East Village People

I don’t really talk about my stamps much in real life.  People know about the blog (I’ll post a link periodically on Facebook or Twitter), but I don’t converse much about this pastime to friends nor volunteer that I have a blog--let alone what it’s about--in social situations.  The reason of course is that most people’s hobbies are not at all interesting to non-aficianados, and an innocent question in polite society could easily suck the unsuspecting down a vortex of hopeless minutae that one can instantly regret.

The perfect cinematic example of this is in Woody Allen’s very funny Manhattan Murder Mystery (1993), where a couple, Larry & Carol Lipton (Woody and Diane Keaton) slowly get embroiled in the possible murder plot of an unassuming neighbor, a passionate philatelist whose primary character trait is a gregarious eagerness to bore people with his collection, something Larry learns quickly when he and Carol first pay him and his wife a visit.

Paul (Jerry Adler): “Now let me show you a mint 1933 airmail—very rare and very beautiful.  Look at that.  And this plate block is quite unique because it has a flaw in the engraving.  See if you can see it.”

Larry: “It’s hard for me…”

Paul: “Give you a little hint, right down here in the corner.  Interesting.”

Larry: “That little tiny thing there?”

Paul: “That makes it quite valuable, you see.”

Larry: “Ah-ha.”

Paul: “And I just got in a commemorative set of issues that are going to be quite valuable, too.  Look at the color work there. Look at these presidentials.  Look at the color work.  Even the perforations are still intact.”

Of course, his hobby is open season for Woody’s commentary after their visit is over

Larry: “Jesus, couldn’t you keep the conversation going a little longer in there?  I was signaling you frantically.”

Carol: “I was just trying to be neighborly.”

Larry: “Neighborly?  If this guy showed me his stamp collection one more time…My favorite thing in life is to, you know, look at cancelled postage.”

 

Once the wife dies, supposedly of a heart attack, Carol’s suspicions are aroused, which are only fueled by a friend of theirs, Ted (Alan Alda):

Ted: “Maybe this guy killed her, you know?. Like he’s got like a young tootsie stashed someplace.”

Larry: “No, no, not this…you gotta, you gotta see this guy.  This guy gets his jollies from licking the back of postage stamps. He’s a boring, old…”

Ted: “I could see that.  Depending on whose picture is on the stamp.”

I suppose it’s a bizarre backhanded compliment to think that stamp collectors are so boring, we’re incapable of nefarious doings, but it turns out Ted is right, and along with the help of Woody’s client, writer Marcia Fox (Anjelica Huston), the unlikely foursome get to the bottom of some increasingly mysterious clues and developments, but not without some hilarious digressions along the way.

It may seem sacrilegious to say it, but I prefer this Manhattan to Woody’s more heralded Manhattan from 1979.  For me, that film, awash with Gershwin music and Gordon Willis’s B&W photography, has some marvelous elements but is less than the sum of its parts.  The film feels glossy, fabricated, with some good one-liners but dialogue that overall feels like it’s trying to one-up Annie Hall.  Everyone feels rooted in type and it never quite gels for me.  Plus, the most beautiful performance, Mariel Hemingway’s, is in the service of what still feels like a skeevy March-November romance.  It’s his most overrated movie, I think, and one that mostly inspires in me curiosity of what he could've done with Meryl Streep in more than just a bit part.

Mystery has modest intentions, but it actually does deliver on all cylinders.  The mystery is a good one, with the menace comic but also very real.  This is also probably Woody Allen’s least dysfunctional relationship depicted in film, with his reunion with Diane Keaton an effortless one.  Their dynamic of a married couple, still endlessly charmed by each other even though the irritations and restlessness of familiarity abound, is instantly believable.

It’s also a wonderful reassembling of two other major forces in Woody Allen’s best film, Crimes and Misdemeanors from four years earlier.  Here Alda still has that borderline-unctuous personality, but in a very likable way (think early MASH).  And Huston does a 180 from her ill-fated Dolores Paley.  She’s smart, fearless, stylish, and quick-witted.  In her career, she’s often traded on an ominous sensual presence in films like The Grifters or Prizzi’s Honor, but I think this is her sexiest role by far, and she’s fabulous.

It also is very knowing about the crime film, Woody being a voracious cinephile, and it upends the genre’s conventions at every turn.  There are few setpieces funnier in his films than the phone call with their suspect, each amateur sleuth armed with a tape player trying to keep a fabricated conversation on the rails.  And of course, the wry Lady of Shanghai climax is incredibly self-aware and undeniably perfect.  The film is a real gem.

Of course, we don’t actually see much of Paul’s collection, but that rare airmail stamp?  It’s gotta be this Century of Progress issue (Scott #C18).  Today’s mint value would be around $100, not bad but nothing compared to the Graf Zeppelin issues from just a few years earlier.  Then again, he does talk about an error on a plate block, so that would make things more, uh, interesting...

