Still The Shit

I’ve written so much about Hustle & Flow I’m starting to bore myself, but this is the weekend and now’s the time. I saw it with my son and a couple of his friends at the sneak last Saturday night, and I felt the same satisfied vibe from the people walking out…the same one I’ve been feeling since last January.
This movie sells ideas about life and creativity that may not be true, but people sure as hell want to believe them…I know that. We’ve all got pain in our hearts and poetry in our souls and it’s never too late to make your move, etc,

Terrence Howard and Taraji P. Henson in Craig Brewer’s Hustle & Flow.

In a perfect world the response this weekend would trash the idea that Craig Brewer’s pic is primarily an African American rap movie that’ll play best with non-whites. Bullshit. It should do as well in Bangor, Maine, and Tempe, Arizona, as it does in Memphis, Tennessee. It is so much more than what you think it might be.
Hustle & Flow is as grittily rendered as a formula film can get, and that’s a good combination. By my standards it’s a fairly honest portrait of who and what people are deep-down and how it all works out there, but it’s also a film out to please. It’s got some laughs and some good music and good people in it, and a happy ending.
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In other words, formula can be intriguing. To say you’ve “seen this kind of film before” means nothing. The question must always be, “How well was it made, and how much did you care?”
It’s worth it alone for Terrence Howard’s D-Jay, a flawed, at times brutally insensitive guy in a classic do-or-die struggle to make it as a rap artist. This is really Howard’s time…he’s off and on his way. I hope the Cinderella Man crap-out doesn’t stop that Joe Louis film he’s supposed to make from getting funded.
Anthony Anderson is almost as good as Howard…so good he’s made me wonder more than once why he’s made so many throwaway piece-of-shit movies during his career. Costars Taryn Manning, DJ Qualls, Taraji P. Henson and Ludacris make it play true and steady and right as rain.

Hustle director Craig Brewer, producers Stephanie Allain and John Singleton just after first public showing at last January’s Sundance Film Festival.

Every frame of this movie says, “You know what we’re doing…this guy wants to climb out of his crappy situation and maybe we’re gonna show him do that…but we’re gonna do it in a way that feels right to us.”
And once D-Jay hooks up with Anderson and Qualls and starts to put together a sound and record a few tracks, Hustle & Flow is off the ground and pretty much stays there, suspended.
Forget the funky backdrops and gritty-ass particulars — is there anyone out there who can’t relate to a character who feels stuck in a tired groove and wants to do more with his/her life? Is there anything more commonly understood these days?
Whatever you might expect to feel about D-Jay, he is, by the force of Howard’s acting and Brewer’s behind-the-camera input, utterly real and believable, and even with his anger and brutality you can’t help but root for him. And, for that matter, the film.

Lazy Ass

I didn’t dislike The Bad News Bears. Didn’t love it, didn’t mind it, didn’t hate it…half went with it.
Billy Bob Thornton has been in shittier films and will be again. He’s another nihilist drunk this time, but he’s also an ex-baseball player who used to be good and has retained a certain poise and centeredness. He’s loaded but smooth about it.
I would be ashamed if I were Richard Linklater, who made a much-better studio jerkoff movie called School of Rock a couple of years ago, not to mention the sublime Before Sunset, a film that anyone would be proud of. But of course, I’m not Richard Linklater.
As Thomas Becket says in the movie, “Honor is a private matter, and each man has his own version of it.”

I said to The Bad News Bears about ten or fifteen minutes in, “Okay, you don’t care that much about showing me a really good time, but you’re mildly entertaining here and there. So I’m just gonna sit here and be mildly satisfied and nod off if I feel like it and let it go at that.”
What this is is a decent lazy movie, like a friend who comes over and does nothing but eat potato chips and watch movies without saying too much. He/she is never going to accomplish anything big or invite you to climb mountains in Austria, but he/she is a good soul and you like him/her and that’s good enough.
There are movies that are so slovenly and dumb-assed that they stink. The Bad News Bears is only half-assed bad. According to my system, that means it’s also half-assed good.
I can actually see renting the DVD in December, or watching this thing on a plane someday with the headphones on (as opposed to my standard habit of watching films without sound and seeing how expressive and particular they can be on purely visually terms).

