Wednesday, September 11, 2019

Near Dark

Near Dark is a 1987 modern-day vampire western film. I saw it on television and was singularly unimpressed. I appear to be alone in that. Reviews are generally positive, even glowing.

trailer:



1000 Misspent Hours has a positive review. Empire Online calls it "a fascinatingly modern take". Horror News concludes, "If you are looking to build a top vampire movie list, then “Near Dark” should definitely have a spot secured as an important entry." Horror News Freak recommends it. Time Out calls it "a subtle study in the seductiveness of evil and a terrifying ride to the edge of darkness." Rotten Tomatoes has an average critics rating of 88%.

Tuesday, September 10, 2019

The Idiot's Guide to Smarter Coffee Drinking in 7 Steps

A Guide To Smarter Coffee Drinking Infographic
Image via: AHealthBlog

and they completely lose me at step #1, because I drink a cup or two before 10:00 AM and like it better then than any time of the day. Ah, well, health advice seems more a matter of passing fad than of fact-based science.

I still haven't gotten back into creating ATCs. It's like that one week of vacation away put a screeching halt to the art fun. I have all my bits of papers and supplies out, and I'm committed to making a few this week. In the meantime I'll enjoy the artistic endeavors of the T Stands for Tuesday bloggers. Join us as we share a drink.

Monday, September 09, 2019

A Chinese Ghost Story: The Tsui Hark Animation

A Chinese Ghost Story: The Tsui Hark Animation is an award-winning 1997 Hong Kong animated film. Wikipedia begins its plot summary with this:
Tax collector Ning wanders the land with his pet dog Solid Gold grieving over his lost love Siu Lan, who dumps him over another man. He goes on, and along the way, he runs into two monks, White Cloud and Ten Miles. The two Buddhist monks, who appear to be trying to purify unholy spirits and send them to the underworld, are on rivalry with another ghostbuster, Red Beard. After a meeting and a hasty farewell to the monks who leave, Ning continues his journey.

Somehow, at night, Ning enters a ghost town, inhabited by many different monsters, ghouls and spirits.

T.H.E.M. Anime Reviews calls it "an incredibly strange, breathless, nonstop action fantasy, which leaves you gasping for air". Love HK Film calls it "irresistibly charming" and "visually exciting".

Variety says,
Result is infused with many of Tsui’s own filmic trademarks, some touches of typically Cantonese humor and a childlike, naive style that Japanese anime simply don’t possess. In dubbed versions, this could prove a strong seller as a children’s item for the small screen.
BBC has a review. The Rotten Tomatoes audience has a consensus score of 86%.

Sunday, September 08, 2019

The World That Couldn't Be

illustration by Jack Gaughan

The World That Couldn't Be is a 1958 science fiction short story by Science Fiction Writers of America Grand Master Clifford D. Simak. I discovered this author in junior high school, and he is always worth re-visiting. His stories are thought-provoking. You can read this one online here. It begins,
The tracks went up one row and down another, and in those rows the vua plants had been sheared off an inch or two above the ground. The raider had been methodical; it had not wandered about haphazardly, but had done an efficient job of harvesting the first ten rows on the west side of the field. Then, having eaten its fill, it had angled off into the bush—and that had not been long ago, for the soil still trickled down into the great pug marks, sunk deep into the finely cultivated loam.

Somewhere a sawmill bird was whirring through a log, and down in one of the thorn-choked ravines, a choir of chatterers was clicking through a ghastly morning song. It was going to be a scorcher of a day. Already the smell of desiccated dust was rising from the ground and the glare of the newly risen sun was dancing off the bright leaves of the hula-trees, making it appear as if the bush were filled with a million flashing mirrors.

Gavin Duncan hauled a red bandanna from his pocket and mopped his face.

"No, mister," pleaded Zikkara, the native foreman of the farm. "You cannot do it, mister. You do not hunt a Cytha."

"The hell I don't," said Duncan, but he spoke in English and not the native tongue.

He stared out across the bush, a flat expanse of sun-cured grass interspersed with thickets of hula-scrub and thorn and occasional groves of trees, criss-crossed by treacherous ravines and spotted with infrequent waterholes.

It would be murderous out there, he told himself, but it shouldn't take too long. The beast probably would lay up shortly after its pre-dawn feeding and he'd overhaul it in an hour or two. But if he failed to overhaul it, then he must keep on.

"Dangerous," Zikkara pointed out. "No one hunts the Cytha."

"I do," Duncan said, speaking now in the native language.

Saturday, September 07, 2019

Suspense (1913)

Suspense is a 1913 short thriller film directed by and starring Lois Weber.

Friday, September 06, 2019

The Open Window


The Open Window is a delightful short story by Saki. It is often required reading in schools, and I know what a kick I got out of it when I first discovered it. You can read it online here. You can have it read to you here. It begins,
"My aunt will be down presently, Mr. Nuttel," said a very self-possessed young lady of fifteen; "in the meantime you must try and put up with me."

Framton Nuttel endeavoured to say the correct something which should duly flatter the niece of the moment without unduly discounting the aunt that was to come. Privately he doubted more than ever whether these formal visits on a succession of total strangers would do much towards helping the nerve cure which he was supposed to be undergoing.

