Actor: Viggo Mortensen, Captain Fantastic
Actress: Isabelle Huppert, Elle
Supporting Actor: Lucas Hedges, Manchester by the Sea
Supporting Actress: Viola Davis, Fences
Director: Barry Jenkins, Moonlight
Original Screenplay: The Lobster
Adapted Screenplay: Moonlight
Production Design: Hail Caesar!
Costume Design: Jackie
Song: "How Far I'll Go", Moana
Sound Mixing: Rogue One
Sound Editing: Arrival
Visual Effects: Kubo and the Two Strings
Make-Up: Suicide Squad
Animated Feature: The Red Turtle
Animated Short: Blind Vaysha
Live Action Short: Timecode
Documentary Short: 4.1 Miles
Foreign Language Film: Toni Erdmann
Monday, February 6, 2017
Awash with mutual affection, we walked up Filmore St. and had dinner at Florio, where we talked and ate pasta off each other's plates. Then on the way back, she sang Thelonious Monk and Kurt Weill to me in that beautiful voice of hers. And when I said good night to her, looking in her eyes there on the corner of Eddy & Steiner, I knew I had never loved anyone so much as I did her.
And still do. If I could relive one hour of my life again over and over, forever, it would be that hour with her.
She turns 40 today, and this card is for Her.
Starting at the top, Georgia O'Keefe (Scott #4748e) is one of four stamps on this card that were part of the Modern Art in America issue--the others being Arthur Dove (#4748l), Marsden Hartley (#4748d), and Marcel Duchamp (#4748k). The first-day-of-issue postmark is for those stamps.
Moving on from there, the other stamps I featured are: Neysa McCain (#3502m), William M. Harnett (#1386), Folk Art tea caddy (#1776), Frida Kahlo (#3509), Love letter (#3551), Isamu Noguchi (#3859), Grandma Moses (#1370), Winslow Homer (#1207), John Sloan (#1433), Hawaii (#C84), Mary Cassatt (#1322), Fine Arts (#1259), guitar (#1613), Yosemite National Park (#740), Seattle (#1196), orchid (#2079), art glass (#3328), Edward Hopper (#3184n), and Louise Nevelson (#3383).
Monday, January 30, 2017
Parakeets, Scott #5124 - part of Pets issue
Shirley Temple, #5060
Sarah Vaughan, #5059 (w/Josh White #3215)
Mercury #5069 - part of The Planets issue
Everglades #5080l) - part of the National Park Service issue
Halloween Jack-o'-lantern #5140
Banana split #5095 - part of the Soda Fountain Favorites issue
Tulips #5049 - part of Botanical Art issue
Quilled Paper Heart, #5036
New Horizons probe #5078, part of the Pluto mini-sheet
Enterprise and planet #5134 - part of Star Trek issue
1953 Chevrolet #5102 - part of Pickup Truck issue (w/Hot Rod stamp #4909)
Wonder Woman (Bronze Age), #5150
Wednesday, January 25, 2017
My friend Brian does the “I Only Have Two Eyes” series annually on his blog (the title of which I’ve revised for my bespectacled self), about the best of archival screenings in the Bay Area. And since 2016 was the first year in ages that I actually logged every film I saw in a theater (final tally: 229 features & 256 shorts), it made compiling a list of my own 10 indelible experiences much easier to do.
We’ll start with Dumbo (Sharpsteen, 1941) at the Paramount in Oakland, on absolutely stunning 35mm. Although the emcee called it original (which it couldn’t have been, because that would have meant nitrate stock), it certainly was a crisply struck print that had not seen much circulation. Combine the divine “Pink Elephants on Parade” sequence with the most gorgeous Art Deco palace in the Bay Area, and it was a great way to start the year.
Also in January were some memorable titles at Noir City at the Castro, and for me, the highlight was a first viewing of Mickey One (Penn, 1965), a glorious jazz-tinged fever dream of a film, with an assist from legend Stan Getz. Disjointed, bizarre, singularly unique and punctuated by a live dance routine from burlesque goddess Evie Lovelle.
Soon after, the PFA had an excellent Maurice Pialat series, but I suspect that the power of his Under the Sun of Satan (1987) was magnified by it being bookended (quite by coincidence) with two other contemporary films I saw the same week that also explore religious faith, fanaticism and hypocrisy: Pablo Larrain’s The Club and Avishai Sivan’s Tikkun. In Pialat’s fantasy-fueled acid bath Passion Play, he posits the possibility that religion may be the most oppressive to the truly devout. Overall, a provocative accidental trilogy.
Some fun Gothic films ran their course at the Yerba Buena Arts Center that summer, and the highlight was my first time seeing The Beguiled (1971) on the big screen. Still Don Siegel’s best, Clint Eastwood plays a Yankee fox trying to subvert and seduce a Dixie henhouse. The thick hothouse atmosphere and sexual tension played beautifully through Siegel's lighting and the insidious plotting and character power plays. Still a remarkable film (soon to be remade by Sofia Coppola).
Though a relatively recent movie, I have to include the Triplets of Belleville (Chomet, 2003) screening at the Taube Atrium in the SF Opera House because Benoît Charest was there with a jazz combo to perform his exquisite score live, including saws, bikes, and trashcans as percussion instruments. A terrific experience.
2016 was the first year the Alamo Drafthouse in the Mission was open, and the best part of their programming is the late night Mon-Wed screenings. My first dip into that pool was a packed show of Two-Lane Blacktop (Hellman, 1971), which I’ve seen several times in the theater, but never tire of the gearhead culture, the meditative structure and lack of urgency (for a racing film!) and Warren Oates’s phenomenal turn as GTO. My year was relatively short on roadtrips but this went some way to sating my wanderlust.