Lifeboat Again

During our brief chat last week about the October release of Alfred Hitchcock’s Lifeboat on DVD, Fox Home Video publicist Steve Feldstein didn’t tell me the precise date. Come to think of it, he didn’t even tell me the month. I’ve since learned from other sources that this special-edition DVD will be in stores on Tuesday, October 18th.
The boilerplate rundown on this disc, passed along at DVD Answers, doesn’t say anything about a digital remastering, but it’s inconceivable that some kind of visual improvement wasn’t pushed through by Fox’s resident preservationist Shawn Belston.

The extras will include a commentary by USC film studies professor Drew Casper, a generic “Making of Lifeboat” featurette (no word if Hitchcock specialist Laurent Bouzereau, who’s directed many making-of featurettes for other Hitchcock DVDs, was hired to do this particular one), the theatrical trailer and a still gallery.
It’s interesting that Fox has taken a shot of the lifeboat survivors in the film, colorized them and lightened them somewhat, and put them onto a wide-angle shot of a placid moonlit sea. A very pretty image. Intriguing, attractive…but my recollection is that nothing remotely like this is seen in the Hitchcock film.
My earlier Lifeboat commentary ran last week, and here it is…just scroll down to the lower part of the page.

Severin

If you haven’t yet decided to see Gus Van Sant’s Last Days this weekend (along with Craig Brewer’s Hustle & Flow, of course), maybe this will put you in the mood. I just listened to it myself, and I’m half-inclined to see Days for the fourth time. Either you hear it or you don’t.

Spanning Decades

“I rented L’Eclisse maybe three months ago, right after the Criterion DVD came out, mainly because it was an Antonioni picture but also because of recommendations I read on several websites, including yours. It’s also present in Scorsese’s documentary on Italian cinema.
“I watched it and granted it was kind of hard at times, but as you said it was unforgettable, especially the final minutes of it and all the stockholder bidding scenes.
“Since then I’ve been trying to spark some interest among my friends to see this film, or any Antonioni movie they can find, and it’s definitely not happening. It’s the same with Kurosawa, Fellini, Tarkovsky, Dassin and everything that is old.

Monica Vitti, Alain Delon in Michelangelo Antonioni’s L’ecclise

“I can’t say there’s a definite ‘no way’ attitude about it, but there’s not a real interest in it. It’s a generational thing, but these people are supposed to be interested in film (like your film students) and Kill Bill is not the end of the rainbow, you know.
“I just watched the War Trilogy of Wadja and I’m stunned at how accesible and just beautiful to look at those films are, and it’s been impossible to convince anyone of my age to see them. I go to rent movies, and all these great old ones are just sitting there and all these young “hipsters” are fighting each other to rent ,Party Monster or Lost in Translation.
“But now there’s a lot of interest in seeing Last Days, so maybe we’re onto something.
“Anyway, even though not many people my age care or would appreciate the greatness of L’Eclisse, I just wanted to drop a line saying that everything’s not lost cause I’m 25 and completely loved that one, and when I saw those final minutes of empty streets and wandering strangers in silence, it felt liberating, like cinema has no boundaries or something like that.
“It’s kind of like the feeling you get from Kubrick movies, and 8 1/2, and if film students are not watching these films and others as good, well, they should.” — Alexandro Aldrete, Monterrey, Mexico.

Christians

“I wish you wouldn’t waste your energy and column space sparring with the Christian Right. They are indeed wacko, in addition to being hypocritical and naive. You can bet your ass you will not see Mark from Boston in an Iraqi foxhole anytime soon.
“The Christian right is not interested in compassion, the basic message of Christ. James Dobson, et. al. are more interested in declaiming themselves as members of a Chosen Few Network, and then lording it over the rest of us.
“You can go ahead and inhale NASCAR fumes, lay your concrete or other low value-added job, and be xenophobic. But there are engineers in China and India who soon will be able to dictate our standard of living. And they don’t give a scrap about Jesus.
“So Christian Right lads & lassies, it’s not so much the content of your belief, but your constant, anachronistic mantra has distracted the United States from it’s traditional role as a progressive, rational, technologically superior, and respected nation.
“I disagree with D. Tucker also. I believe the Christian right would vote for a Democratic candidate if and when the bottom falls out of this deficit economy and they have no money for Wal Mart.” — Arizona Joe