"I know how it will be," his sister had said when he was preparing to migrate to this rural retreat; "you will bury yourself down there and not speak to a living soul, and your nerves will be worse than ever from moping. I shall just give you letters of introduction to all the people I know there. Some of them, as far as I can remember, were quite nice."

Framton wondered whether Mrs. Sappleton, the lady to whom he was presenting one of the letters of introduction came into the nice division.

"Do you know many of the people round here?" asked the niece, when she judged that they had had sufficient silent communion.

"Hardly a soul," said Framton. "My sister was staying here, at the rectory, you know, some four years ago, and she gave me letters of introduction to some of the people here."

He made the last statement in a tone of distinct regret.

"Then you know practically nothing about my aunt?" pursued the self-possessed young lady.

"Only her name and address," admitted the caller. He was wondering whether Mrs. Sappleton was in the married or widowed state. An undefinable something about the room seemed to suggest masculine habitation.

"Her great tragedy happened just three years ago," said the child; "that would be since your sister's time."

"Her tragedy?" asked Framton; somehow in this restful country spot tragedies seemed out of place.

"You may wonder why we keep that window wide open on an October afternoon," said the niece, indicating a large French window that opened on to a lawn.

*******

The image at the top of the post is a screen shot from this short adaptation of the story:



It stars Michael Sheen.



Thursday, September 05, 2019

Love's Labour's Lost

Love's Labour's Lost is a 1975 BBC adaptation of the Shakespeare play. It stars Martin Shaw, David Gwillim, and Jeremy Brett.

Wednesday, September 04, 2019

Crashing Suns


Crashing Suns is a short story by Edmond Hamilton, the first in the Interstellar Patrol space opera series. It was originally published in two parts in the August and September issues of Weird Tales in 1928. These are rousing adventure stories, and fun to read even if the science is dated. You can read this one online here. It begins,
As the control-levers flashed down under my hands our ship dived down through space with the swiftness of thought. The next instant there came a jarring shock, and our craft spun over like a whirling top. Everything in the conning-tower, windows and dials and controls, seemed to be revolving about me with lightning speed, while I clung dizzily to the levers in my hands. In a moment I managed to swing them back into position, and at once the ship righted herself and sped smoothly on through the ether. I drew a deep breath.

The trap-door in the little room's floor slid open, then, and the startled face of big Hal Kur appeared, his eyes wide.

"By the Power, Jan Tor!" he exclaimed; "that last meteor just grazed us! An inch nearer and it would have been the end of the ship!"

I turned to him for a moment, laughing. "A miss is as good as a mile," I quoted.

He grinned back at me. "Well, remember that we're not out on the Uranus patrol now," he reminded me. "What's our course?"

"Seventy-two degrees sunward, plane No. 8," I told him, glancing at the dials. "We're less than four hundred thousand miles from Earth, now," I added, nodding toward the broad window before me.

Climbing up into the little conning-tower, Hal Kur stepped over beside me, and together we gazed out ahead.

The sun was at the ship's left, for the moment, and the sky ahead was one of deep black, in which the stars, the flaming stars of interplanetary space, shone like brilliant jewels. Directly ahead of us there glowed a soft little orb of misty light, which was growing steadily larger as we raced on toward it. It was our destination, the cloud-veiled little world of Earth, mother-planet of all our race. To myself, who had passed much of my life on the four outer giants, on Jupiter and Saturn and Uranus and Neptune, the little planet ahead seemed insignificant, almost, with its single tiny moon. And yet from it, I knew, had come that unceasing stream of human life, that dauntless flood of pioneers, which had spread over all the solar system in the last hundred thousand years. They had gone out to planet after planet, had conquered the strange atmospheres and bacteria and gravitations, until now the races of man held sway over all the sun's eight wheeling worlds. And it was from this Earth, a thousand centuries before, that there had ventured out the first discoverers' crude little spaceboats, whose faulty gravity-screens and uncertain controls contrasted strangely with the mighty leviathans that flashed between the planets now.

Abruptly I was aroused from my musings by the sharp ringing of a bell at my elbow. "The telestereo," I said to Hal Kur. "Take the controls."

Tuesday, September 03, 2019

Madam Crowl's Ghost

5 O'Clock Tea by David Comba Adamson

Madam Crowl's Ghost is a 1923 short story by Joseph Thomas Sheridan Le Fanu. You can read it here, and since it starts with the brewing and sharing of tea, let's keep each other company with a cuppa and gather around for the tale. It begins,
Twenty years have passed since you last saw Mrs. Jolliffe’s tall slim figure. She is now past seventy, and can’t have many mile-stones more to count on the journey that will bring her to her long home. The hair has grown white as snow, that is parted under her cap, over her shrewd, but kindly face. But her figure is still straight, and her step light and active.

She has taken of late years to the care of adult invalids, having surrendered to younger hands the little people who inhabit cradles, and crawl on all-fours. Those who remember that good-natured face among the earliest that emerge from the darkness of non-entity, and who owe to their first lessons in the accomplishment of walking, and a delighted appreciation of their first babblings and earliest teeth, have “spired up” into tall lads and lasses, now. Some of them shew streaks of white by this time, in brown locks, “the bonny gouden” hair, that she was so proud to brush and shew to admiring mothers, who are seen no more on the green of Golden Friars, and whose names are traced now on the flat grey stones in the church-yard.

