I think I may have posted Joe Ely's version of this song some time back. But here it is by Tom Russell, who wrote it:
The Savage Hearts - Radio Silence (Savage Trax)
21 hours ago
I've got to stop believing critics when they label the latest Woody Allen movie as a return to form. It doesn't happen with every one of his releases, but every couple of years, that seems to be the theme, and it certainly has popped up in much of what I've read about Midnight in Paris. I've become convinced that Allen will never match (and certainly not top) his classic mid to late seventies films, and there's no reason why we should expect him to. Those efforts, epitomized by Annie Hall or Manhattan, depending on your individual perspective, were uniquely tied to their times at a moment when Allen was clearly in sync with the zeitgeist in a way that it's ridiculous to assume will ever happen again. That's not a bad thing, and it doesn't mean his more recent (and not so recent) work is no good: Allen can prove over and over again his ability to entertain without us ever mistaking his movies for something more. In a way, this is much like the records put out by Bob Dylan over the past forty years or so-- they will never match his mid-sixties output, no matter how good they are, because it's impossible to imagine the confluence of circumstances that led to his being recognized as the "voice of a generation." He's made some fine albums since that heyday, but despite certain stylistic signatures, much like Allen, he is too peripatetic an artist to lock in to maintaining critical renown. Midnight in Paris is a solid, but lightweight entertainment. It's pleasant enough to while away a couple hours, and fun if you get all the historical and artistic references and cameos. But given how regularly Allen pumps these things out, it's really kind of silly to expect more than that, and so in the future I'll just assume that it's wishful thinking on the part of reviewers who think Allen's latest can stand with his masterpieces. I will say that the shots of Paris in this one make me want to visit, but I'm not sure I'll remember much more about it a year from now when his next movie comes out.
I'm not a big fan of asparagus. I'll eat it, but I've never bought or made it for myself, and would always opt for some other vegetable if I had a choice. The other day I could have opted for some beef noodle soup when I was out for dinner, but I decided to take a chance on something new and went instead for the cream of asparagus. I think I may have actually gritted my teeth and winced a little as I raised the first spoonful to my lips. But my adventurousness (if it can really be called that) was amply rewarded with an extremely tasty cup of soup. The asparagus flavor was somewhat muted in a very creamy broth with just a bit of bite. Given that this was a Greek restaurant, I should not have been surprised-- I can't recall ever having a disagreeable dish at a Greek restaurant. And I can't really express how gratifying it is to keep discovering new flavors of soup that I genuinely enjoy.
Tom, Natalie, Andromeda and I went for a walk yesterday at Akron Falls Park. I'd never been there before and found it a really nice place for a hike (though kind of small). Here are a few pictures I took of the area.
Last night I went to a screening at the Hallwalls Gallery of a documentary twelve years in the making called Blaze Foley: Duct Tape Messiah. The event included a q&a with the director Kevin Triplett, and was followed by a one man concert by Gurf Morlix who was a friend of Foley's and who shared a number of funny stories not included in the film. Foley (that's him above) appeared to be kind of an outcast, often drunk and homeless, but with a soul that garnered many friends and which came across in the very pretty, touching, and often funny songs that he composed. The film does a great job of telling how his career was regularly upended by his idiosyncrasies and addictions, while also making it clear why he was so beloved by so many of those who took the time to get to know him. Morlix (that's him below) was one of those and his stories of a time when Foley basically lived on his couch were themselves highly entertaining, but with an edge of poignancy that Foley could never quite pull things together. The concert of Foley compositions was one revelation after another (the only one familiar to me was something covered by Willie Nelson and Merle Haggard on an album I picked up back in the 80s). At this point, the movie can only be seen in these special screenings, as Triplett is still working on some copyright clearances, but if you get the chance, go see it; and if it iincludes a performance by Morlix, don't miss it-- this was just a great evening of entertaining music and stories, and even though Foley's story has a kind of tragic ending (he was murdered), you can't really come away from hearing his story without it leaving a smile on your face.
This weeks question: whose eyes (or more accurately, whose eyelids) are these? Put your guesses in the comments section, as usual.