“I’ve enjoyed reading your column for several months now, despite my wincing occasionally at some of your condescending prose regarding middle-American Christians. However, you’ve taken it a little too far this week with your denigration of Doug Liman’s “cool hip Christians” comment. What you said has seemed ignorant and offensive, at least to this Christian.
“So I’m removing Hollywood Elsewhere from my list of bookmarks. Just thought you might want to know your arrogance has lost you at least one reader. But since you automatically presume I’m a badly dressed, strangely smiling automaton, you probably won’t mind too much.” — Todd Wicks, Detroit, Michgan.
Wells to Wicks: No, I’m sorry you’re leaving. Sort of.
“Regarding your comment about middle-American Christians dressing horribly, I would blame that more on retail sales than on religion. Trends seem to hit the United States in New York and Los Angeles and work their way inland. By the time a trend is popular in the Midwest, there’s something new on the coasts.
“Availability is another problem. I’m an avid GQ reader, and if I see
something nice in, say, the July issue, odds are I have to get it from a place in New York or LA or maybe Chicago. I think the reason many small-town Midwesterners, Christian or not, dress poorly is that their only choices are the clothes available at their local Wal-Mart.
“I enjoy your column. It’s turned me on to quite a few decent films, most recently Crash — my favorite of 2005 so far.” — John Wilson, Des Moines, Iowa

Wedding Payoffs

“You’re right about the third act in Wedding Crashers killing the steam, but don’t most comedies go that way? Even classic comedies have trouble maintaining the momentum of the first two acts because eventually you have to turn over jokes at the hands of the plot.” — Evan Boucher.
Wells to Boucher: Yes, generally speaking, most comedies turn it down and start playing their sincere cards (i.e., the ones that tell us what the main characters are really feeling) at the end of act two before cutting loose at the finale…Some Like It Hot, The Graduate, Jerry Maguire…all the great ones do this. But these three films, also, don’t seem to be wandering around and trying things out without much assuredness, as Wedding Crashers seems to do in its final act.

Boucher to Wells: Vince Vaughn and Rachel McAdams are the big winners here. Vaughn for being uniquely good at the rapid-fire dialogue and bringing out that affectionate duality (you love him because he’s a good guy and an asshole), which he should stick to for the rest of his career. And McAdams for being more unspecialized. She’s obviously talented, and one dividend of that is that she gives you more than what you think you’re going to get and seems pretty genuine.
“It’s funny that McAdams got her break in Mean Girls as the villain, then went to The Notebook for some chick-flick immersion and now this. Pretty good career path for diversification.”
Wells to Boucher: I think Owen Wilson got a pretty good bump also. The first time people stepped back and realize he’d formulated this witty, absent-minded Texas space-cadet character and had figured out the patent was when he did Shanghai Nights with Jackie Chan and it made money. The Wedding Crashers payoff is about people realizing his presence in comedies always results in a certain intellectual pedigree, and that Wilson can also do emotional sincerity and romantic stuff fairly well.
Boucher to Wells: “Yeah, but I get a different thing from him after this movie. I think that he is just about as good as whatever he’s reading. If it’s good (anything he writes with Wes Andersen, or this one, or Meet the Parents) he comes off as really being a plus for the film. But he certainly doesn’t look like he can carry anything, and he can’t really make something out of nothing.

Wells to Boucher: Aaah, but he can! Everything he’s in, he rewrites or tweaks in order to make that guy he always plays come off in a pithy-funny way. You never just hire Owen Wilson to just show up and act — he’s always the co-writer.
Boucher to Wells: Wilson has never had a success without Stiller or someone else to be the real draw. It might be an odd comparison, but maybe he’s slightly like Jason Alexander in the way that he can never be the man. The worst thing that could happen to this guy’s career is that with that bump you’re saying he’s getting off Wedding Crashers, that he will go back to believing he’s the man and make ten more Big Bounce‘s or Behind Enemy Lines-type things.”

Grabs

49th or 50th Street (forget which) between B’way and Seventh Ave. — Thursday, 7.21, 9:25 pm.

Unintentional shot taken on way out the 8th Ave. and 14th Street subway station — Sunday, 7.20, 6:25 pm.

Stinky, totally soaked aftermath of fire in small store on Canal Street near Lafayette — Saturday, 7.16, 11:40 pm.