So the time is ripening some, and searing others; and the saddening and tender sunset hour has come; and it is evening with the kind old north-country dame, who nursed pretty Laura Mildmay, who now stepping into the room, smiles so gladly, and throws her arms round the old woman’s neck, and kisses her twice.

“Now, this is so lucky!” said Mrs. Jenner, “you have just come in time to hear a story.”

“Really! That’s delightful.”

“Na, na, od wite it! no story, ouer true for that, I sid it a wi my aan eyen. But the barn here, would not like, at these hours, just goin’ to her bed, to hear tell of freets and boggarts.”

“Ghosts? The very thing of all others I should most likely to hear of.”

“Well, dear,” said Mrs. Jenner, “if you are not afraid, sit ye down here, with us.”

“She was just going to tell me all about her first engagement to attend a dying old woman,” says Mrs. Jenner, “and of the ghost she saw there. Now, Mrs. Jolliffe, make your tea first, and then begin.”

The good woman obeyed, and having prepared a cup of that companionable nectar, she sipped a little, drew her brows slightly together to collect her thoughts, and then looked up with a wondrous solemn face to begin.

*******

I'm out of town today and won't be able to participate (if I get back in time I'll link to the T Stands for Tuesday blogger gathering, but it'll be later), but I am pleased about the new-to-me thrift store purchase of a one-cup French press coffee maker and thought I'd take this opportunity to share it here:


A couple of you may have already seen it on Facebook, but everything gets shared on Facebook first and in real time since I share way more than one thing a day there. Each social media outlet has its strengths and weaknesses, and each one is suited to a different type of sharing.

1.) Blog: I post once a day on blogger, scheduling posts well in advance so that movies are not on consecutive days. That means I'm already scheduling horror movies for October of 2020, but that's the way I have chosen to deal with the number of movies I watch.

2) Facebook: I post on Facebook as I do things so there might be posts on 3 or 4 movies on some days but without the video embeds or descriptions/reviews. I share articles and images as I see them, and I'm much more politically vocal on Facebook.

3) Twitter: I am on Twitter but just as a follower and reader, and I haven't tweeted since those first few just to show I am a real person and not a bot.

4) Instagram: I'm not on Instagram at all, mainly because I find it a bit intimidating with all the folks sharing such good photos there.

5) Youtube: I use YouTube and post videos there that I've taken myself and want to embed on my blog, and I subscribe to many of the fitness and garden channels.

6) Reddit: I follow the local Reddit but have never posted and rarely comment there.

7) Pinterest: I used to use Pinterest but never found it particularly engaging. Except for pinning the occasional image to my "Hats" board, I don't use it.

8) I set up accounts at Tumblr, LiveJournal, Google+, MySpace, GoodReads, Letterboxd, and maybe more -who remembers. I have used email "lists" and online message boards and the chat rooms that used to be set up for real-time discussions among members of email listserve communities. I either didn't find these useful and/or they're not around any more. I've been curious about Second Life but have never tried it.

Social media should not be feared but used in the way that is most appropriate for each of us. I'd just like to say: You, be you. Don't condemn online activity you either fear, don't understand, or don't find enjoyable. Different strokes, and all that. I find judgmentalism to be the worst part of any social media experience just as I do when involved in face-to-face interaction.

Monday, September 02, 2019

Odds Against Tomorrow

Odds Against Tomorrow is a 1959 crime film (and maybe a film noir, depending on which article you read) directed by Robert Wise and starring Harry Belafonte, Robert Ryan, Ed Begley, Gloria Grahame, and Shelley Winters. Racism among thieves. No subtlety on that front, either. It's painful to hear people talk like that.

Part 1:



Part 2:



Part 3:



Variety says,
On one level, Odds against Tomorrow is a taut crime melodrama. On another, it is an allegory about racism, greed and man’s propensity for self-destruction. Not altogether successful in the second category, it still succeeds on its first.

The New York Times review from the time of the film's release calls it "a sharp, hard, suspenseful melodrama". 86% of Rotten Tomatoes critics like it.

Sunday, September 01, 2019

Prelude

The Portrait of Katherine Mansfield, by Anne Estelle Rice

Prelude is a 1918 short story by Katherine Mansfield. You can read it online here. You can have it read to you here. It begins,
1

THERE was not an inch of room for Lottie and Kezia in the buggy. When Pat swung them on top of the luggage they wobbled; the grandmother's lap was full and Linda Burnell could not possibly have held a lump of a child on hers for any distance. Isabel, very superior, was perched beside the new handy-man on the driver's seat. Hold-alls, bags and boxes were piled upon the floor. "These are absolute necessities that I will not let out of my sight for one instant," said Linda Burnell, her voice trembling with fatigue and excitement.

Lottie and Kezia stood on the patch of lawn just inside the gate all ready for the fray in their coats with brass anchor buttons and little round caps with battleship ribbons. Hand in hand, they stared with round solemn eyes, first at the absolute necessities and then at their mother.

"We shall simply have to leave them. That is all. We shall simply have to cast them off," said Linda Burnell. A strange little laugh flew from her lips; she leaned back against the buttoned leather cushions and shut her eyes, her lips trembling with laughter. Happily at that moment Mrs. Samuel Josephs, who had been watching the scene from behind her drawing-room blind, waddled down the garden path.

"Why nod leave the chudren with be for the afterdoon, Brs. Burnell? They could go on the dray with the storeban when he comes in the eveding. Those thigs on the path have to go, dod't they?"

