Kendall Station on its way to Central Square and then to the end of the line, Harvard Square. My hangout, my muse home, my night home, at least my weekend night home, my place to make sense of the world in a world that doesn’t make much sense, at least not enough much sense. Sanctuary, Harvard Square Hayes-Bickford sanctuary, misbegotten teenage boy sanctuary, recognized by international law, recognized by canon law, or not.
That beef with Ma, that really unnumbered beef, forget about the 1200 I said before, that was just a guess, has driven me to take an “all-nighter” trip away from the travails of the old home town across Boston to the never-closed Hayes-Bickford cafeteria that beckons just as you get up the stairs from the Harvard subway tunnel. Damn, let me just get this off my chest and then I can tell the rest of the story. Ma said X, I pleaded for Y (hell this homestead civil war lent itself righteously to a nice algebraic formulation. You can use it too, no charge). Unbeknownst to me Y did not exist in Ma’s universe. Ever. Sound familiar? Sure, but I had to get it off my chest.
After putting on my uniform, my Harvard Square “cool” uniform: over-sized flannel brownish plaid shirt, belt-less black cuff-less chino pants, black Chuck Taylor logo-ed Converse sneakers, a now ratty old windbreaker won in a Fourth of July distance race a few years back when I really was nothing but a wet-behind-the ears kid to ward off the chill, and, and the absolutely required midnight sunglasses to hide those bleary eyes from a peeking world I was ready to go. To face the unlighted night, and fight against the dawn’s rising for another day. Oh ya, I forgot, I had to sneak out of the house stealthily, run like some crazed broken field football player down the back of the property, and, after catching my breathe, walk a couple of miles over bridge and nasty, hostile (hostile if anyone was out, and anyone was sniping for a misbegotten teenage boy, for any purpose good or evil) Dorchester streets to get to the Fields Corner subway stop. The local Eastern Mass. bus had stopped its always erratic service hours ago, and, any way, I usually would rather walk, in any case, than wait, wait my youth away for those buses to amble along our way with their byzantine schedules.
Right now though I am thinking, as those subway car wheels rattle beneath my feet, who knows, really, how or why it starts, that wanderlust start, that strange feeling in the pit of your stomach that you have to move on, or out, or up or you will explode, except you also know, or you damn well come to know that it eats away at a man, or a woman for matter, in different ways. Maybe way back, way back in the cradle it was that first sense that there was more to the world that the four corners of that baby world existence and that if you could just, could just get over that little, little side board there might be something better, much better over the horizon. But, frankly that just seems like too much of a literary stretch even for me, moody teenage boy that I am, to swallow so let’s just say that it started once I knew that the ocean was a way to get away, if you needed to get away. But see I didn’t figure than one out for myself even, old Kenny from the old neighborhood in third grade is the one who got me hip to that, and then Johnny James and his brother filled in the rest of the blanks and so then I was sea-worthy, dream sea-worthy anyway.
But, honestly, that sea dream stuff can only be music for the future because right now I am stuck, although I do not always feel stuck about it, trying to figure my way out of high school world, or at least figure out the raging things that I want to do after high school that fill up my daydream time (study hall time, if you really want to know). Of course, as well, that part about the ocean just mentioned, well there was a literal part to the proposition since ocean-at-my-back (sometimes right at my back) New England homestead meant unless I wanted to take an ill-advised turn at piracy or high-seas hijacking or some such thing east that meant I had to head west. Right now west though is Harvard Square, its doings and not doings, it trumpet call to words, and sounds, and actions in the October Friday night all-night storm brewing.
The train now rounds the squeaky-sounding bend out of Central Square and stops at the station. So now I leave my pensive seat and stand waiting, waiting for the driver to release the pressure to let the sliding train door open, getting ready to jump off the old subway, two-step-at-a-time my way up the two flights of stairs and head for mecca to see if things jump for me tonight. The doors open at last. Up the two-stepped stairs I go, get to the surface and confront the old double-glassed Hayes door entrance and survey the vast table-filled room that at this hour has a few night owl stranglers spotted throughout the place.