The unkindest gossip of the last couple of days is that Katie Holmes either has hammer-toes or only four toes on one foot. It’s cruel to publicly criticize someone’s anatomy. (Private critiquing is another matter.) This close-up shot, which has been cropped from a larger photo, seems to dispel both notions. There was a woman I knew in the late ’90s who had hammer-toes, and I vividly remember standing in her kitchen once and fighting off the thought that her feet looked like an adult gorilla’s, except they were hairless. It would have been painful for her to have overhead this, but I used to refer to this woman in private conversation as “gorilla foot.” In any case, Holmes is not that and she has all five digits on both feet, so leave it alone.

Saturday, 7.16, 9:55 pm.

T-shirt worn by woman at Last Days party — Tuesday, 7.19, 11:20 pm. Cultural-animus sentiments allegedly taken from photo of graffiti snapped in 1979.

There’s only one slight pre-viewing problem with Must Love Dogs (which is sneaking Saturday night) and it’s not that big a deal, but it’s there. It’s my impression, based on the trailer, that John Cusack, one of my favorite guys, has put on a few pounds. He needs to get back to his Gross Point Blank weight.

Nice shot I happened to run across — obviously pre-9/11.

Actual page from press kit for Pretty Persuasion, a Samuel Goldwyn release due in August. I’m a huge fan of James Woods’ performance in Citizen Cohen. I thought he lent considerable dignity to the character of Nate Cohen, a Jewish businessman living in a small Texas down during the 1950s and ’60s who’s forced to deal with anti-Semitism.

49th or 50th and Seventh Ave. — Thursday, 7.21, 7:50 pm.

Kurt’s Eclipse

It took me a while, but I’ve finally come to see that Gus Van Sant’s Last Days (Picturehouse, 7.22) is some kind of great film, and maybe even a masterpiece.
About five weeks before I first saw Last Days at the Cannes Film Festival, I showed Michelangelo Antonioni’s L’eclisse (The Eclipse), a stylishly profound piece about alienation and spiritual drainage among the aspiring classes in 1962 Rome, to some UCLA students in a class I was teaching.

Michael Pitt (l.) as the Kurt Cobain-like Blake, with Kim Gordon (wife-partner of Sonic Youth’s Thurston Moore) in Gus Van Sant’s Last Days.

I told the students this was a movie in which almost nothing happens, and that they may feel bored or frustrated by it initially. But I promised them they would never forget it, and that if they didn’t stop being film buffs (i.e., really paying attention to movies) they would eventually understand its greatness, although probably, in most of their cases, not until they hit their 30s or 40s.
I acknowledged that it’s essentially a movie about, in a manner of speaking, “nothing”…about a couple of attractive people toying and flirting with each other and having a bit of sex here and there, but otherwise doing and saying relatively little, without anything resembling a story between them and certainly without any pronounced conflicts or resolutions of same in the third act.
But it has an emotional seep-through effect. There’s a torrent of small things in L’ecclise that stay with you — dispirited looks, hints of eros and emotional voids, meditative moments, intimations of ennui and pointlessness. It doesn’t “say” anything but there are echoes all through it.
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Anyway, I showed L’eclisse because I know it’s one of the most sophisticated art films of the 20th Century, and because the students would probably never see it on their own (it had recently come out on a spiffy new Criterion DVD) and because, as I said to them before showing it, no one in the commercial or semi-commercial realm is making films like this any more.
And then, super-observant guy that I am, I went to Cannes and saw a direct descendant of L’eclisse in Last Days, which has a lot of similar chops and attributes. And I didn’t even see it.
Even without the Antonioni analogy, Last Days deserves your obeisance and then some.

L’eclisse costars Monica Vitti, Alain Delon

The idea of it being masterful has been kind of sneaking up on me since my second viewing about three weeks ago here in Manhattan. I don’t expect most of the readership to agree. Some will hate it or find it frustrating, and others will be half-and-halfers. But that’s the usual drill with bold-ass art of any kind.
After the Cannes screening I knew it deserved respect for the way it was shot and cut, for going once again with that story-free verite thing that Van Sant used on Gerry and Elephant .
I wrote that “ten or fifty years from now people will watch [Last Days] and say, “Weird movie… what was that? But you know something? It’s got something.”
I also said that “compared to Shane Black’s Kiss Kiss Bang Bang and Atom Egoyan’s Where the Truth Lies [which I had seen the same day], Last Days is the least formulaic and the most out-there. Unlike the other two, it feels like it was made in the 21st Century.”
So I respected it but at the same felt a bit underwhelmed. I wrote, “Nice chops but the emotional content is zilch.”