"Yes, everything outside the house is supposed to go," said Linda Burnell, and she waved a white hand at the tables and chairs standing on their heads on the front lawn. How absurd they looked! Either they ought to be the other way up, or Lottie and Kezia ought to stand on their heads, too. And she longed to say: "Stand on your heads, children, and wait for the store-man." It seemed to her that would be so exquisitely funny that she could not attend to Mrs. Samuel Josephs.

The fat creaking body leaned across the gate, and the big jelly of a face smiled. "Dod't you worry, Brs. Burnell. Loddie and Kezia can have tea with my chudren in the dursery, and I'll see theb on the dray afterwards."

The grandmother considered. "Yes, it really is quite the best plan. We are very obliged to you, Mrs. Samuel Josephs. Children, say 'thank you' to Mrs. Samuel Josephs."

Two subdued chirrups: "Thank you, Mrs. Samuel Josephs."

"And be good little girls, and–come closer–" they advanced, "don't forget to tell Mrs. Samuel Josephs when you want to. . . . "

"No, granma."

"Dod't worry, Brs. Burnell."

At the last moment Kezia let go Lottie's hand and darted towards the buggy.

"I want to kiss my granma good-bye again."

But she was too late. The buggy rolled off up the road, Isabel bursting with pride, her nose turned up at all the world, Linda Burnell prostrated, and the grandmother rummaging among the very curious oddments she had had put in her black silk reticule at the last moment, for something to give her daughter. The buggy twinkled away in the sunlight and fine golden dust up the hill and over. Kezia bit her lip, but Lottie, carefully finding her handkerchief first, set up a wail.

"Mother! Granma!"

Mrs. Samuel Josephs, like a huge warm black silk tea cosy, enveloped her.

"It's all right, by dear. Be a brave child. You come and blay in the dursery!"

She put her arm round weeping Lottie and led her away. Kezia followed, making a face at Mrs. Samuel Josephs' placket, which was undone as usual, with two long pink corset laces hanging out of it. . . .

Lottie's weeping died down as she mounted the stairs, but the sight of her at the nursery door with swollen eyes and a blob of a nose gave great satisfaction to the S.J.'s, who sat on two benches before a long table covered with American cloth and set out with immense plates of bread and dripping and two brown jugs that faintly steamed.

"Hullo! You've been crying!"

"Ooh! Your eyes have gone right in."

"Doesn't her nose look funny."

"You're all red-and-patchy."

Lottie was quite a success. She felt it and swelled, smiling timidly.

"Go and sit by Zaidee, ducky," said Mrs. Samuel Josephs, "and Kezia, you sid ad the end by Boses."

Moses grinned and gave her a nip as she sat down; but she pretended not to notice. She did hate boys.

"Which will you have?" asked Stanley, leaning across the table very politely, and smiling at her. "Which will you have to begin with–strawberries and cream or bread and dripping?"

"Strawberries and cream, please," said she.

"Ah-h-h-h." How they all laughed and beat the table with their teaspoons. Wasn't that a take-in! Wasn't it now! Didn't he fox her! Good old Stan!

"Ma! She thought it was real."

Even Mrs. Samuel Josephs, pouring out the milk and water, could not help smiling. "You bustn't tease theb on their last day," she wheezed.

But Kezia bit a big piece out of her bread and dripping, and then stood the piece up on her plate. With the bite out it made a dear little sort of gate. Pooh! She didn't care! A tear rolled down her cheek, but she wasn't crying. She couldn't have cried in front of those awful Samuel Josephs. She sat with her head bent, and as the tear dripped slowly down, she caught it with a neat little whisk of her tongue and ate it before any of them had seen.

2

After tea Kezia wandered back to their own house. Slowly she walked up the back steps, and through the scullery into the kitchen. Nothing was left in it but a lump of gritty yellow soap in one corner of the kitchen window-sill and a piece of flannel stained with a blue bag in another. The fireplace was choked up with rubbish. She poked among it but found nothing except a hair-tidy with a heart painted on it that had belonged to the servant girl. Even that she left lying, and she trailed through the narrow passage into the drawing-room. The Venetian blind was pulled down but not drawn close. Long pencil rays of sunlight shone through and the wavy shadow of a bush outside danced on the gold lines. Now it was still, now it began to flutter again, and now it came almost as far as her feet. Zoom! Zoom! a blue-bottle knocked against the ceiling; the carpet-tacks had little bits of red fluff sticking to them.

The dining-room window had a square of coloured glass at each corner. One was blue and one was yellow. Kezia bent down to have one more look at a blue lawn with blue arum lilies growing at the gate, and then at a yellow lawn with yellow lilies and a yellow fence. As she looked a little Chinese Lottie came out on to the lawn and began to dust the tables and chairs with a corner of her pinafore. Was that really Lottie? Kezia was not quite sure until she had looked through the ordinary window.

Upstairs in her father's and mother's room she found a pill box black and shiny outside and red in, holding a blob of cotton wool.

"I could keep a bird's egg in that," she decided.

In the servant girl's room there was a stay-button stuck in a crack of the floor, and in another crack some beads and a long needle. She knew there was nothing in her grandmother's room; she had watched her pack. She went over to the window and leaned against it, pressing her hands to the pane.