You know the old Hayes-Bickford, or one of them if you live in Boston, or New York City, or a few other places on the East Coast, don’t you? Put your tray on the metal slider (hey, I don’t know what you call that slider thing, okay) and cruise down the line from item to item behind the glass-enclosed bins of, mostly, steamy food, if you are looking for fast service, for a quick between doing things, pressing things, meal. Steamed and breaded everything from breakfast to lunch to dinner anytime topped off by dishwater quality coffee (refills on demand, if you feel lucky). But this is not the place to bring your date, certainly not your first date, except maybe for a quick cup of that coffee before going to some event, or home. What this is, really, is a place where you can hang out, and hang out with comfort, because nobody, nobody at all, is going to ask you to leave, at least if you act half-way human. And that is what this place is really about, the humans in all their human conditions doing human things, alien to you or not, that you see floating by you, as you take a seat at one of the one-size-fits all wooden tables with those red vinyl seat covered chairs replete with paper place settings, a few off-hand eating utensils and the usual obligatory array of condiments to help get down the food and drink offered here.
Let me describe who is here at this hour on an early Saturday morning in October 1962. I will not vouch for other times, or other days, but I know Friday and Saturday nights a little so I can say something about them. Of course there is the last drink at the last open barroom crowd, said bar already well-closed in bluelaw Massachusetts, trying to get sober enough by eating a little food to traverse the road home. Good luck. Needless to say eating food in an all-night cafeteria, any all-night cafeteria, means only one thing-the person is so caught up in a booze frenzy that he (mainly) or she (very occasionally) is desperate for anything to hang the name food on to. Frankly, except for the obligatory hard-dollar coffee-steamed to its essence, then through some mystical alchemic process re-beaned, and served in heavy ceramic mugs that keep in the warmth to keep the eyes open the food here is strictly for the, well, the desperate, drunk or sober.
I might mention a little more about the food as I go along but it is strictly to add color to this little story. Maybe, maybe it will add color to the story but this is mainly about the “literary” life at the old Hayes and the quest for the blue-pink night not the cuisine so don’t hold me to it. Here is the kicker though; there are a few, mercifully few this night, old winos, habitual drunks, and street vagabonds (I am being polite here) who are nuzzling their food, for real. This is the way that you can tell the "last drink" boys, the hail fellows well met, who are just out on the town and who probably go to one of the ten zillion colleges in the area and are drawn like moths (and like wayward high schools kids, including this writer) to the magic name, Harvard Square. They just pick at their food. Those other guys (again, mainly, guys) those habituals and professional waywards work at it like it is their last chance for salvation.
Harvard Square, bright lights, dead of nights, see the sights. That vision is nothing but a commercial, a commercial magnet for every young (and old) hustler within fifty miles of the place to come and display their “acumen”. Their hustle. Three card Monte, quick-change artistry, bait and hook, a little jack-rolling, fake dope-plying, lifting an off-hand wallet, the whole gamut of hustler con lore. On any given Harvard Square weekend night there have got to be more young, naïve, starry-eyed kids hanging out trying to be cool, but really, like me, just learning the ropes of life than you could shake a stick at to set a hustler’s heart, if he (mainly) or she (sometimes) had a heart.
I’ll tell you about a quick con that got me easy in a second but right now let me tell you that at this hour I can see a few con artists just now resting up after a hard night’s work around a couple of tables, comparing notes (or, more likely, trying to con each other, there is no honor among thieves in this little night world. Go to it boys). As to the con that got me, hey it was simple, a guy, an older guy, a twenty-five year old or something like that guy, came up to me while I was talking to a friend and said did I (we) want to get some booze. Sober, sixteen years old, and thrill-seeking I said sure (drinking booze is the coin of the realm for thrills these days, among high school kids that I know, maybe the older set, those college guys, are, I hear, experimenting with drugs but if so it is very on the QT).
He said name your poison, I did, and then he “suggested” a little something for himself. Sure, whatever is right. I gave him the money and he returned a few minutes later with a small bag with the top of a liquor bottle hanging out. He split. We went off to a private area around Harvard Yard (Phillips Brook House, I think) and got ready to have our first serious taste of booze, and maybe get rum brave enough to pick up some girls. Naturally, the bottle is a booze bottle alright but it had been opened (how long before is anyone’s guess) and filled with water. Sucker, right. Now the only reason that I am mentioning this story right now is that the guy who pulled this con is sitting, sitting like the King of Siam, just a few tables away from where I am sitting. The lesson learned for the road, for the future road that beckons: don’t accept packages from strangers without inspecting them and watch out for cons, right? No, hell no. The lesson is this: sure don’t fall for wise guy tricks but the big thing is to shake it off, forget about it if you see the con artist again. You are way to cool to let him (or occasionally her) think that they have conned you. Out loud, anyway.