A hot and sticky crowd in front of the Sunshine theatre on East Houston Street for the New York premiere of Last Days — Tuesday, 7.19, 7:20 pm. That’s Maria Full of Grace star Catalina Sandino Moreno being interviewed at lower left, Michael Pitt
(wearing T-shirt with hole in the back) standing to right, Gus Van Sant (in blue) closer to theatre entrance.

That was my inner middle-class suburban guy who used to get B’s and C’s in high school talking. I like movies that make me feel something that I want to feel — shoot me. What this means is that when a film makes me feel something I don’t want to feel, I recoil and complain.
I also thought Van Sant had pushed his deconstuctionist aesthetic a bit too far this time.
Watching Michael Pitt, in his performance as a Kurt Cobain-ish junkie musician called Blake, mumble and shuffle around and occasionally nod out didn’t seem as involving to me as the happenings in Van Sant’s Elephant, about some banal activities among kids at a high school on the day of a Columbine-like massacre. That film, at least, had a kind of ticking-clock suspense element.
My basic beef, in short, was that not enough happens in Last Days that’s worth caring about…unless, that is, you’re a big Cobain/Nirvana fan and any movie that sheds even a shard or two of light about Cobain’s 1994 suicide is therefore worth the price of admission.
Last Days should really be called Last Hours. The use of “days” in a title implies at least three 24-hour cycles, and it didn’t seem to me as if what happens in the film takes place over more than two days. It could be occurring in a 36-hour period…not that this matters a whole lot.

Screenwriter-producer L.M. Kit Carson and Picturehouse chief Bob Berney at Last Days after-party at Piano’s — Tuesday, 7.19, 10:40 pm.

Pitt (last in The Dreamers and Murder by Numbers ) gives a much better performance as Blake than you might appreciate at first. He’s very into the stupor, the lack of anything emotive…the heroin-fog personality. He convinced me he’s really into the same nihilistic space that Cobain was apparently caught up in just before the end.
Remember those long unbroken shots of kids walking through school hallways in Elephant? Same deal here, except this time the subjects are spaced-out, half-articulate heroin users hanging out inside an unheated home and doing stoned musician-type stuff…talking about music, cooking up macaroni-and-cheese in the grungy kitchen, having sex, listening to the Velvet Underground in their living room, etc.
The film is mostly about Blake, of course, who plays a tune at one point and is shown taking an overnight camping trip through the woods early on. Mostly, however, he avoids the phone and runs away whenever someone knocks on a door and spends a lot of time sitting around like a zombie and nodding out, even when a Yellow Pages salesman comes to visit.
Cobain had a heroin problem near the end of his life and it’s obvious Blake is using big-time in the film, but Van Sant chooses not to show him hitting up. I thought at first this was a tad dishonest, like a film about a man dying of cancer in a hospital that doesn’t show any scenes with doctors or nurses or chemotherapy.

But now I don’t know. Without syringes and tying off and blackened spoons, there’s a metaphor to consider. Don’t ask me what it might be because I’m still toying around with ideas. But it has something to do with showing us what’s being missed and slept through and thrown away. It’s about the sin of not being able to see beyond your own shit.
The more I think about it, the more of a really effective anti-drug movie this seems to be. It isn’t just life-like, but life-affirming.
After the Cannes screening I wrote that the juiciest scene in Last Days is when one of Blake’s bandmates (amusingly played by Scott Green) goes into the living room and puts on the Velvet Underground’s “Venus in Furs”– that plodding, screechy, oddly hypnotic cut from their 1967 banana album in which Lou Reed sings, “I am tired, I am weary, I could sleep for a thousand years.”
I was rocking in my seat last night when this scene played — it’s a great musical moment — but I wasn’t focused on it as much as before. Instead I was getting off on almost everything in the film in different ways.
This isn’t just a movie about states of mind. It’s about “wow, man…whew….the world out there…keep it out, don’t let it in.”
I really like the dispassionate artified way that Van Sant and his cinematographer, Harris Savides, capture the squalor. Everything they show is painterly, perfectly framed…almost serene. And I love the drugginess of it. There hasn’t been a film that has felt this exotic and ultra-believable about a fairly familiar subject (the star of a rock band having difficulties) in a long time.

