I dreamed I was in Providence last night, visiting friends who don't exist in waking life. There was no particular occasion—I hadn't seen them in months, NecronomiCon notwithstanding. I had brought one of them a ring I had found in a thrift store in Boston. It looked like heavy gold with a blurred device on the signet and chips of emerald down the band; I thought it was costume jewelry. It had been priced accordingly. The girl at the register hadn't been able to tell me where it came from. I almost tossed it to my friend as we walked through Burnside Park, telling him it had looked like his style. He didn't even put it on: he turned it over once or twice and dropped onto the nearest bench like someone had kicked his feet out from under him and burst into tears. I thought at one point he said, "How could you do this to me?" but I didn't have an answer and I wasn't sure he was asking me. When he left without looking at me, he left the ring resting on the bench behind him. I put it back in my pocket. I went back to their house. He was there helping his partner prepare dinner; no one said anything about it. I can do something with this dream, I think. ![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
spatch asked me months ago if I had ever written Lovecraftian noir and I couldn't think of a way to do it without being cheap or clichéd or ripping other authors off: I might have dreamed myself a way in. I just wish I could think of things that don't require research.
1. Thank you, question mark, Facebook, for pointing me toward this teeth-grinding article: Zoe Willams, "Yes, yes, yes! Welcome to the golden age of slutty cinema." I was a little wary of the opening, but then we reached the following claim—
"On the big screen, we look to the 1930s and 40s – rightly – for an object lesson in how to make a female character with depth, verve, wit and intelligence, but to expect those women to shag around would be unreasonable, anachronistic."
—and I blew a fuse. Can I chase after the author screaming with a copy of Baby Face (1933)? Or the bookstore clerk from The Big Sleep (1946)? Pre-Code cinema in general? A stubborn and sneaky percentage of Hollywood even after the ascendance of the Production Code? "It is a radical act," William writes, "which every film generation thinks they are the first to discover: to create characters who are not good people"—well, apparently every generation of film critics thinks they discovered it, too. I wrote on Facebook that I was reminded of the conversation between an ATS driver and her prospective mother-in-law in Leslie Howard's The Gentle Sex (1943), where the younger woman declares proudly that "for the first time in English history, women are fighting side by side with the men" and the older woman quietly lets fall the fact that she served as an ambulance driver on the front lines of the last war. Just because the young women of the rising generation don't know about the social advances of their mothers doesn't mean they didn't happen. Just because the author of this article lives in a retrograde era doesn't mean the onscreen representation of morally ambiguous women is some kind of millenial invention. It's so easy to think that the past was always more conservative, more blinkered, more backwards than the present. It's comforting. It's dangerous. It permits the belief that things just get better, magically, automatically, without anyone having to fight to move forward or hold ground already won. Once you recognize that the past, even briefly, got here first, it's a lot harder to feel superior for just being alive now. We can't afford it and anyway it isn't true.
2. Apropos of nothing except that I was listening to Flanders and Swann, I am very glad that I discovered them before reading Margery Allingham, otherwise I might have thought she invented "The Youth of the Heart." It's quoted in a scene in The Beckoning Lady (1955)—correctly attributed, but her books are so full of fictional artists and musicians that when I read of "Lili Ricki, the new Swedish Nightingale, singing Sydney Carter's lovely song against a lightening sky," I might have easily had the Avocado of Death problem and assumed she made them both up. As it is, I know the song from a recording of Swann performing it solo as part of At the Drop of a Hat in 1957, since he wrote the music. And I was reminded of Allingham because there's a copy of Traitor's Purse (1941) on Howard's bookshelves in Howard the Duck (1986). I assume someone in the props department was a fan.
3. The Somerville Theatre has announced its repertory schedule for October. I am sad that the double feature of James Whale's Frankenstein (1931) and Bride of Frankenstein (1935) is the same night thatrushthatspeaks and I already have plans to see William Wellman's Beggars of Life (1928) at the HFA, but I am looking forward mightily to the triple feature of Psycho (1960), Psycho II (1983), and Psycho III (1986), because it is the Saturday before my birthday and five and a half hours of Anthony Perkins seems like a good preemptive birthday present to me. I have never seen Robert Wise's The Haunting (1963), either, or Anna Biller's The Love Witch (2016), and I always like Edgar Wright's Shaun of the Dead (2004). I know Brad Anderson's Session 9 (2001) was shot at the derelict Danvers State Hospital before it was demolished for condos, a decision which I hope is literally haunting the developers to this day. Anyone with opinions about the rest of this lineup?