Kezia liked to stand so before the window. She liked the feeling of the cold shining glass against her hot palms, and she liked to watch the funny white tops that came on her fingers when she pressed them hard against the pane. As she stood there, the day flickered out and dark came. With the dark crept the wind snuffling and howling. The windows of the empty house shook, a creaking came from the walls and floors, a piece of loose iron on the roof banged forlornly. Kezia was suddenly quite, quite still, with wide open eyes and knees pressed together. She was frightened. She wanted to call Lottie and to go on calling all the while she ran downstairs and out of the house. But IT was just behind her, waiting at the door, at the head of the stairs, at the bottom of the stairs, hiding in the passage, ready to dart out at the back door. But Lottie was at the back door, too.

"Kezia!" she called cheerfully. "The storeman's here. Everything is on the dray and three horses, Kezia. Mrs. Samuel Josephs has given us a big shawl to wear round us, and she says to button up your coat. She won't come out because of asthma."

Lottie was very important.

"Now then, you kids," called the storeman. He hooked his big thumbs under their arms and up they swung. Lottie arranged the shawl "most beautifully" and the storeman tucked up their feet in a piece of old blanket.

"Lift up. Easy does it."

They might have been a couple of young ponies. The storeman felt over the cords holding his load, unhooked the brakechain from the wheel, and whistling, he swung up beside them.

"Keep close to me," said Lottie, "because otherwise you pull the shawl away from my side, Kezia."

But Kezia edged up to the storeman. He towered beside her big as a giant and he smelled of nuts and new wooden boxes.

Saturday, August 31, 2019

The Curious Adventures of Mr. Wonderbird

The Curious Adventures of Mr. Wonderbird is a 1952 public domain version of the French animated film The King and the Mockingbird dubbed in English with Peter Ustinov, Claire Bloom, and Denholm Elliott. The story is loosely based on The Shepherdess and the Chimney Sweep by Hans Christian Andersen, which can be read online here.

Friday, August 30, 2019

The Dead Letter


The Dead Letter (1866) by Metta Victoria Fuller Victor is the first full-length American work of crime fiction. You can read it online here, and listen to it here. It begins,
THE DEAD LETTER.

PART I.

CHAPTER I.

THE LETTER.

I paused suddenly in my work. Over a year’s experience in the Dead Letter office had given a mechanical rapidity to my movements in opening, noting and classifying the contents of the bundles before me; and, so far from there being any thing exciting to the curiosity, or interesting to the mind, in the employment, it was of the most monotonous character.

Young ladies whose love letters have gone astray, evil men whose plans have been confided in writing to their confederates, may feel but little apprehension of the prying eyes of the Department; nothing attracts it but objects of material value—sentiment is below par; it gives attention only to such tangible interests as are represented by bank-bills, gold-pieces, checks, jewelry, miniatures, et cetera. Occasionally a grave clerk smiles sardonically at the ridiculous character of some of the articles which come to light; sometimes, perhaps, looks thoughtfully at a withered rosebud, or bunch of pressed violets, a homely little pin-cushion, or a book-mark, wishing it had reached its proper destination. I can not answer for other employees, who may not have even this amount of heart and imagination to invest in the dull business of a Government office; but when I was in the Department I was guilty, at intervals, of such folly—yet I passed for the coldest, most cynical man of them all.

The letter which I held in my paralyzed fingers when they so abruptly ceased their dexterous movements, was contained in a closely-sealed envelope, yellowed by time, and directed in a peculiar hand to “John Owen, Peekskill, New York,” and the date on the stamp was “October 18th, 1857”—making the letter two years old. I know not what magnetism passed from it, putting me, as the spiritualists say, en rapport with it; I had not yet cut the lappet; and the only thing I could fix upon as the cause of my attraction was, that at the date indicated on the envelope, I had been a resident of Blankville, twenty miles from Peekskill—and something about that date!

Yet this was no excuse for my agitation; I was not of an inquisitive disposition; nor did “John Owen” belong to the circle of my acquaintance. I sat there with such a strange expression upon my face, that one of my fellows, remarking my mood, exclaimed jestingly:

“What is it, Redfield? A check for a hundred thousand?”

“I am sure I don’t know; I haven’t opened it,” I answered, at random; and with this I cut the wrapper, impelled by some strongly-defined, irresistible influence to read the time-stained sheet inclosed. It ran in this wise:

“Dear Sir—It’s too bad to disappoint you. Could not execute your order, as everybody concerned will discover. What a charming day!—good for taking a picture. That old friend I introduced you to won’t tell tales, and you had not better bother yourself to visit him. The next time you find yourself in his arms, don’t feel in his left-hand pocket for the broken tooth-pick which I lent him. He is welcome to it. If you’re at the place of payment, I shan’t be there, not having fulfilled the order, and having given up my emigration project, much against my will; so, govern yourself accordingly. Sorry your prospects are so poor, and believe me, with the greatest possible esteem,

“Your disappointed Negotiator.”
To explain why this brief epistle, neither lucid nor interesting in itself, should affect me as it did, I must go back to the time at which it was written.

Thursday, August 29, 2019

Criss Cross

Criss Cross is a 1949 crime film/film noir. Directed by Robert Siodmak, it stars Burt Lancaster, Yvonne De Carlo, and Dan Duryea. The double-crossing gets 'em coming and going. You can't trust anybody, can you?

trailer:



You can watch it online here.

