Different Slants

Warning: The following post meets the definition of infomercial.

For many of us, email has become part of our daily lives. It has become an essential tool for communications with others around the world. The things we discuss through email are often the same things we might otherwise discuss through postal mail or on the telephone. Email has also become a source of irritation because some people has chosen to abuse it by sending mountains of spam. (Many more people are unwitting accomplices and don’t even know it.)

What most people do not realize is that sending an email message is like sending a postcard. It can be easily read by any number of people who can access it by way of it passing through their equipment or, who just happen to be connected to the same “wires” it travels along on its path from sender to recipient. Most people who could read others’ emails don’t but the few who do, are likely to do so for the worst reasons.

You are probably saying to yourself, “I don’t care if somebody reads my email. I have nothing to hide.” But just because you are not doing anything illegal, immoral, or shameful, does not mean you would be comfortable if you found your messages copied on the walls of a public restroom. (Read on …)

In Shining Through (1992), Melanie Griffith plays a different sort of ethnic role than she did in last week’s review (KCK, # 6) of A Stranger Among Us (1992).                          

In the first film, she portrayed an undercover cop pretending to be a returning member of a Jewish Hasid sect in New York City.  So…she was an actor pretending to be someone, who was also pretending to be someone else. 

Which by some eerie coincidence is exactly  what she does in the next film. 

In the second film, she’s a young woman in pre-World War II days, about 1940, living near the US Capital.  Her mother is Irish, this time, and her father is Jewish.  She also has Jewish cousins living a fragile existence in Nazi Germany under Adolf Hitler.  Although she doesn’t assume any obvious or familiar ethnic stereo-typical mannerisms to establish that she’s a young East-Coast Jewish girl–which is a good thing to me–the filmmakers must have assumed that the audience would take it on faith that she was who she was supposed to be.

Melanie’s character also has an encyclopedic knowledge of all sorts of obscure movie plots from that post-Depression time and earlier, and that is a key element in the overall story.  All her clever ideas, ways of saving herself when in great danger and the way she chooses to complete the complex and perilous task she is entrusted to do, are derived from moments she’s remembered from the uncountable movies she’s seen.

Well, I can’t imagine what it’s like to have a mind like that, totally filled with memories of thousands of movies.  It seems like you’d have to be a Cyborg to retain all that minutia.  Pass the oil, please, Arnold….  (Read on …)

On the topic of: Unexpected Pleasures of viewing  sexy blonde actresses pretending to be Jewish (excluding Marilyn Monroe – who would be 82 now if she was still living — and who converted before she married Arthur Miller, in July 1956, and the stunning Scarlett Johansson, who doesn’t need to)  I offer the delectable:

                               Melanie Griffith

Who, in an interesting example of strategic career choices, decided to make movies about these exotic Biblical people, twice.

In A stranger Among Us  (1992), she play a tough cop who goes undercover by assuming the identity of a Hasidic single woman who has ’strayed’ from the sect and then chooses to return to it.  This allows her to have no connections to any of the other Hasidic communities in the Northeastern US area and therefore eliminating any way of tracing who she was, if some suspicious person wanted to do that. 

She is first introduced as gorgeous, physically competent, brave, very effective with a gun and sexually free young woman, but whose life is going nowhere.  She comes across as vaguely unhappy and aimless.  But, of course, still well built.

Then a murder occurs in a New York City’s Jewish Hasidic community and she is assigned to find out who did it–a difficult task in the insular, extremely observant religious community.  

After she is allowed to live in a kind of dorm as a single woman with no money, and gradually blends in with the sharply gender-divided responsibilities each person assumes, she displays a kind of fascination with what she learns and wonders why the women put up with so many restrictions on their freedom of choice, or in other words, the unrestricted  life Melanie is living.

