Incidentally…

The plug-in for HE’s slider feature (i.e., the constantly shifting photos with corresponding headlines, just below the HE header) has somehow gone awry. It has to be updated or replaced, possibly with a slider plug-in created by another company (i.e., not the creator of the version I’ve been using for the last four years). Figuring this stuff out isn’t my strongest suit, so if anyone has any ideas, please get in touch.

Thursday, 11.12 update: A couple of hours ago Bay Area HE commenter and software guy Knox Bronson updated all the necessary plug-ins, including the Revolution Slider plug-in. But it didn’t restore the slider. Now I’m waiting to talk to a Fort Worth guy (a friend of Bronson’s) who might be able to lick it.

Hustle For The Holidays

I came across a series of digitally finessed May-December portrait photos this morning. The one below of young Richard Gere sitting with his 60ish, silver-fox counterpart (or vice versa) was the only decent one. It struck me, in any event, that Average Joes would love having a dual-portrait photo of themselves, and that gift-wise it would be a surefire hit year round, certainly when it comes to grown children of long-of-tooth types. The Photoshopping would have to be first-rate, of course, and the finished product would have to be nicely framed, etc. Just a thought.

Sometimes Re-Titling Isn’t A Good Idea

Most of the title changes that happened with popular mainstream films have seemed right in retrospect. Big was simplistic but a better title than When I Grow Up. Phil Robinson‘s Field of Dreams was almost called Shoeless Joe (the title of W.P. Kinsella‘s source novel), but that would have diminished audience interest. At some early point Close Encounters of the Third Kind was called Watch The Skies — a nice steal from Howard HawksThe Thing but a little too passive sounding.

I’m mentioning this because I was reminded earlier today of an original title that should have been used, not because it conveyed an especially clear thought or because it made any particular sense, but because it had a great sound. I’m speaking of Adam Rifkin‘s Dog Years (’18), the Burt Reynolds swan song that was changed at the last minute to The Last Movie Star. The latter is a sucky-sounding title if I ever heard one, but Dog Years…brilliant! And I don’t even know why.

Another so-to-speak “dog” movie that underwent a title change was Karl Reisz‘s Who’ll Stop The Rain (’78). Based on Robert Stone‘s “Dog Soldiers“, it’s a tangy, complex adventure thriller that flirts with dark absurdist humor here and there. It’s surely one of the most articulate collapse-of-’60s-idealism films ever, and it features one of Nick Nolte‘s greatest-ever performances, as a reluctant drug dealer and a Neal Casady stand-in whom I’ve always referred to as “Samurai” Ray Hicks.

All to say that Reisz’s film was initially titled Dog Soldiers but it tested badly with women, or so I recall reading. Distributor United Artists thought it had potential as a date movie.

Only 100% Flawless Scene…

…in an otherwise problematic film. For Close Encounters of the Third Kind, which I totally fell for when it opened 43 years ago, is chock-filled with irritations, annoyances, sugar highs, blatant contrivances and hard-to-swallow behaviors from beginning to end.

There are so many moments in CE3K that are either affected or close to nonsensical or impossible to swallow, that I realized about 13 years ago that there isn’t a single scene doesn’t miss in some way.

Except, that is, for the air-traffic controller scene near the beginning. Every element is spot-on. The dialogue, acting, framing and editing are dead perfect and exactly as they should be. And nobody’s “acting” — they’re just doing it. Especially David Anderson, the moustachioed black dude who’s talking with all the planes and pilots. Talk about owning.

Close Encounters Deflation“, posted on 11.19.07: “I’ll always love the opening seconds of Steven Spielberg‘s once-legendary film, which I saw on opening day at Manhattan’s Ziegfeld theatre on 11.16.77. I wasn’t a New York journalist or even a Manhattanite at that stage. I’d taken the train in from Connecticut that morning.

“I still get chills thinking about that black-screen silence as the main credits fade in and out, plainly but ominously. And then John Williams‘ organish space-music sounding faintly, and then a bit more…slowly building, louder and louder. And then that huge orchestral CRASH! at the exact split second that the screen is filled with a fierce sandstorm, and we’re in the Sonoran desert looking for those pristine WW II planes without the pilots.”

Graham Greene’s “The Human Factor”

In a just-posted Reuters/Ipsos poll, nearly four out of five of Americans say President-elect Joe Biden has won the 2020 presidential election. Four out of five…not bad! Only 20% of Americans engulfed by denial or delusion!

Conducted from last Saturday (11.7) through yesterday (Tuesday, 11.10), the poll reported that 79% of U.S. adults believe Biden has definitely whipped Trump’s ass. Only 60% of Republicans believe that Biden won, however. Therefore two out of five righties have an argument with generally accepted fact.

In a similar-type Axolotl poll, an overwhelming majority of Americans — just under 90% — said they believe that (a) the sun will go down around 5:30 pm today and (b) that the weather will become colder as the nation moves into late fall and winter. Approximately 11% of poll respondents either flat-out denied these expected conditions or called the evidence vague and inconclusive.

Staying Power

Last night I posted a riff titled “Some People Lack Resonance.” The money line was that “the past never evaporates.” HE commenter “Sammy” took exception, asserting that “bad memories evaporate fairly rapidly whereas the good ones stay forever with you.” To which I responded, “You think?” I posted the following this morning:

Not sure how you’d define “bad” memories. but piercing, intense or blunt trauma ones last a lifetime.

I was playing outdoors with a young boy when we were both three or four, in some kind of rugged grassy area — possibly an empty lot, possibly a down-at-the-heels cemetery. We were running, and suddenly he’d fallen and badly cut his forehead on shards of glass. All I know is that in a flash his face was covered in blood. I’ve never forgotten the screams and howls and his father trying to comfort him while dabbing the blood with a rag or sponge of some kind.

Ditto the shrieks and screams of a very young neighborhood girl, Sue Ellen (whom I called “Swellin’”, or so my mom reminded me). Her parents had bought her a black cocker spaniel puppy, and suddenly one afternoon the poor thing was dead — squished flat as a pancake by a large truck that had been parked in front of her home.

I distinctly recall staring at the bloody, gutty remains with those big floppy ears flattened against the asphalt, and noticing with semi-horrified amazement that the puppy’s pink tongue had been pushed a good two or three inches out of his snout — the truck had lurched backward and a rear tire had caught the puppy in the hind leg region, and so the head was seemingly the last part to be crushed. Swellin’ either saw it happen and heard the yelp, or found the tiny, soaked, rug-like carcass immediately after. She may have been three or thereabouts. That trauma, trust me, has been with her ever since.

I may have been the same age one afternoon as I watched a neighbor with some kind of backyard-barn operation chop off a chicken’s head, and — stop me if you’ve heard this one — the chicken’s body striding or strutting around, or the legs kicking or whatever..

I was also around that age (or younger) with my mother one day in the car. After parking on a busy street with fast-moving traffic, she opened the driver-side door without looking or thinking and a speeding vehicle slammed into it and ripped the door off the hinges. I recall the sound of the impact and my mother’s shocked cry the instant it happened.

All my life these memories have been branded into my brain. Good memories also (love, warmth, kind voices, laughter, kitchen aromas) or epic sights like an entire nearby home being moved on a huge, slow-moving flatbed truck (“the house that moved”), but nothing leaves a durable impression like a shocking incident.