But wait, I am not here at almost four o’clock in the Hayes-Bickford morning, the Harvard Square Hayes-Bickford morning, to talk about the decor, the food if that is what it is, about the clientele, humble, slick, or otherwise. I am here looking for “talent”, literary talent that is. See, I have been here enough, and have heard enough about the ”beats” (or rather pseudo-beats, or “late phase” beats at this time) and the “folkies” (music people breaking out of the Pop 40 music scene and going back to the roots of America music, way back) to know that a bunch of them, about six in all, right this minute are sitting in a far corner with a light drum tapping the beat listening to a guy in black pants(always de rigueur black), sneakers and a flannel shirt just like me reciting his latest poem. That possibility is what drove me here this night, and other nights as well. See the Hayes is known as the place where someone like Norman Mailer has his buttered toast after one of his “last drink” bouts. Or that Bob Dylan sat at that table, that table right over there, writing something on a napkin. Or some parallel poet to the one now wrapping up his seventy-seven verse imitation Allen Ginsberg's Howl master work went out to San Francisco and blew the lid off the town, the City Lights town, the literary town.
But I better, now that the six-ish dawn light is hovering, trying to break through the night wars, get my droopy body down those subway stairs pretty soon and back across town before anyone at home notices that I am missing. Still I will take the hard-bitten coffee, re-beaned and all, I will take the sleepy eyes that are starting to weigh down my face, I will even take the con artists and feisty drunks just so that I can be here when somebody’s search for the blue-pink great American West night, farther west than Harvard Square night, gets launched.
The scene below stands (or falls) as a moment in support of that eternal search mentioned in the headline.
Scene Two: Got The Urge For Going In Search Of The Blue- Pink Great American West Night- Hayes-Bickford Breakout 1962
Here I am again sitting, 3 o’clock in the morning sitting, bleary-eyed, slightly distracted after mulling over the back and forth of the twelve hundredth run-in (nice way to put it, right?) with Ma that has driven me out into this chilly October 1962 early morning. And where do I find myself sitting at this time of morning? Tired, but excitedly expectant, on an uncomfortable, unpadded bench seat on this rolling old clickity-clack monster of a Red Line subway car as it now waggles its way out past Kendall Station on its way to Central Square and then to the end of the line, Harvard Square. My hangout, my muse home, my night home, at least my weekend night home, my place to make sense of the world in a world that doesn’t make much sense, at least not enough much sense. Sanctuary, Harvard Square Hayes-Bickford sanctuary, misbegotten teenage boy sanctuary, recognized by international law, recognized by canon law, or not.
That beef with Ma, that really unnumbered beef, forget about the 1200 I said before, that was just a guess, has driven me to take an “all-nighter” trip away from the travails of the old home town across Boston to the never-closed Hayes-Bickford cafeteria that beckons just as you get up the stairs from the Harvard subway tunnel. Damn, let me just get this off my chest and then I can tell the rest of the story. Ma said X, I pleaded for Y (hell this homestead civil war lent itself righteously to a nice algebraic formulation. You can use it too, no charge). Unbeknownst to me Y did not exist in Ma’s universe. Ever. Sound familiar? Sure, but I had to get it off my chest.
After putting on my uniform, my Harvard Square “cool” uniform: over-sized flannel brownish plaid shirt, belt-less black cuff-less chino pants, black Chuck Taylor logo-ed Converse sneakers, a now ratty old windbreaker won in a Fourth of July distance race a few years back when I really was nothing but a wet-behind-the ears kid to ward off the chill, and, and the absolutely required midnight sunglasses to hide those bleary eyes from a peeking world I was ready to go. To face the unlighted night, and fight against the dawn’s rising for another day. Oh ya, I forgot, I had to sneak out of the house stealthily, run like some crazed broken field football player down the back of the property, and, after catching my breathe, walk a couple of miles over bridge and nasty, hostile (hostile if anyone was out, and anyone was sniping for a misbegotten teenage boy, for any purpose good or evil) Dorchester streets to get to the Fields Corner subway stop. The local Eastern Mass. bus had stopped its always erratic service hours ago, and, any way, I usually would rather walk, in any case, than wait, wait my youth away for those buses to amble along our way with their byzantine schedules.