The New York stamp (Scott #3592) is from the Greetings from America issue, while the Cinematography stamp (#3772g) is from the American Filmmaking release.  George Gershwin is #1484, Glenn Miller #3098, and "Radio Entertains America" (#3184i) is from the Celebrate the Century series.  Marge Simpson (#4400) is voiced by Julie Kavner, who's appeared in 7 of Woody's projects, and Carrie Fisher (Princess Leia, #4143f) has appeared in just that one pictured.  As for the Martin Ramirez stamp from earlier this year (#4972)?  I thought it had a nice Art Deco vibe which suits that lovely period film nicely.

My 10 favorite Woody Allen films

1. Crimes and Misdemeanors (1989)
2. Zelig (1983)
3. Midnight in Paris (2011)
4. Annie Hall (1977)
5. Bananas (1971)
6. The Purple Rose of Cairo (1985)
7. Hannah and Her Sisters (1986)
8. Another Woman (1988)
9. Manhattan Murder Mystery (1993)
10. Sleeper (1973)

Bedtime Story

Happy Birthday to Doris Day, who turns 91 today.  My first exposure to her, alas, was the swath of 60s comedies taking on sex and domesticity with such prudish timidity.  There was no doubt that she had genuine chemistry with her leading men, especially Rock Hudson, but the films so often tried to have it both ways, playing naughty but really neutered.  And for someone with such a fantastic set of pipes, it always seemed weird that we rarely saw her sing in those immensely popular films.

I’d soon learn that the 50s held far more interesting fare from her (Love Me or Leave Me, Teacher's Pet), though it took me a while to eventually discover my favorite film of hers, and one that’s almost criminally unknown by movie fans (I don’t remember ever seeing it broadcast, even on TCM): The Pajama Game (1957).  Of the two films co-directed by Stanley Donen and George Abbott, it’s not as well known as the following year’s Damn Yankees!, itself a work that’s fading from the canon of movie musicals, but it's a gem nonetheless.

I love this film for a lot of reasons: A great assembly of songs with addictive melodies; terrific choreography by Bob Fosse, a decade before he directed his first film; a story that’s unapologetically pro-labor unions; and my favorite Day performance, where she’s virtuous but not virginal, romantic but not sappy, and fun-loving but still a fierce woman of conviction.  Plus, it’s the movie musical that most prominently features postage stamps!

Babe Williams (Day), a major player in the labor union at the pajama factory where she works, has finally succumbed to the charms of Sid Sorokin (John Raitt), the new up-and-coming middle manager at the company.  Hanging out at her home, her single dad (Franklyn Fox) approaches his daughter’s new beau with his beloved stamp album:

Pop: “Say, Sid, do you like stamps?”

Babe: “Oh, Pop!”

Pop: “Well, even If he don’t, that’s something that’d interest anyone: Two sets of mint Columbians. Plate blocks on every issue since 1919.”

And then after he leaves, Sid scans through the album.

Sid: “Say, he has got a whole set of mint Columbians”
Babe: “Sure he has. That’s why I work at Sleeptime.”

This leads to the duet “Small Talk”, where Sid croons, “I don’t wanna talk small talk, now that I’m alone with you”, as Babe counters with a series of efforts to change the subject, including the refrain

"Who would you vote for next election? How do you like the stamp collection?”
“Small Talk!”

Eventually, Sid’s argument, “I’ve got something better for your lips to do, and that takes no talk at all” wins out.

But after some work-related conflict about a raise and a threatened strike puts them at romantic odds, Sid visits her home to reconcile, only to run into Pops again with his stamps and magnifying glass.

Babe: “What you got there, Pop, your stamp album?”

Pop: “Now don’t get excited—if Sid don’t want to look at it, why he doesn’t have to.  There’s no law against my looking at it, is there?”

Babe: “Sid likes stamps.  He told me so.  But me, I’m just plain bushed so if you don’t mind I think I’ll slide off to bed.”

Pop: “Run along, honey.  Good night, dear.”

Sid: “Good night.  Sleep well.”

Babe: “Thanks.”

Pop: “Sid, suppose we start with the Pan-American Exposition issue of nineteen-hundred-and-one”

Sid: “I guess that’s good a place to start off as any.”

This issue is a real philatelic release, commemorating the 1901 Pan-American Exhibition in Buffalo, an event which is now most famous as the site where President McKinley was assassinated in September of that year.  Here’s a website that discusses those stamps in more detail, though I’d be inclined to guess that if Pop had a favorite stamp from that set, it would be Scott #295, since his blue-collar job is as a train engineer.  Today, the value of that set of six stamps, unused, would be over $800.