The New York Times says, "In many ways "Criss Cross" is a suspenseful action picture, due to the resourceful directing of Robert Siodmak." The New Yorker calls it an "exemplary film noir". Film Noir of the Week says, "this is THE FILM NOIR that I recommend to all noir neophytes as the place to start".

Rotten Tomatoes has a critics score of 100%.

Wednesday, August 28, 2019

How Love Came to Professor Guildea


How Love Came to Professor Guildea is generally considered the best story Robert Hichens wrote. You can read it online here, or listen to it here. It begins,
Dull people often wondered how it came about that Father Murchison and Professor Frederic Guildea were intimate friends. The one was all faith, the other all scepticism. The nature of the Father was based on love. He viewed the world with an almost childlike tenderness above his long, black cassock; and his mild, yet perfectly fearless, blue eyes seemed always to be watching the goodness that exists in humanity, and rejoicing at what they saw. The Professor, on the other hand, had a hard face like a hatchet, tipped with an aggressive black goatee beard. His eyes were quick, piercing and irreverent. The lines about his small, thin-lipped mouth were almost cruel. His voice was harsh and dry, sometimes, when he grew energetic, almost soprano. It fired off words with a sharp and clipping utterance. His habitual manner was one of distrust and investigation. It was impossible to suppose that, in his busy life, he found any time for love, either of humanity in general or of an individual.

Yet his days were spent in scientific investigations which conferred immense benefits upon the world.

Both men were celibates. Father Murchison was a member of an Anglican order which forbade him to marry. Professor Guildea had a poor opinion of most things, but especially of women. He had formerly held a post as lecturer at Birmingham. But when his fame as a discoverer grew he removed to London. There, at a lecture he gave in the East End, he first met Father Murchison. They spoke a few words. Perhaps the bright intelligence of the priest appealed to the man of science, who was inclined, as a rule, to regard the clergy with some contempt. Perhaps the transparent sincerity of this devotee, full of common sense, attracted him. As he was leaving the hall he abruptly asked the Father to call on him at his house in Hyde Park Place. And the Father, who seldom went into the West End, except to preach, accepted the invitation.

"When will you come?" said Guildea.

He was folding up the blue paper on which his notes were written in a tiny, clear hand. The leaves rustled drily in accompaniment to his sharp, dry voice.

"On Sunday week I am preaching in the evening at St. Saviour's, not far off," said the Father.[271]

"I don't go to church."

"No," said the Father, without any accent of surprise or condemnation.

"Come to supper afterwards?"

"Thank you. I will."

"What time will you come?"

The Father smiled.

"As soon as I have finished my sermon. The service is at six-thirty."

"About eight then, I suppose. Don't make the sermon too long. My number in Hyde Park Place is a hundred. Good-night to you."

He snapped an elastic band round his papers and strode off without shaking hands.

On the appointed Sunday, Father Murchison preached to a densely crowded congregation at St. Saviour's. The subject of his sermon was sympathy, and the comparative uselessness of man in the world unless he can learn to love his neighbour as himself. The sermon was rather long, and when the preacher, in his flowing, black cloak, and his hard, round hat, with a straight brim over which hung the ends of a black cord, made his way towards the Professor's house, the hands of the illuminated clock disc at the Marble Arch pointed to twenty minutes past eight.

Tuesday, August 27, 2019

Oh, Mr. Porter!

Oh, Mr Porter! is a 1937 comedy about a man who gets a new job as station master at a remote Northern Ireland railway station where no one will work due to its reputation for being haunted -"Local conditions would appear to be peculiar. We've sent them five station masters in twelve months." Mayhem results as he tries new ways to improve the station.


BFI Screen Online says, "Oh, Mr Porter! is full of moments to cherish". Empire Online closes with this: "Comedy very much of its time but there are worse ways to spend a rainy afternoon." Time Out says, "Some of the humour is rather dated now, but the atmospheric creation of a quaintly antiquated rural Britain - that never in reality existed - holds plenty of charm." Variety says, "the whole thing is amusing." Rotten Tomatoes has an audience consensus score of 92%.

To join in with the bloggers participating in T Stands for Tuesday, I offer this screenshot with drinks on the table:


*******

I'm behind in making ATCs, having been away for a week on vacation, but I hope to have some to post next week.


Monday, August 26, 2019

Scratch Monkey

photo from Wikimedia Commons

Scratch Monkey is a science fiction novel, one of his earliest, by Charles Stross. You can read it online here. It begins,
1: Year Zero Man

As I fasten my crash webbing Sareena looks at me and shakes her head. "What is it?" I ask. She pauses as she pre-checks the heat shield: she looks embarrassed.

"Do you have any last wishes?" she asks, stumbling over her words. "I mean, do you want me to tell anyone if you ..?"

I grin up at her humourlessly. She's little more than a shadow cast by the glare of the floodlights, so I can't see her expression. "What do you think?" I ask, hoping for something to distract me from what's about to happen.

She straightens up and checks over the ejection rail another time. It's ancient, a history book nightmare. Everything on this station is ancient: the planetary colony abandoned space travel, along with most everything else, when they cut themselves off from contact centuries ago. Cold and dark, the station was mothballed for centuries, until the we beamed in and reactivated it. Now it has new owners, and a very different purpose to the one it was designed for. "Okay," she says calmly. "So if you don't come back, you don't want anyone to cry ..."