Right now though I am thinking, as those subway car wheels rattle beneath my feet, who knows, really, how or why it starts, that wanderlust start, that strange feeling in the pit of your stomach that you have to move on, or out, or up or you will explode, except you also know, or you damn well come to know that it eats away at a man, or a woman for matter, in different ways. Maybe way back, way back in the cradle it was that first sense that there was more to the world that the four corners of that baby world existence and that if you could just, could just get over that little, little side board there might be something better, much better over the horizon. But, frankly that just seems like too much of a literary stretch even for me, moody teenage boy that I am, to swallow so let’s just say that it started once I knew that the ocean was a way to get away, if you needed to get away. But see I didn’t figure than one out for myself even, old Kenny from the old neighborhood in third grade is the one who got me hip to that, and then Johnny James and his brother filled in the rest of the blanks and so then I was sea-worthy, dream sea-worthy anyway.
But, honestly, that sea dream stuff can only be music for the future because right now I am stuck, although I do not always feel stuck about it, trying to figure my way out of high school world, or at least figure out the raging things that I want to do after high school that fill up my daydream time (study hall time, if you really want to know). Of course, as well, that part about the ocean just mentioned, well there was a literal part to the proposition since ocean-at-my-back (sometimes right at my back) New England homestead meant unless I wanted to take an ill-advised turn at piracy or high-seas hijacking or some such thing east that meant I had to head west. Right now west though is Harvard Square, its doings and not doings, it trumpet call to words, and sounds, and actions in the October Friday night all-night storm brewing.
The train now rounds the squeaky-sounding bend out of Central Square and stops at the station. So now I leave my pensive seat and stand waiting, waiting for the driver to release the pressure to let the sliding train door open, getting ready to jump off the old subway, two-step-at-a-time my way up the two flights of stairs and head for mecca to see if things jump for me tonight. The doors open at last. Up the two-stepped stairs I go, get to the surface and confront the old double-glassed Hayes door entrance and survey the vast table-filled room that at this hour has a few night owl stranglers spotted throughout the place.
You know the old Hayes-Bickford, or one of them if you live in Boston, or New York City, or a few other places on the East Coast, don’t you? Put your tray on the metal slider (hey, I don’t know what you call that slider thing, okay) and cruise down the line from item to item behind the glass-enclosed bins of, mostly, steamy food, if you are looking for fast service, for a quick between doing things, pressing things, meal. Steamed and breaded everything from breakfast to lunch to dinner anytime topped off by dishwater quality coffee (refills on demand, if you feel lucky). But this is not the place to bring your date, certainly not your first date, except maybe for a quick cup of that coffee before going to some event, or home. What this is, really, is a place where you can hang out, and hang out with comfort, because nobody, nobody at all, is going to ask you to leave, at least if you act half-way human. And that is what this place is really about, the humans in all their human conditions doing human things, alien to you or not, that you see floating by you, as you take a seat at one of the one-size-fits all wooden tables with those red vinyl seat covered chairs replete with paper place settings, a few off-hand eating utensils and the usual obligatory array of condiments to help get down the food and drink offered here.
Let me describe who is here at this hour on an early Saturday morning in October 1962. I will not vouch for other times, or other days, but I know Friday and Saturday nights a little so I can say something about them. Of course there is the last drink at the last open barroom crowd, said bar already well-closed in bluelaw Massachusetts, trying to get sober enough by eating a little food to traverse the road home. Good luck. Needless to say eating food in an all-night cafeteria, any all-night cafeteria, means only one thing-the person is so caught up in a booze frenzy that he (mainly) or she (very occasionally) is desperate for anything to hang the name food on to. Frankly, except for the obligatory hard-dollar coffee-steamed to its essence, then through some mystical alchemic process re-beaned, and served in heavy ceramic mugs that keep in the warmth to keep the eyes open the food here is strictly for the, well, the desperate, drunk or sober.
