Showing posts with label New York. Show all posts
Showing posts with label New York. Show all posts

Thursday, May 28, 2015

Turns Out, There Really Is No Place Like Home



"And you're not getting away with anything! I got all your names and your addresses!"

George (Jack Lemmon)

It was easy to sympathize with George (Jack Lemmon) and his wife, Gwen (Sandy Dennis).

They were from small–town Ohio, visiting New York City so George could interview for a big job. He was sure he would get it, too. And they were both excited on the flight to New York. This was the opportunity George had been building up to; now, all his hard work was going to pay off. They were finally going to live the kind of life they had always wanted.

But the beautiful dream soon became a nightmare in "The Out–of–Towners," a movie based on a Neil Simon play that made its debut on this day in 1970.

We've all had periods in our lives when it was just one damn thing after another, but George and Gwen's trip to New York was the mother of all bad experiences. It certainly made my worst one–damn–thing–after–another experience look like a walk on the beach.

It's safe to say George and Gwen suffered just about every indignity imaginable.

The plane couldn't land because of air traffic and bad weather so, after circling long enough to ruin George's dinner reservation, the flight was diverted to Boston. George and Gwen had to take a train, which all the passengers on their flight and others were doing as well so the train was packed. They were hungry so, instead of dinner at The Four Seasons, they decided to eat in the train's dining car. But it was packed, and they had to stand in line. By the time they got a table, almost no food was left.
George: I was going to take you to dinner at one of the best restaurants in the world. Here you are eating peanut butter on white bread with nothing to drink. If you ever get your mouth open again, I wouldn't blame you if you never talk to me.

Gwen: Oh, my God!

George: What's wrong?

Gwen: I lost my left eyelash!

When the train arrived in New York, George and Gwen found out there was a strike, and they would have to walk to their hotel in the rain. By the way, their luggage had been lost.

And that was just their arrival in New York.

In some 24 hours, they were mugged twice — once while they were asleep in Central Park (their room at the Waldorf–Astoria was given to someone else because they did not contact the hotel by a certain time). At one point (probably my favorite part of the movie), George temporarily lost his hearing because a manhole cover on which he had been standing only seconds before was blown into the air and came crashing down next to him, creating a sound that kept echoing in his head and prevented him from hearing complete sentences. It was a harrowing time, to be sure.

Through it all, George kept writing down the names of the people whom he perceived to have mistreated him (whether they had or not) and their addresses, ostensibly so he could sue them when he got back to Ohio. And that really was where he would be going. I'm not sure when that became clear to the audience, but, long before the movie ended, I figured out that George and Gwen weren't going to be relocating to New York, that soon they would be on their way back to small–town Ohio.

(And I figured they would probably get on their knees and kiss the ground after they disembarked in Ohio.)

The experience appeared to make George paranoid. By the end of the movie, he really seemed to believe he had been the victim of some vast conspiracy, which was a hard sell, even if he could make a somewhat compelling case.

But, as bad as their trip to New York was, it really seemed to make George and Gwen appreciate what they did have in small–town Ohio — even if it wasn't perfect and didn't have all the amenities of a big city.

When George finally did go to his interview, Gwen worried that he would be offered the job — and would accept. She had realized that she really didn't want to live in New York.

Turned out George had been offered the job.
Gwen: What did you say, George?

George: What did I say? What do you think I said?

Gwen: I don't know, George. I was hoping you would say no. I was hoping you would say that you and your wife don't really belong in New York. That you wanted to live the rest of your life in Ohio. That you never wanted to see a big city again as long as you live. That you didn't want to live here or in, uh, Chicago or San Francisco or New Orleans or Paris or any other place where people have to live on top of each other, and they don't have enough room to walk or to breathe or to smile at each other. That you don't want to step on garbage in the streets or be attacked by dogs or have to give away watches in the middle of your sleep to men in black capes. That you were through traveling on trains that had no place to sit and no food to eat. And you didn't want to fly in airplanes that have no place to land and no luggage for you when you land there. That you wish you never came here, and the only thing in the world you really wanted was to pick up your wife and carry her to the airport and fly home ... and live happily ever after. That's what I was hoping you would say, George.

