collisionwork: (philip guston)
Maine has been good to us, but it's time to come on home to NYC. Work to do now, and we miss the cats.

Ideas started coming for the August month of shows from Gemini CollisionWorks, and have been notated and discussed. At the current moment, the August show plans consist of one full 2-act play, ObJects, another dance-theater/text piece in the Invisible Republic series (the previous ones were about propaganda and advertising, this one will be about marketing/branding), two short pieces on a double bill -- Gone and Antrobus -- and a solo performance (by me, the only thing I'll be acting in this year) of Mac Wellman's Terminal Hip (if I can get the rights). Apart from the Wellman, I'm writing the rest -- Gone is complete, Antrobus is outlined with a tiny bit written (and, unfortunately, currently trapped on the hard drive of a broken computer), and the other two, like Spell and Everything Must Go from 2008, need to be written primarily around the cast in rehearsal. So I have dream casts written out, and will start contacting people to start work when I get back to NYC.

It's a lot, but ideas are now flowing -- Berit and I had a nice Valentine's Day dinner where I laid out what I had to her, and we batted some things back and forth and they became more clear and possible-sounding. I am sure that one point of dispute will continue, about whether or not to use real paint onstage in one show where I'd like to have someone actually painting a wall over the course of the show -- I want it done for real; Berit is bringing up, correctly, every single possible problem, and there are many, in doing it for real, none of which are, as yet dissuading me -- but we have the start of a plan of attack for the year.

A favorite of the many bloggers I read is The Self-Styled Siren, who primarily writes on classic film. She is currently co-sponsoring a blog-a-thon, For the Love of Film (Noir), and you can find the first collection of links to blogs participating HERE. A first interview between The Siren and the great noir scholar Eddie Muller preceded the blog-a-thon HERE.

Now, if you know me or my work, you know about the huge part noir has played in both for a few years now, so I'll be joining in the blogging fun in the next few days by pulling out and revamping some of the writing on noir I've done here (and elsewhere) in the past few years, with a few rewrites and new material.

I should also note that For the Love of Film Noir is being done to raise funds for The Film Noir Foundation towards the preservation of the classic noir The Sound of Fury. Previously, the FNF has preserved Cry Danger and Too Late for Tears, among other works. When I started studying noir, I was able to rent Cry Danger and The Sound of Fury (under the title Try and Get Me!) on VHS tape from Videoport here in Maine. Later, when researching World Gone Wrong up here, I found the store had gotten rid of both great films in a VHS purge, and neither was available anywhere. Too Late for Tears, an average noir with WAY above-average performances from Dan Duryea and Lizabeth Scott, I found in a terrible print on DVD in a Brooklyn library (under the title Killer Bait). The Film Noir Foundation is dedicated to tracking down, restoring, and distributing these and other films in new, beautiful 35mm prints, as well as creating new DVDs. You can see Cry Danger (restored) and Sound of Fury (not) on Netflix Instant now, but there's no preservation like a new fine-grain negative and film prints for these works. The Film Noir Foundation deserves all the support it can get, especially from those of us who regard noir as a major part of film (and Art) of the last century. You can follow the links on The Siren's page (or here in the days coming up) to donate to them.

And, before leaving, here's a Random Ten from the North from the 2,407 tracks in the "prime unheard" list in the iPod:

1. "I'm Not Living Here" - Sagittarius - Present Tense
2. "Caribou (2005 acoustic live)" - Pixies - 2005.08.06 - Newport, RI
3. "Crazy Little Thing" - Captain Beefheart & The Magic Band - Clear Spot
4. "Anywhere I Lay My Head" - Tom Waits - Rain Dogs
5. "New Electric Ride" - Captain Beefheart - Unconditionally Guaranteed
6. "Another Country's Young" - The Gun Club - In Exile
7. "Groove A Little" - T.Rex - Dandy In The Underworld
8. "(You're Gonna) Wreck My Life" - Q'65 - Nederbeat The B-Sides 3
9. "Final Solution" - Rocket From The Tombs - Rocket Redux
10. "Dust My Broom" - Ike & Tina Turner - Bold Soul Sister

And here's an embedded playlist of most of the above, or something similar (unless you're seeing this on Facebook), with an extra one to grow on . . .



And while we can't upload the pictures we took here in Maine before we go, we were sent regular photos of our cats from the Fantastic Mr. Enk, who looked after our little beloved monsters while we were up here. Though sometimes the photos made us miss them more, as when Hooker just looks so very sad . . .
Sad Hooker (from Enk)

Same with Moni . . .
Sad Moni (from Enk)

Bryan did once catch them together waking up as he came in . . .
Both Kitties (from Enk)

Okay, getting late, and I need to get sleep in before driving over 6.5 hours in the morning . . .

collisionwork: (Laura's Angel)
Three posts today? What's going on?

(A: I get frazzled easily by my giant multicolored Excel charts of rehearsal schedules and conflicts and need frequent breaks to keep sane)

I just read the New York Times obit for actor Richard Widmark.

He made a lot of movies in his career, and most of them, especially near the end, aren't exactly memorable (though he's great as the evil victim in Sidney Lumet's incredibly fun film of Agatha Christie's Murder on the Orient Express).

At the start of his career, however, he was almost an exclusively film noir actor, and gave two of the best and deepest performances of the genre.

And no, neither of them is his famous debut performance as Tommy Udo in the noir Kiss of Death. Fine work, sure, but he really shone his brightest elsewhere (if not as distinctively in Kiss, for which - to his chagrin - he would always be best remembered "for a giggle").

He is in Samuel Fuller's 1953 Pickup on South Street as Skip McCoy, pickpocket - an amoral criminal who finds a spark of morality in himself by the end of the picture, enough to make him (to his own surprise) a hero - made believable only by Widmark's performance (which ensures that the spark remains only a spark, and not a wholesale redemption).

And he is so good as to be almost impossible to watch as low-level hustler (trying to become a big-level hustler) Harry Fabian in Jules Dassin's 1950 Night and the City. I've only watched this film once since acquiring it in my research for World Gone Wrong in 2005, despite thinking it's probably one of the very best noirs ever made. The reason I can't bear to go back to it is the pain I felt in watching the slow destruction of Widmark's character - a stupid, unskilled man who is somehow (well, through Widmark's performance) someone you can feel great empathy for. Maybe it's also because Harry Fabian may be one of the unluckiest characters in film history - despite his own lack of knowledge and talent, he nearly gets everything he wants, and it is only taken away from him by random, blind chance.

(in watching as much noir around this home as we do, the most regular statements uttered sometimes by me, and more often by Berit, when film-watching are "you poor bastard" or "you stupid bastard" or "you poor, stupid bastard" - for reasons that should be obvious to anyone who knows the genre well - I think this was said more during Night than any other film we've ever watched)

The film actually features a pretty amazing cast top-to-bottom - especially Francis L. Sullivan, Googie Withers, and the beautiful, haunted, and heartbreaking Gene Tierney.

I think I'll try and steel myself and watch Night and the City this evening, maybe Pickup too, if I have it (not sure about that).

If you haven't seen either, they're both worth it, and available on DVD in lovely editions from The Criterion Collection. Watch them for Widmark, who deserves to be remembered for things other than being well-impersonated by Frank Gorshin.

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