"Not for me," I say, jerking a thumb over my shoulder towards the sealed airlock bay doors, amber lights strobing across the danger zone to indicate pressure integrity. "But if I don't come back, you can cry for the natives. Nobody else will."

"Yeah, well. Looks like the heat shield's good for one more trip, at least." She finishes with her handheld scanner and hooks it to her utility belt, then turns and waves at the redlit Launch Control room, high among the skeletal girders above us. "Does your your life support integrity check out?"

"Check." A green helix coils slowly in the bottom left corner of my visual field, spiralling down the status reading on my suit; more head-up displays wind past my other eye in a ruby glare of countdown digits. The oxy pressure on my countercurrent infuser is fine but I have a tense feeling like an itch. I can't breathe with my lungs. Got to make this reentry drop immersed in a bubble of liquid. The decceleration on reentry is going to be ferocious.

The comm circuit comes to life: it's launch control. " Launch window opens in two hundred seconds. You should make your modified orbital perigee in two seven nine seconds at one-niner five kilometres. You'd better clear the bay, Sar."

"Okay." She shrugs. "Outer helmet?"

I nod clumsily and she lowers it into place over my head. I cut in my external sensors and sit tight in the frame of the drop capsule, webbed in by refrigerant feeds. The thick aerated liquid gurgles around my ears then begins to thicken into a gel. The pod's active stealth skin tests itself, flashing chameleon displays at the wall. "All systems go," I tell her, voice distorted by the gunk clogging my throat: "you tie one on for me, okay?" I smile, and she gives me a thumbs-up.

" You're go, Adjani," cuts in launch control; Helmut and Davud are in charge. We've been through this all before: they sound professionally bored.

" Pressure drop in one-forty seconds, re-entry window in one-ninety and counting. Repeat, Go for drop in two minutes."

"Check," Sareena calls over her shoulder, then stops for one last word. "Take care, Oshi," she says. "We'll miss you."

"So will I," I say, feeling like a hollow woman as the wise-crack comes out. She half-reaches out toward me, but doesn't quite make it: she pulls back instead, and jogs towards the access hatch. I track her with the capsule sensors, testing the image filters we yesterday. Seen by the light of radio emissions her skeleton is a hot synthetic pink overlaid with luminous green flesh and a thin blue spiderweb of nanotech implants just beneath the skin. It could have been her, I tell myself, trying to imagine myself retreating through that door and sealing it on her; it didn't have to be me. All right, so I volunteered. So why have second thoughts at this stage? The Boss said it's important, so I suppose it must be. There's a very important job to be done and then I'm going to come back okay, no doubt about it. It's going to be good --

"One minute, Adjani. Any last words?"

"Yeah," I say. Suddenly my mouth is dry. "This is --"

The lights on the bay wall flash into a blinding red glare and a spume of vapour forms whirlpools around the air vent: the clam-shell door is opening onto space, draining out the frail pool of air.

"Pulling sockets, Adjani. Good ... "

I don't get to hear the rest. The launch rail kicks me in the small of the back and the head-up display blanks out the starscape in a blaze of tracking matrices. When my eyeballs unsquash I erase the unnecessary read-outs and take a look. The planet is a vast, ego-numbing blueness into which I'm falling. I re-run the mission profile as the orientation thrusters cut in, spinning the drop capsule so that I'm racing backwards into a sea of swirling gas at Mach thirty. The capsule is going to make an unpowered re-entry like a meteor; it's designed to pull fifty gees of deceleration on the way down (far more than any sane pilot would dream of), shedding fiery particles like a stone out of heaven. This is going to happen in about three minutes time.

I'm busy for a few seconds, heart in my mouth as I scan for search radar and missile launches, but no-one's detected me and by the time I can look up the black-surfaced station is invisible against the thin scattering of stars above me. I could almost be alone out here -- but I'm not, quite. Someone is down there: someone dangerous. Otherwise Distant Intervention wouldn't have seen fit to send a team through the system Gatecoder, fifteen light-years from anywhere else; otherwise it wouldn't have rated a visit of any kind, let alone the attention of a Superbright like the Boss. Because if nobody lives here, why the hell is it pumping out so many uploaded minds that it distorts Dreamtime processing throughout the entire sector?

A Year Zero event, that's what. I'm told we've run across this sort of thing before, but rarely, less than once a century in the whole wide spread of human settlement; and that's why I'm here.

That's why everyone's afraid I'm not coming back ...
I am posting this even though I haven't finished it yet. It was longer than I expected, and I got distracted by something else. I'll get back to it, but not today.

Sunday, August 25, 2019

In a Lonely Place

In a Lonely Place is a 1950 film noir directed by Nicholas Ray and starring Humphrey Bogart and Gloria Grahame.

trailer:



You can watch it online here.

Slant Magazine gives it 4 out of 4 stars and calls it "one of Ray’s smartest and most devastating masterpieces." The Guardian gives it 5 out of 5 stars and calls it a "noir classic". The New Yorker has a glowing review.

Roger Ebert gives it 4 out of 4 stars and says,
"In a Lonely Place" has been described by the critic Kim Morgan as "one of the most heartbreaking love stories ever committed to film," and love is indeed what it's really about. It has the look, feel and trappings of a film noir, and a murder takes place in it, but it is really about the dark places in a man's soul and a woman who thinks she can heal them.
Empire Online gives it 5 out of 5 stars and says, "Bogart outdoes himself". Rotten Tomatoes has a critics rating of 97%.