George: That's funny. That's what I told him, word for word.

Lemmon and Dennis were perfectly cast. They had more than enough Midwestern values in their personalities to make the parts of George and Gwen work.

Personally, I always thought Lemmon and Dennis were superior to Steve Martin and Goldie Hawn, stars of the 1999 remake. I guess I could always imagine Lemmon and Dennis living in rural Ohio, and I couldn't really picture Martin and Hawn living there.

Not that Martin and Hawn weren't believable as a couple — but Lemmon and Dennis were middle class enough to pull it off.

Lemmon was manic, like Daffy Duck on speed, meticulously keeping track of everyone who wronged him. Dennis was mousy, supportive of her husband but, when you got right down to it, determined and, like the famous Molly Brown, unsinkable.

It was a great character study.

Friday, February 07, 2014

When Beatlemania Crossed the Pond



Many Americans probably knew little, if anything, about the Beatles when they arrived in America 50 years ago today.

That was understandable. John F. Kennedy had been assassinated 11 weeks earlier. Americans were in a daze, numb, grieving, shocked, scared. They weren't focused on pop culture.

Beatlemania was already in full force in England 50 years ago, and many Americans probably had already seen the Beatles in a four–minute segment on NBC's Huntley–Brinkley Report a few days before the assassination, but, in the dizzying flurry of events in late 1963, it would be understandable if few remembered.

(Then, as now, teenagers were more likely to be aware of shifts in pop culture than their elders, of course, and there was considerable excitement among the young on this day 50 years ago.)

CBS actually broadcast a segment on the Beatles on its morning news show the day of the assassination, a segment that was slated to be repeated on the evening news but was not, obviously, because of the events in Dallas. A couple of weeks later, CBS finally ran the segment on the evening news, prompting a hurried release of "I Want to Hold Your Hand" the day after Christmas.

The United States, consequently, was probably one of the last countries in the civilized world to recognize what was happening. But, like the rest of the world, music in America was dominated by Elvis Presley and the so–called "Memphis sound." Even the bands in Britain — the Beatles included — sought to emulate that sound, thinking it to be the key to their success.

But the Beatles — and the groups that followed them in the British invasion — were responsible for a new sound, and music lovers in America were looking for a new sound.

"Everything about them ... seemed outlandish, compared with American pop groups," writes Allan Kozinn in the New York Times. "And though their music was firmly rooted — as they were always quick to point out — in American rhythm and blues, soul and rock, they produced a sound that was fresh, energetic and unmistakably their own."

A lot of people in America were eager to hear that sound.

Roughly 4,000 people were on hand when the Beatles arrived at New York's John F. Kennedy Airport 50 years ago today — about the same number who saw them off at London's Heathrow Airport.

Two days later, they were introduced to the American people at large — via the Ed Sullivan Show — and set new records for TV viewership.

Beatlemania had arrived on American soil. America and the world would never be the same again.

Monday, September 19, 2011

A Neighborhood Concert for Half a Million People



On this day in 1981, Paul Simon and Art Garfunkel reunited for a free concert in New York's Central Park.

My memory of that time is that there was considerable publicity surrounding the event. It had been at least 10 years since the two had performed together in public (with a few exceptions when they reunited briefly, as they did in 1975 when they recorded "My Little Town") and half a million people showed up on that mid–September Saturday to hear a couple of native New Yorkers in what Paul Simon called "a neighborhood concert."

I guess it goes without saying that expectations were quite high.

Sometime after that day, it was announced that a recording of the concert would be released in 1982. A friend of mine and I waited — not always patiently, I might add — for that record to come out, and, for awhile, one of us went to the local record stores every day and reported to the other that it still wasn't available.

"Not yet," the one who had checked the record stores would report. No further elaboration was needed.

I don't remember which of us got the album first, but whoever it was called the other with the joyful news. I do remember that it wasn't long at all before we both had a copy of it.

It was one of the few times in my life when I eagerly anticipated something — a book, a movie, a record — that did not ultimately disappoint. This album exceeded my expectations.

As I say, Simon and Garfunkel hadn't performed together in public in more than 10 years. I assume they did rehearse before the concert in Central Park, but, to the ears of someone who was raised on their music, they sounded as if the last time they played for an audience was just the night before.