So what about the Columbians that Pop talked about earlier?  There was an issue known as The Columbians in 1893, commemorating the World’s Columbian Exhibition in Chicago, itself celebrating the 400^th anniversary of Columbus landing on the New World.   Here’s a website that goes into detail about all 16 stamps in that set, ranging in denomination from 1 cent to 5 dollars.  This last figure is quite extraordinary because it would be analogous to having a postage stamp with a $150 face value today.  Another fun trivia note is the Columbian issue features the first US postage stamps to depict a woman--in this case, Queen Isabella.  Needless to say, a complete set of this issue in good quality would be worth close to $20,000 today.

Pop also talks about plate blocks, which are blocks of stamps straight off the production line and which include the additional perforations off the edge of the block which gives the information of the cylinder from which those stamps were printed.  This is obviously something much harder to get hold of and not available at your local post office.  They are also something which some collectors treasure highly.

I only own one plate block, of Scott #926, the first stamp about movies ever issued anywhere (which I discuss more here).  Note the cylinder number in the bottom left-hand corner.

The original Broadway production of The Pajama Game (represented by the postcard at the top) was in 1954, so plate blocks for every issue since 1919 meant over 500 US stamps across those 35 years.  That makes Pop an avid collector, a hobby which Babe implies she helps to subsidize.  So she really does need that "Seven-and-a-half Cents" raise (quite possibly my favorite song in the film).

The movie is readily available on DVD for cheap.  It has gorgeous production values but the quality of the print used for the transfer is dodgy and could use a loving TLC restoration.  But the film itself is marvelous--great fun but also genuinely progressive without compromising the political passions of the heroes.  It's also the only major film role for theater legend Raitt (Bonnie’s father) and features the only cinematic speaking part for Carol Haney, a frequent collaborator of Gene Kelly’s (she’s one of the dancers in the On the Town fantasia) and a legend in her own right who died a very sad, early death.  “Steam Heat”, “Hey There”, “Hernando’s Hideaway”, “Once-a-Year Day” are all staged by Donen with peerless energy and great verve.  It’s one of his best films—high praise for perhaps the greatest director of movie musicals the world has ever known.

My 10 favorite Stanley Donen films

1. Singin' in the Rain (1952, w/Gene Kelly)
2. On the Town (1949, w/Kelly)
3. The Pajama Game (1957, w/George Abbott)
4. Seven Brides for Seven Brothers (1954)
5. Charade (1963)
6. It's Always Fair Weather (1955, w/Kelly)
7. Bedazzled (1967)
8. Royal Wedding (1951)
9. Funny Face (1957)
10. Two for the Road (1967)

Last year's Bob Fosse stamp is Scott #4701 and Audrey Hepburn is #3786.  Johnny Mercer (composer for Seven Brides for Seven Brothers) is #3101, while George Gershwin is #1484 and George w/brother Ira (the team behind the Funny Face song score) is #3345.  The wedding rings are #4397, the Oregon stamp is #3732, and the Costume Design stamp is Scott #3772c. 

The Curious Case of "Bringing Up Baby"

Thanks to Hell On Frisco Bay for letting me guest blog on the upcoming PFA Howard Hawks retrospective and on the wonderful Bringing Up Baby (Hawks, 1938) in particular.

Here are a couple different Baby posters, both with the Hepburn FDC (Scott #4461) along with the Grant stamp (Scott #3692) and each with a different international stamp--a snow leopard from Afghanistan (c.1985) and a Zanzibar leopard from Tanzania (c.1984).

It's interesting that Grant looks like Clark Kent--though in a female's robe--in one of the poster's illustration, but in the opposite one, he's rendered like his more debonair self and nothing like how he appears in the film.

The back of the cards have Grant's FDC on one, and the FDC of the screenwriting stamp of the American Filmmaking series (Scott #3772a) on the other, with Grant piggybacking on that postmark. There's also an FDC of the Connecticut stamp (Scott #3702) from the Greetings from America series, the oldest of all the FDCs depicted here. Note also that the home Post Office for the Hepburn stamp is in Old Saybrook, CT, where Hepburn was raised and the state where the film takes place.

Polite Society

Although we're constantly overrun with inferior remakes these days, it's not a new phenomenon. This still has Frank Sinatra (Scott #4265) and Bing Crosby (Scott #2850) serenade each other in High Society (Walters, 1956), a musical revisitation of the superior The Philadelphia Story. While the original Cukor film is spritzy, it still has emotional weight. But High is just that: light as a feather, cute and charming but of no real consequence, with zero sexual chemistry and musical numbers, despite the involvement of such heavy-hitters, that evaporate as soon as you've heard them.