Michael Pitt, Last Days music consultant Thurston Moore during latter stages of after-party at Piano’s — Tuesday, 7.19, 11:55 pm.

For what it’s worth, Last Days really knows the heroin-user mentality. I used to hang with guys who were into smack when I was living in Boston in my early 20s, and the way they sat around and talked and basically did very little…that’s this movie, all right.
It’s no small thing for a film to be observationally fascinating (the third viewing was just as watchable for me as the first two) but at the same time relatively banal-seeming and tension-less in terms of story. Last Days isn’t playing the precise same tune that L’ecclise did, but it’s certainly playing with a lot of the same instruments and a vaguely similar attitude.
Do it right — rent L’eclisse this weekend and see it before going to Last Days, or vice versa. I’d really like to hear some reactions by Sunday night.

What Happened Was…

I didn’t know (i.e., nobody told me) I needed to renew ownership of the domain name of “Hollywood Elsewhere” on or before 7.19 so the site came to a sudden grinding halt Wednesday morning. I fixed the error at 8 a.m. but it took about twelve hours for the renewal of the domain to promulgate around the world. I don’t know about anyone else, but I love spending time on this shit. Talk about fulfilling.

“You Can’t?”

This isn’t hard to identify. Shall we let it go at that?

Hustle & Flow

“It’s too bad that Hustle & Flow‘s trailer seems to be turning more people off than on. This, at least, is what a couple pals said after the Saturday sneak preview. They said it’s not very good at portraying the real rhythm of the movie. I’ve seen it myself and agree wholeheartedly.
“Hustle & Flow is going to make a whole lot of money, whether in theatres or on DVD. Sneaking it was the smartest thing Paramount Classics could have done, to dispel some bad vibes people have, thanks either to the trailer or the attachment of MTV’s name to the piece.
“Whether or not Terrence Howard gets a big awards push for this role, it’s going to take him to the A-list for sure. DJ Qualls finally gets a decent part to work with, along with Anthony Anderson and the rest of the cast.
“A genuine, smooth-flowing script and a note-perfect cast makes this one more worthy of your six to twelve dollars than most films of the last few years.” – Moises Chiullan

Redneck Supreme

“I enjoyed your piece on The Last American Hero. Odd that it isn’t available on DVD because I’d always heard great things about the movie. Odder still that your Fox contact didn’t realize the movie was one of ‘ours’? The film has been shown a number of times on FXM (Fox Movie Channel) over the past six months. I’ve caught it twice, I think. Are all the p.r. guys at the big home video distributors this knowledgeable and on top of it?” — Darth Presley
Wells to Presley: I think they’re just over-burdened…too many balls in the air, too much on the plate.

Grabs

Tarnation director-producer Jonathan Caouette and two pals whose names I didn’t get (sorry) at Last Days after-party at Piano’s — Tuesday, 7.19, 11:10 pm.

Sculpture
based upon famous “Lunch on a Skyscraper, New York City 1932” photo, sitting on some kind of towable platform in Soho — Saturday, 7.16, 10:10 pm.

Original “Lunch on a Skyscraper, New York City 1932” photo, shot roughly 55 stories above Rockefeller Center.

New York City photographer-painter-clothing designer Sequoia Emmanuelle (www.sequoiaemmanuelle.com ) posing for Hollywood Elsewhere photographer while waiting for Brooklyn-bound L train last Saturday afternoon, 7.16. Rainbow-rasta hair styling by Dana Ferrullo (www.goddessmaker.com) who says she’s created this hair style to roughly 30 or 40 people so far on both coasts.

Young man
with a Canon A95 digital camera — Saturday, 7.16, 1:25 pm.

Greene Street near Broome Street — Saturday, 7.16, 11:20 pm.

Christians

“For fuck’s sake, Wells — stop it already with the attack against Christians.
“Don’t you realize that this vehement anti-Christian rhetoric you’ve been spewing all these years is now coming dangerously close to hate speech? How is it possible that you don’t understand that you’re exhibiting the same kind of (closed-minded) behavior towards Christians that you claim ‘95%’ of them exhibit towards others?” — Mark from Boston
Wells to Mark: I just took issue with the notion of “cool hip Christians,” which I believe to be an oxymoron. The things I wrote about the Christian socio-political agenda drew on impressions that are pretty widely shared, I think.
Mark-from-Boston replies: “This anti-Christian stuff has become an obsession with big-city, left-leaning hipster types (I see it in Boston daily), and it’s got to stop. I’ve never met a single Christian who was anything but honest and kind and genuinely well-meaning. They’re responsible for a great deal of the good that’s being done in the world on day-to-day, ground-level basis (feeding the poor, housing the homeless, etc.). You see a few of them on TV spouting anti-gay rhetoric and you think that’s representative of the entire culture? That’s called prejudice.”