Saturday, August 24, 2019

The Squire's Story


The Squire's Story is an 1855 gothic short story by Elizabeth Gaskell. You can read it online here. It begins,
In the year 1769 the little town of Barford was thrown into a state of great excitement by the intelligence that a gentleman (and ‘quite the gentleman’, said the landlord of the George Inn) had been looking at Mr. Clavering’s old house. This house was neither in the town nor in the country. It stood on the outskirts of Barford, on the roadside leading to Derby. The last occupant had been a Mr. Clavering, a Northumberland gentleman of good family who had come to live in Barford while he was but a younger son; but when some elder branches of the family died, he had returned to take possession of the family estate. The house of which I speak was called the White House, from its being covered with a greyish kind of stucco. It had a good garden to the back, and Mr. Clavering had built capital stables, with what were then considered the latest improvement. The point of good stabling was expected to let the house, as it was in a hunting county; otherwise it had few recommendation. There were many bedrooms; some entered through others, even to the number of five, leading one beyond the other; several sitting-rooms of the small and poky kind, wainscoted round with wood, and then painted a heavy slate colour; one good dining-room, and a drawing-room over it, both looking into the garden, with pleasant bow-windows.

Such was the accommodation offered by the White House. It did not seem to be very tempting to strangers, though the good people of Barford rather piqued themselves on it, as the largest house in the town; and as a house in which ‘townspeople’ and ‘county people’ had often met at Mr. Clavering’s friendly dinners. To appreciate this circumstance of pleasant recollection, you should have lived some years in a little country town, surrounded by gentlemen’s seats. You would then understand how a bow or a courtesy from a member of a county family elevates the individuals who receive it almost as much, in their own eyes, as the pair of blue garters fringed with silver did Mr. Bickerstaff’s ward. They trip lightly on air for a whole day afterwards. Now Mr. Clavering was gone, where could town and county mingle?

I mention these things that you may have an idea of the desirability of the letting of the white House in the Barfordites’ imagination; and to make the mixture thick and slab, you must add for yourselves the bustle, the mystery, and the importance which every little event either causes or assumes in a small town; and then, perhaps, it will be no wonder to — you that twenty ragged little urchins accompanied the ‘gentleman’ aforesaid to the door of the White House; and that, although he was above an hour inspecting it, under the auspices of Mr. Jones, the agent’s clerk, thirty more had joined themselves on to the wondering crowd before his exit, and awaited such crumbs of intelligence as they could gather before they were threatened or whipped out of hearing distance. Presently, out came the ‘gentleman’ and the lawyer’s clerk. The latter was speaking as he followed the former over the threshold. The gentleman was tall, well-dressed, handsome; but there was a sinister cold look in his quick-glancing, light blue eye, which a keen observer might not have liked. There were no keen observers among the boys, and ill-conditioned gaping girls. But they stood too near; inconveniently close; and the gentleman, lifting up his right hand, in which he carried a short riding-whip, dealt one or two sharp blows to the nearest, with a look of savage enjoyment on his face as they moved away whimpering and crying. An instant after, his expression of countenance had changed.

‘Here!’ said he, drawing out a handful of money, partly silver, partly copper, and throwing it into the midst of them. ‘Scramble for it! fight it out, my lads! come this afternoon, at three, to the George, and I’ll throw you out some more.’ So the boys hurrahed for him as he walked off with the agent’s clerk. He chuckled to himself, as over a pleasant thought. ‘I’ll have some fun with those lads,’ he said; ‘I’ll teach ’em to come prowling and prying about me. I’ll tell you what I’ll do. I’ll make the money so hot in the fire-shovel that it shall burn their fingers. You come and see the faces and the howling. I shall be very glad if you will dine with me at two; and by that time I may have made up my mind respecting the house.’

Mr. Jones, the agent’s clerk, agreed to come to the George at two, but, somehow, he had a distaste for his entertainer. Mr. Jones would not like to have said, even to himself, that a man with a purse full of money, who kept many horses, and spoke familiarly of noblemen — above all, who thought of taking the White House — could be anything but a gentleman; but still the uneasy wonder as to who this Mr. Robinson Higgins could be, filled the clerk’s mind long after Mr. Higgins, Mr. Higgins’s servants, and Mr. Higgins’s stud had taken possession of the white House.

Friday, August 23, 2019

Bonnie and Clyde

Bonnie and Clyde is a 1967 crime film starring Warren Beatty and Faye Dunaway. It also has Michael J. Pollard, Gene Hackman, Estelle Parsons, and Denver Pyle. This has Gene Wilder in his first film role. It's based on true events.


The Hollywood Reporter has a review from the time of the film's release. Variety faults its inconsistency.

Empire Online gives it 5 out of 5 stars and calls it a "Brutal crime romp with a pair of charismatic central performances." Roger Ebert considers it a Great Movie and says, ""Bonnie and Clyde," made in 1967, was called "the first modern American film” by critic Patrick Goldstein, in an essay on its 30th anniversary. Certainly it felt like that at the time. The movie opened like a slap in the face. American filmgoers had never seen anything like it." Rotten Tomatoes has a rating of 88%.