Besides being a murder mystery, the movie is a glimpse into a seldom seen on the screen, every day frozen-in-time world of the Hasids, who also speak Yiddish almost exclusively among themselves, but not around Melanie.  Yiddish–a Middle-European dialect that arose about a thousand years ago as millions of Jews gradually migrated north and east from their original Middle Eastern homeland–is a blend of German, Polish and Hebrew.                                                 (Read on …)

Now, here’s a perfect reason for me to wish I had a world-wide readership of hundreds of millions of movie lovers who shared my taste in great films:

Along comes a truly superb new movie, “Honeydrippers”, a new John Sayles film that is playing in probably twelve art theaters, total, across America and it’ll probably disappear beneath the radar without making barely a ripple.  What a travesty!!

To me, power is the ability to do good on a large scale, not just to savor one’s invincibility.

If I had power like that, I’d compel writers all across America to command movie theater-goers to rush down to their local movie houses, buy lots of tickets and to support Sayles’ wonderful new movie.  Or maybe people would go just because I told them to, because they trusted my taste and judgment.  I’m pretty sure I’m not there yet, in terms of my powers of persuasion.  But…that could change.  Persistence helps, and this is my column # 5.

I met Sayles once, years ago, at the Javits Center in New York City where they held the National Stationary Show every May.  I had a bookstore at the time and we sold tons of postcards and movie posters and other items you could only find at a giant showplace like the Javits Center.  I was addicted to independent cinema since I was a teen, so even though indie movie director/writer/producer John Sayles was not a face you’d ever see on the cover of any magazine, like say, Alfred Hitchcock was, years ago, or Martin Scorsese might be today,  I knew immediately who he was. 

(Read on …)

It looks like the Congress is going to pass a stimulus package (details to be determined) that gives American consumers about $150 billion dollars to do what they do best - consume. Why do we need this and how did the economy come to be is dire straits to begin with?

It seems to me that our problems are due to debts and deficits. The US savings rate has dropped below zero. As a nation, we spend every cent we earn plus a few more we borrow. Many have financed this prolonged binge by borrowing against the inflated values of their homes. The rest seem to have simply racked up enormous amounts of credit card debt at astronomical interest rates.

The US has also been running serious trade deficits for the past several decades. We seem to have lost our competitiveness in the world markets for most products other than entertainment and subsidized agricultural commodities. I may speculate on how this happened in a future article.

Last but not least, the federal government has been running huge deficits even by their own questionable accounting methods for the past 7 years. Shortfalls must be covered somehow and the two methods available are borrowing and printing more money. The government cannot borrow from Americans, we already spent everything we got plus some. (Read on …)

   So, I was thinking about America’s nineteen century two-term President Andrew Jackson—whom I sure wish was president of the USA right now, because even dead, he’d be far better than our current disaster—and that led me to thinking about the actor Yul Brynner.  Brynner’s greatest fame came from playing The King and I (1956) and as Chris, in The Magnificent Seven (1960) one of the most revered Westerns of all time, even though based on the earlier Japanese Seven Samurai (1954)  

People who know me won’t be very surprised at this arc of connection, because I find that thinking about time is very fluid and a person’s conscious memories and subconscious memories can make lightening fast connections on the slightest thread-like basis. 

That must be the case in this instance, because the distance between Andrew Jackson (died 1862) and Yul Brynner (died 1985) is a lot more than six degrees of separation, because Jackson, the 8th U.S. President, was born in South Carolina 148 years before Brynner, born (some people speculate) on Sakhalin Island (east of Siberia and north of Japan)  in 1915.

So, here’s the thought process that connects those historic people to this movie, The Buccaneer (1958) I saw as a child, and really liked: 

Many years ago, I read this story about Andrew Jackson, born in March, 1767.  He was the son of Irish immigrants and orphaned at the age of fourteen.  At thirteen, he enlisted in the Revolutionary War as a mounted orderly, at a time in 1780 when the rebelling American Colonial forces under General George Washington were experiencing heavy losses against the British General Sir William Cornwallis.

(Read on …)