I always liked Mel Gibson, right up to some of the off-screen comments around the time of Passion of the Christ seemed to launch him into full-bore craziness. Like a lot of people, I've found it difficult to separate his work from his increasingly obnoxious behavior, but I was willing to give his latest movie The Beaver the benefit of the doubt. The idea that a severely depressed man might need a surrogate to communicate with the rest of the world, even a puppet, seemed to have some promise as a dramatic premise, and up to a point, the movie is pretty good. But unfortunately, it ultimately goes over the top in execution, which I did not expect from director Jodie Foster (who I think of as more thoughtful than run-of-the-mill Hollywood types). Gibson is actually pretty good at building a sympathetic portrayal, and I found it easy to suspend my disbelief in relation to the whole Beaver as spokesman idea; I found it much more difficult to accept most of the components of the subplot revolving around the Gibson character's oldest son. When things take a badly telegraphed ugly turn at the climax, I lost any lingering sympathy for the story. It's weird, but even though I can't fault Gibson for the film's failure, it will be hard not to associate it with his ongoing career tailspin. I imagine few would accept him at this point in a more comedic role, but maybe that would've been a better choice at this point for rehabilitation. Oh well.
"If you read philosophical texts of the tradition, you'll notice they almost never said 'I,' and didn't speak in the first person. From Aristotle to Heidegger, they try to consider their own lives as something marginal or accidental. What was essential was their teaching and their thinking. Biography is something empirical and outside, and is considered an accident that isn't necessarily or essentially linked to the philosophical activity or system."
One never knows from where or when a great cup of soup will emerge, but I really expect something by my brother-in-law to surpass anything I've had recently in a restaurant. But that's the case: a pot of red pepper soup concocted by Dan about a week ago surpassed everything else I had over the past few days, and that's not meant as a backhanded compliment-- his soup was really good. I won't run down all the competition, except to say that I had yet another very disappointing cup at Fables. Their Thai Carrot Ginger was overly sweet, like someone had dumped a barrel of honey into the mix (maybe this was a response to my criticism of the sour Sweet Pea soup a couple weeks ago? Is it possible I wield such power? It's a scary thought). Dan's soup struck a great balance between flavor and tang, and was a perfect creamy texture. I hope he makes it again sometime; I hope he can make it again sometime, as he strikes me as the sort of cook who kind of makes it up as he goes along. With even more relatives visiting from out west, maybe that'll be an excuse to make another batch. I've got my fingers crossed.
For many years John Sayles was at the top of a very short list of film writer/directors whose work I'd go see automatically without any need for additional information or reviews about the specific movie. If his name was on it, I'd see it (that's still true, but the way, though his last effort, Honeydripper, never got to a theater in Montana so I'll have to hunt it up on DVD). The main reason for this was because it was clear that he was interested in building stories around characters who were real, true-to-life people, and that quality was evident not just in his protagonists, but in virtually every person who popped up on screen. Even when he dabbled in science fiction (with Brother From Another Planet), he maintained that connection with reality and, to my mind, made a movie that was way better than something like E.T. Win Win was not made by John Sayles, but given that this is the third movie in a row* directed and written by Thomas McCarthy that exhibits that same commitment to dealing with small-scale reality (by which I mean, the drama comes from the kind of events and conflicts encountered by almost anyone in the course of day-to-day life) rather than big issues or heightened melodramatic circumstances, he's now joined Sayles on that aforementioned list. In Win Win the plot turns on the decision to place an elderly man in a nursing home, and the repercussions that has on his family and others. The performances are great all through the cast (also a Sayles trademark, by the way), especially Amy Ryan and Paul Giamatti, who keep things believable at every turn. McCarthy doesn't pen the kind of sprawling scripts that Sayles is noted for, with multiple layers of story unfolding concurrently in a kind of roundelay of intersecting lives, but aside from that I see McCarthy as the inheritor of Sayles' commitment to maintaining a scale and tone that values contemplation and insight over spectacle and escape. Here's hoping he keeps up the good work.