They sounded that polished, that flawless to me.

They were comfortable playing the songs that made them one of the most beloved duos in history, and some songs — "Old Friends" springs to mind — were stunningly poignant.

Sometime in the spring of 1982, I saw a videotape of the concert on cable. I hadn't had the album all that long, but I had listened to it almost exclusively, and I could sing along with every song on it. I knew every sound, every vocal inflection, every spot that differed from the old studio recordings in any way.

I thought that the only difference was that I could see them singing the songs — I considered that a tremendous step forward, too.

But I was wrong. There was a significant difference. The album didn't include a song called "The Late Great Johnny Ace," a tune Simon wrote following the murder of John Lennon the year before but had never recorded.

The song didn't mention Lennon until near the end, but, when it did, a disturbed fan rushed the stage and was pulled away before he could reach Simon.

Lennon's murder was still an open wound for many people, and that song, sung as it was a short distance from where Lennon had been gunned down, may have been regarded as too controversial for the executives at Warner Brothers.

It was an open wound for me, too, but I still would have liked to have had that song on the album. I thought it was a great song, and a good example of something that has really always amazed me about Paul Simon. Almost without fail, every song he has written and recorded has been damn near perfect — in concept, in execution, in everything.

He always seems to convey precisely the mood he wants to convey.

And the familiar Simon and Garfunkel songs like "Mrs. Robinson," "Homeward Bound," "Bridge Over Troubled Water" and so many others (I really wanted to hear songs like "I Am A Rock," but they probably would have had to play all night to cover everything I wanted to hear) sounded great — but so did the songs from Simon's solo career, like "Me and Julio Down By The Schoolyard" and "Kodachrome" and "Slip Slidin' Away" — all of which benefited from the addition of Garfunkel's tenor.

Particularly noteworthy was "Late in the Evening," which was part of Simon's soundtrack for the 1980 movie "One Trick Pony."

"Late in the Evening" was played about midway through the show — and then it was reprised as the finale. It's the only song that was played twice that night.

The concert wasn't entirely about their folk–rock hits from the 1960s. There were songs from both of their solo careers. Garfunkel's solo career was more modest than Simon's, but the concert did include "A Heart in New York" from the album Garfunkel released just before the concert in Central Park.

But nothing could compare, really, to their renditions of the songs that made them famous. It was what all those folks came to Central Park to hear.

They came to hear songs like "Bridge Over Troubled Water."

So many people have sung that song over the years.

But nobody ever sang it as well as Art Garfunkel.

And perhaps he never sang it quite as well as he did on this evening 30 years ago.

Thursday, August 20, 2009

A Monty Python Reunion


Before there was computer spam, there was Python spam.


If you are a Monty Python fan — and if you happen to be in New York on Oct. 15 — you can witness a reunion of all six members of the comedy troupe in observance of their 40th anniversary.

I think you will agree that a reunion that features all six would be quite an accomplishment, since the New York Times points out that Graham Chapman has been dead since 1989.

The only thing I can compare it to would be having a Beatles reunion around the millennium.

Details, details.

The Python reunion (slated for the Ziegfeld Theater in Manhattan) also will have promotion as a purpose. A new documentary, "Monty Python: Almost the Truth (The Lawyer's Cut)," will be shown, followed by a question–and–answer session (I presume that, unless a "Weekend at Bernie's" kind of arrangement is planned, only five Pythons will be answering questions).

The reunion is being organized by the Independent Film Channel and the British Academy of Film and Television Arts. After the documentary, the Pythons will receive an award from the British Academy.

Culture Monster, the arts blog for the Los Angeles Times, has a scoop: "By the way, did you know that you can buy for the kiddies the Monty Python and the Holy Grail Catapult Playset, a miniature version of the catapult that comes complete with not only miniature cows but launchable sheep and ducks? Hours of fun. But we digress..."

If you're a relatively new Python fan, don't worry. I'm sure that will be made clear in the documentary.

Veteran Python fans already know what Diane Haithman was writing about.

By the way, if the organizers need a catch–phrase for the reunion, how's this?

"Yes, we spam."