I might mention a little more about the food as I go along but it is strictly to add color to this little story. Maybe, maybe it will add color to the story but this is mainly about the “literary” life at the old Hayes and the quest for the blue-pink night not the cuisine so don’t hold me to it. Here is the kicker though; there are a few, mercifully few this night, old winos, habitual drunks, and street vagabonds (I am being polite here) who are nuzzling their food, for real. This is the way that you can tell the "last drink" boys, the hail fellows well met, who are just out on the town and who probably go to one of the ten zillion colleges in the area and are drawn like moths (and like wayward high schools kids, including this writer) to the magic name, Harvard Square. They just pick at their food. Those other guys (again, mainly, guys) those habituals and professional waywards work at it like it is their last chance for salvation.
Harvard Square, bright lights, dead of nights, see the sights. That vision is nothing but a commercial, a commercial magnet for every young (and old) hustler within fifty miles of the place to come and display their “acumen”. Their hustle. Three card Monte, quick-change artistry, bait and hook, a little jack-rolling, fake dope-plying, lifting an off-hand wallet, the whole gamut of hustler con lore. On any given Harvard Square weekend night there have got to be more young, naïve, starry-eyed kids hanging out trying to be cool, but really, like me, just learning the ropes of life than you could shake a stick at to set a hustler’s heart, if he (mainly) or she (sometimes) had a heart.
I’ll tell you about a quick con that got me easy in a second but right now let me tell you that at this hour I can see a few con artists just now resting up after a hard night’s work around a couple of tables, comparing notes (or, more likely, trying to con each other, there is no honor among thieves in this little night world. Go to it boys). As to the con that got me, hey it was simple, a guy, an older guy, a twenty-five year old or something like that guy, came up to me while I was talking to a friend and said did I (we) want to get some booze. Sober, sixteen years old, and thrill-seeking I said sure (drinking booze is the coin of the realm for thrills these days, among high school kids that I know, maybe the older set, those college guys, are, I hear, experimenting with drugs but if so it is very on the QT).
He said name your poison, I did, and then he “suggested” a little something for himself. Sure, whatever is right. I gave him the money and he returned a few minutes later with a small bag with the top of a liquor bottle hanging out. He split. We went off to a private area around Harvard Yard (Phillips Brook House, I think) and got ready to have our first serious taste of booze, and maybe get rum brave enough to pick up some girls. Naturally, the bottle is a booze bottle alright but it had been opened (how long before is anyone’s guess) and filled with water. Sucker, right. Now the only reason that I am mentioning this story right now is that the guy who pulled this con is sitting, sitting like the King of Siam, just a few tables away from where I am sitting. The lesson learned for the road, for the future road that beckons: don’t accept packages from strangers without inspecting them and watch out for cons, right? No, hell no. The lesson is this: sure don’t fall for wise guy tricks but the big thing is to shake it off, forget about it if you see the con artist again. You are way to cool to let him (or occasionally her) think that they have conned you. Out loud, anyway.
But wait, I am not here at almost four o’clock in the Hayes-Bickford morning, the Harvard Square Hayes-Bickford morning, to talk about the decor, the food if that is what it is, about the clientele, humble, slick, or otherwise. I am here looking for “talent”, literary talent that is. See, I have been here enough, and have heard enough about the ”beats” (or rather pseudo-beats, or “late phase” beats at this time) and the “folkies” (music people breaking out of the Pop 40 music scene and going back to the roots of America music, way back) to know that a bunch of them, about six in all, right this minute are sitting in a far corner with a light drum tapping the beat listening to a guy in black pants(always de rigueur black), sneakers and a flannel shirt just like me reciting his latest poem. That possibility is what drove me here this night, and other nights as well. See the Hayes is known as the place where someone like Norman Mailer has his buttered toast after one of his “last drink” bouts. Or that Bob Dylan sat at that table, that table right over there, writing something on a napkin. Or some parallel poet to the one now wrapping up his seventy-seven verse imitation Allen Ginsberg's Howl master work went out to San Francisco and blew the lid off the town, the City Lights town, the literary town.
But I better, now that the six-ish dawn light is hovering, trying to break through the night wars, get my droopy body down those subway stairs pretty soon and back across town before anyone at home notices that I am missing. Still I will take the hard-bitten coffee, re-beaned and all, I will take the sleepy eyes that are starting to weigh down my face, I will even take the con artists and feisty drunks just so that I can be here when somebody’s search for the blue-pink great American West night, farther west than Harvard Square night, gets launched.
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