In my backyard at the Parkway, there was an irresistible double bill of the cuckoo-bananas conspiracy theory documentary Room 237 (Ascher, 2012) followed by a screening of the focus of its subject, The Shining (Kubrick, 1980) itself. Rarely does a year go by when I don’t see some Kubrick on screen (I also revisited Paths of Glory and Spartacus at the Smith Rafael Film Center for Kirk Douglas’s 100th birthday), but a bonus this year was an excellent exhibit on Kubrick at the Contemporary Jewish Museum in SF with some amazing artifacts from his career, including the typewriter and hedge maze model from this film.
Also at the Smith Rafael was a Sam Fuller weekend (with his widow and daughter in attendance), where the biggest revelation for me was his Tokyo noir House of Bamboo (1955), a beautifully stylized genre piece whose gangster trappings and compositions appeared to anticipate the marvelous Seijun Suzuki, whose career was starting around the exact same time. As you’d expect, Robert Ryan is in top form and the climax on a rooftop amusement park is a standout.
And finally, two silent films, both firsts for me. At the Silent Film Festival at the Castro, Destiny (1921), the earliest film I’ve seen by Fritz Lang and a glorious anthology of stories where Love must face down Death. It was wonderful seeing Lang’s visual imagination in bloom, anticipating the superb special FX and supernatural wonders of his next few years in Germany. Months later, over at the Niles Essanay Film Museum, the buoyant energy of underrated actress Bebe Daniels was on full display in the fizzy comedy Feel My Pulse (La Cava, 1928), about a hypochondriac heiress looking for rest at a health sanitarium which is actually acting as a front for bootleggers (led by a very young William Powell). A hilarious comedy and secret gem.
So that’s 10 features, but since I saw over 60 archival shorts in the theater last year, I’ll give an honorable mention to two with Buster Keaton, still silent in the autumn of his career. I saw The Railrodder (Potterton, 1965) at an Oddball Film Archive screening, featuring Buster traveling across Canada on an open-air mini-railcar, a playful reminder of his other great train film The General, but in sumptuous color. And around the same time, the Smith Rafael Film Center played Film (Schneider, 1965), one of Samuel Beckett’s few forays into film and a wonderful existential metaphor with Buster showing that age had not changed the expressiveness of his body in motion. A sublime pairing. Here’s looking forward to another year of familiar films and new discoveries.
The Walt Disney stamp is Scott #1355 and Buster Keaton #2828. Dumbo is #4194 and Steamboat Willie #4343. The Ringling Brothers stamps are #4901 & 4904 while the other circus stamps are, sequentially, #1309, 2750 & 2751. The Pontiac GTO is #4744 and the Ford pickup #5104.
Friday, January 20, 2017
D is for Demagogue. Despot. Deceptive. Delusional. Diddler. Dumbass. And, of course, Donald.
My Dad was a hardcore Republican (a picture of Barry Goldwater hung in his den in our home), and Ronald Reagan—our other celebrity-turned-president—was in office during my middle and high school years. So I’m very familiar with the mindset and priorities of the voices across the aisle. But this year’s election narrative couldn’t have been more surreal or sadly absurd if the Onion had been writing it. I wonder what The Gipper would have thought about our new President being a Russian patsy, or if he, or my dad, would even recognize their GOP anymore. Would they have seen through this charlatan, or ultimately toe the party line?
This past week, the San Diego Chargers, the football team I cheered for my entire life, announced that it’s packing its bags and moving to Los Angeles. To many (including me), this sense of betrayal will mean the severing of all support or connection with that team. But not everyone will. Loyalty and identification are powerful things, feeling that you’re part of something bigger.
What, I wonder then, would it take to sever one’s connection with your political party? To put your country before your partisanship? This year, we learned that for many millions of Republicans, electing a racist bully, an unapologetic lecher, an insecure authoritarian, and a profoundly selfish and un-Christian pathological liar and narcissist wasn’t enough to cut that cord. Power trumped empathy and basic human decency.
I’m lucky. I have a job I love in one of the most liberal districts in the country in a self-proclaimed sanctuary state. But I worry for my country—not just for its institutions and the millions of lives who will be hurt and maligned by this new administration, but also for its larger sense of fairness, dignity and purpose. I love my country, deeply, but the term “American Exceptionalism” is a bitter contradiction-in-terms when I see how susceptible it is to fear and bigotry and self-interest.
There’s absolutely no evidence to suggest that our new president is a good person. He’s not a man of principle or character, just a cheat and vindictive opportunist. And as president, he, like all presidents, will get a postage stamp when he dies. What I’ve always liked about postage stamps is that they are meant to celebrate our culture, traditions, heroes, history.
But I can find no reason to celebrate today.
So now it’s a time for resolve and resistance. Resist having our values further eroded. Resist normalizing what was once horrid and unacceptable. Resist complacency in the shadow of ignorance and spite. Our country never stopped being great. But can we as Americans, from the right and the left, make it exceptional again, rooted in compassion, wisdom, and generosity? Yes we can.
The kitten stamp from last year's Pets set is Scott #5111 and the spay/neuter stamp is #3670. The Reagan stamp is #3897 and the US flag for veterans is #3331. The White House and Capitol stamps are from 1950 (D.C.'s sesquicentennial) and are Scott #990 & 992 respectively. The Child Labor Law stamp was part of the Celebrate the Century series, #3183o and the Kenilworth Park and Aquatic Gardens stamp is #5080j. The two stamps from the Building a Nation set are Scott #4801d & e .