Wells to Mark: My impression — the civilized world’s impression — is that a fair number of Christians out there — the vaguely wacko kind — seem to be xenophobic homophobes who, in their heart of hearts, want to smite the wicked and roll back the clock.
Mark-from-Boston replies: “And so what if a good deal of them seem to support Bush? You’re welcome to disagree with them. Just please stop hating everyone that disagrees with you for moral reasons. This kind of crap makes you look juvenile. Christians aren’t the evil empire you’d like them to be. They’re individuals, just like you and me.”
Wells to Mark-from-Boston
Ruins of Roman collisseum, called the Flavian amphitheatre in its day.
“And since many of these guys see abortion as a civil-rights issue (i.e., the civil right of the unborn child not to be terminated), there’s no way they’ll vote for people like Gore and Kerry regardless of their positions on deficit reduction, etc.
“And your comment that Christians can’t dress and all smile strangely? Come on, Jeff. You would never say that about any other religious group.” — D. Tucker
Wells to Tucker: But c’mon….middle-American Christians do dress horribly for the most part and some do smile like pod people. Shouldn’t the truth count for something?
“So Mark-from-Boston sez, ‘I’ve never met a single Christian who was anything but honest and kind and genuinely well-meaning.’ Is this guy kidding?? Give me a fucking break!!
“Apparently he’s not willing to acknowledge how the Christian right-wingers are in our current U.S. political landscape are really overstepping their well-meaning boundaries…it’s driving me absolutely CRAZY! Keep stickin’ it to ’em, Jeff, and if guys (and gals) like Mark don’t like to read it, they can go elsewhere…just not Hollywood Elsewhere.” — Bryan from L.A.

Charlie Plummet

“Those 6.9 million copies of the new Harry Potter book being sold last weekend is probably the main reason why Charlie and the Chocolate Factory experienced that Friday-to-Saturday 8% falloff.
“Say a million of those kids were interested in seeing Charlie last weekend. At an average kid ticket price of $7 (and I think you’ll agree the price is low), that adds an additional $7 million to Warner’s coffers for the weekend, sending Charlie over the $60 million mark for the weekend.
“At the music festival where I work, it seemed like four out of five kids entering the park were carrying around a copy of the book last weekend while exactly half the mostly college-aged employees in the accounting room were reading it as well.
“The Potter effect is very real. That’s not to say you’re wrong about kids about kids not reading much these days. There’s a ton of kids my age (I’m 19) who couldn’t tell you who Truman Capote, John Steinbeck or Nathaniel Hawthorne were, but they’ve read each of the Potter books five times. This isn’t so much a literary phenomenon as a cultural one that sits alongside the iPod and the Xbox joystick.” — Kyle Dickinson

More Grabs

Big celebration at Fanelli’s (neighborhood bar at Prince and Mercer) following bridal-shower party — Saturday, 7.16, 10:40 pm. (It’s been my experience that women who are very close to getting married are more approachable and even seducible than when they were single and unattached. I’ve gotten lucky in this respect twice, and the reason, I’ve concluded, is because the women said to themselves, “This is my last shot before tying the knot — I don’t want to break my marriage vows so if I’m going to bed some guy I’m attracted to, now’s the time.” The reason I’ve mentioned this is because the expression of the woman with the veil seems to be expressing…vaguely suggesting?…this attitude on some level.)

L train to Brooklyn — Saturday, 7.16, 12:25 pm.

Two girls and a guy looking for tickets to a show at the B.B. King Blues Club on 42nd Street — Tuesday, 7.20, 6:50 pm.

Breakfast at El Brilliante on Montrose Avenue in East Williamsburg — Sunday, 7.17, 9:25 am. Check out those prices…$6.50 for a skirt steak?

Bathing suit designs by Keiko (“…by far the most innovative bathing suits in the American market,” according to fashion-icon.com) at 62 Greene Street.