I am off to write letters to politicians.
spatch asked me months ago if I had ever written Lovecraftian noir and I couldn't think of a way to do it without being cheap or clichéd or ripping other authors off: I might have dreamed myself a way in. I just wish I could think of things that don't require research.1. Thank you, question mark, Facebook, for pointing me toward this teeth-grinding article: Zoe Willams, "Yes, yes, yes! Welcome to the golden age of slutty cinema." I was a little wary of the opening, but then we reached the following claim—
"On the big screen, we look to the 1930s and 40s – rightly – for an object lesson in how to make a female character with depth, verve, wit and intelligence, but to expect those women to shag around would be unreasonable, anachronistic."
—and I blew a fuse. Can I chase after the author screaming with a copy of Baby Face (1933)? Or the bookstore clerk from The Big Sleep (1946)? Pre-Code cinema in general? A stubborn and sneaky percentage of Hollywood even after the ascendance of the Production Code? "It is a radical act," William writes, "which every film generation thinks they are the first to discover: to create characters who are not good people"—well, apparently every generation of film critics thinks they discovered it, too. I wrote on Facebook that I was reminded of the conversation between an ATS driver and her prospective mother-in-law in Leslie Howard's The Gentle Sex (1943), where the younger woman declares proudly that "for the first time in English history, women are fighting side by side with the men" and the older woman quietly lets fall the fact that she served as an ambulance driver on the front lines of the last war. Just because the young women of the rising generation don't know about the social advances of their mothers doesn't mean they didn't happen. Just because the author of this article lives in a retrograde era doesn't mean the onscreen representation of morally ambiguous women is some kind of millenial invention. It's so easy to think that the past was always more conservative, more blinkered, more backwards than the present. It's comforting. It's dangerous. It permits the belief that things just get better, magically, automatically, without anyone having to fight to move forward or hold ground already won. Once you recognize that the past, even briefly, got here first, it's a lot harder to feel superior for just being alive now. We can't afford it and anyway it isn't true.
2. Apropos of nothing except that I was listening to Flanders and Swann, I am very glad that I discovered them before reading Margery Allingham, otherwise I might have thought she invented "The Youth of the Heart." It's quoted in a scene in The Beckoning Lady (1955)—correctly attributed, but her books are so full of fictional artists and musicians that when I read of "Lili Ricki, the new Swedish Nightingale, singing Sydney Carter's lovely song against a lightening sky," I might have easily had the Avocado of Death problem and assumed she made them both up. As it is, I know the song from a recording of Swann performing it solo as part of At the Drop of a Hat in 1957, since he wrote the music. And I was reminded of Allingham because there's a copy of Traitor's Purse (1941) on Howard's bookshelves in Howard the Duck (1986). I assume someone in the props department was a fan.
3. The Somerville Theatre has announced its repertory schedule for October. I am sad that the double feature of James Whale's Frankenstein (1931) and Bride of Frankenstein (1935) is the same night that
rushthatspeaks and I already have plans to see William Wellman's Beggars of Life (1928) at the HFA, but I am looking forward mightily to the triple feature of Psycho (1960), Psycho II (1983), and Psycho III (1986), because it is the Saturday before my birthday and five and a half hours of Anthony Perkins seems like a good preemptive birthday present to me. I have never seen Robert Wise's The Haunting (1963), either, or Anna Biller's The Love Witch (2016), and I always like Edgar Wright's Shaun of the Dead (2004). I know Brad Anderson's Session 9 (2001) was shot at the derelict Danvers State Hospital before it was demolished for condos, a decision which I hope is literally haunting the developers to this day. Anyone with opinions about the rest of this lineup?I am off to write letters to politicians.