I’ve included the one sheet, which also has the stamps for Grace Kelly (Scott #2749); Cole Porter (Scott #2550),who wrote the entire score; and the Rhode Island stamp (Scott #3599) from the Greetings from America series, complete with sailboat, one of which is prominently featured in the film. Paired up with the Porter stamp is the Music stamp (Scott #3772d) from the American Filmmaking series, complete with Oscar silhouette on the postmark (Porter was nominated for his song “True Love”, which was also the name of the sailboat in the film).

You’ll also notice that the two Louis Armstrong stamps are slightly different from each other, with the lettering alternating between white and black (the difference being that one was sold individually, while the other was sold as part of a strip with other jazz legends). The Scott #’s are 2982 and 2984 respectively.

Postage Overdue

This is the first in a series, exploring cinematic subjects who have not yet received a stamp but seem overdue.

Lillian Gish was as big a female silent film star as existed, and while the Stars of the Silent Screen issue found space for the likes of the completely worthy Clara Bow and Zasu Pitts, Gish was MIA. It’s often hard to account for these absences other than that the estates of the deceased are very protective of their images and haven’t yet given the USPS permission to use them for a postal issue.

I haven’t seen The Whales of August (Anderson, 1987), but it was Gish’s last film and on my (incredibly long) To See list. But I have seen Maine. The best road vacation I probably ever had was my wife and I driving from Boston, through Vermont, across New Hampshire, B&B’ing all the way. This was years ago, in October when the foliage was in full bloom. It was a gorgeous drive and I remember driving along, never turning on the radio, just absorbing the sheer beauty around every turn. Because of the tree cover, you couldn’t even see any signs of civilization on the highway so it was just trees and mountains and vistas. Amazing.

But perhaps the best part was when we drive across Maine and hit the coast. We fell in love with it instantly, the entire stretch north of Portland (before you hit all the old money estates), and swore that if we ever got tired of the Bay Area and chose to retire in a small cabin with some cats, that we would do so in Maine. One of my favorite documentaries of all time is Frederick Wiseman’s four-hour Belfast, Maine (1999) which is epic in length but thrives on the intimacy of examining daily life in this small town, in all its variety of cultural, industrial, and personal settings. It’s an absolutely exquisite film.


When Gish finally does get her stamp, she’ll join Bette on the front here. In the meantime, The Blue Whale (Scott #4069) from the Wonders of America series was an excuse to also include the 1970 Maine statehood stamp (Scott #1391), while a separate Maine stamp (Scott #3579) from the Greetings from America series also features a lighthouse (they’re everywhere in Maine and great fun to visit).

Hearts and Minds

I was 8 when Michael Cimino’s The Deer Hunter came out 30 years ago, so too young to appreciate the cinematic division that year between the two major Vietnam movies, the other being Coming Home (Ashby). I don’t remember my family ever discussing Vietnam once when I was growing up, though given my dad’s conservative bent, I think it’s safe to assume where he stood on the conflict.

But these two films were my first exposure to the war. And while it’s easy to see what the fuss was about politically, it’s also bewildering to understand the critical love for the two. Hunter grounds itself in realism and community in the heartfelt extended wedding setpiece at the beginning, but feels compelled to lay on the barbarism and contrivance absurdly thick once the friends are reunited by the Viet Cong. Coming Home wants to make itself an updated version of The Best Years of Our Lives, but lets the love story and liberal self-loathing overwhelm any complexity with predictable and schematic character arcs. There are powerful supporting performances in both, and perhaps even some valuable lessons, but each would’ve benefited from far less of a heavy hand.

The best Vietnam film that year is also the least well-known, for Go Tell the Spartans (Post) doesn’t have an axe to grind or a soapbox to stand on, but its portrayal of conflicting loyalties and absurd demands on an Army base ring true emotionally, while staying committed to the idea that smart, capable soldiers are often the most primed to have their dedication evolve into disillusionment. It’s a terrific film.

The Vietnam Veterans memorial (itself an enormously moving monument to visit) has had two stamps issues: the landscape depiction (Scott #2109, on the front of the card) and one part of the Celebrate the Century series (Scott #3190g, on the reverse side). The Vietnam War stamp is also part of the Celebrate the Century series (Scott #3188g), while the Appalachians and Pennsylvania stamps (Scott #4062 & 3733) are part of the Wonders of America and Greetings from America series, respectively. Hunter famously won 5 Oscars (to Home’s three), including Best Sound (Scott #3772j), another installment of the American Filmmaking series.

Top 10 Films of 1978

1. The Last Waltz (Scorsese)
2. Dawn of the Dead (Romero)
3. The Tree of Wooden Clogs (Olmi)
4. Fingers (Toback)
5. Straight Time (Grosbard)
6. Go Tell the Spartans (Post)
7. Blue Collar (Schrader)
8. A Wedding (Altman)
9. Days of Heaven (Malick)
10. House Calls (Zieff)