Watching the Congress of Vienna Sausage Get Made

[Editor’s Note: Originally from 2017. Republished with comments intact. Also, there is no editor]

When I was a kid, we lived in a neighborhood.

Well, I thought it was a neighborhood. That term has fallen out of favor with the nattering nabobs of negativity. They heap scorn on developments now. They reserve the word neighborhood for where they live. Their neighborhoods are defined by constantly shifting imaginary lines in a featureless desert of concrete spangled with chewing gum and crime. It was a lot simpler for us back in the day. If you weren’t in the woods, you were in the neighborhood.

I had deer under my window from time to time, instead of a dumpster morning, noon, and night, but the world has spoken. They aver that I was raised in a exurban hellscape, a cultureless wasteland, and I’d identify myself as a troglodyte to say otherwise.

Who would want to live in Smalltown Sprawltown USA? Well, a lot of people did. My parents sure did. They didn’t know any better. They thought they lived in a neighborhood. They made the mistake of getting along with their neighbors, and they called it a neighborhood, and they thought that made it a neighborhood.

It seemed like the whole wide world to me, that little warren of splits and capes. In a way, it was. At first, there were only a couple dozen houses. After a while, they punched through the curb cuts and added several more neighborhoods, er, developments. It got so a kid couldn’t play street hockey without having to drag the net to the curb every ten minutes to let a car pass.

It was a polyglot place, no matter what you’ve heard from people who live in concrete dovecotes and write for the Gnew Yourk Toimes. In our neighborhood, Irishmen lived right next door to Englishmen. One side skipped car bombing his neighbors. His counterpart  eschewed channeling the Earl of Essex. There was a French family right next door, too. I can still picture their little doe-eyed girl named Suzanne, forever frozen in my mind’s amber, immortal and fey and unchanging. Unlike on the continent, they required only a privet hedge instead of a foggy channel to keep from falling on each other with misericordes and getting busy.

There were Germans living next to Poles. The crabgrass invaded the neighbor’s yard looking for lebensraum, but that was about it. There were Scots living next to people I thought were sorta German, but were really Swiss, I think. If they didn’t care enough to explain to me what they were, why should I bother to figure it out?

The whole town was lousy with Italians. Italian is a funny word to a real Italian. A lot of Eyetalians got unshod of the Italian boot with firsthand memories of the Risorgimento. It wasn’t smart to assume they were all the same. A Calabrian had no use for an Abrusseze. A Venetian had no use for a Neapolitan. No one had any use for Sicilians, and still don’t.

A block away from me, a Lebanese dad pulled his Ford into his carport, waved to a French-Canadian family on one side, a Portuguese guy on the other, and a neighbor with a name out of Charles Dickens across the street. The Lebanese family had a girl that broke several thousand hearts, no doubt, besides mine, without uttering a sound. She had eyes like dishes of used motor oil, skin like two days at the beach, and a head of hair like a mink.

My school was topped off with Armenians, with a couple of Jewish kids thrown in. They seemed about as exotic as a pothole. Though we lived in New England, we had truck with real live rednecks, too. I remember Calvin, fresh from below the Waffle House/IHOP line, slouching in class and drawling like a goober. I’ll say he sounded like a goober now. No one said he sounded like a goober back then, at least out loud, because Calvin was six-two in eighth grade, and he shaved.

There were black families. In high school, my ignant bogtrotter friend from across the street went out with an Ashanti princess from the newer development a mile away. She pulled her afro into a pony tail that formed a perfect sphere that followed her like a satellite, wore tube tops, and pretended to like his Bachmann-Turner Overdrive records. He pretended to like her Earth Wind and Fire records while actually liking her tube top. The only person to disapprove of the whole affair was her father. He was moderately well-to-do by our standards, because he ate in restaurants and had a brand new car. The one-toilet Irish kid was one step from feral. Dad looked the other way a little, and wondered if maybe his daughters would mind if they moved away. Like, to Venus.

When I got a little older, I slept on a Syrian lady’s couch when I was stuck in a snowstorm. She was immensely old, forty at least, wore too much jewelry and makeup, smoked like a film noir plot, and was missing a portion of one middle finger. I don’t remember what the couch looked like.

Anyway, for a couple of decades, I’ve watched a continent full of fools and knaves trying to ram themselves into a political, social, and monetary union while they royally screwed the pooch nine ways from Sunday in the attempt. I suppose it would be unkind of me to point out that we managed it, all on our own, completely by accident, back before disco, simply because there was no corrupt, contemptible government trying to make us do it.

Hey, Is Tora! Tora! Tora! a Good Movie? Beats Me

Tora! Tora! Tora! is a pain in the ass to type. I’m not one of those eleventy!1111!1!11!1 guys from the internet from ten years ago. I like to think I’m a competent male writer, so exclamation points are rarer than honest congressmen in my text. I have to go looking for the exclamation point, and hunting for it three times in a row makes me peevish. It also makes me peevish to be unable to tell you if, you know, the movie is any good. If I was getting paid, I could write either side of the equation for you. But I’m doing this for free, so all I can rely on is my opinion. I’m not sure I have one.

Let’s go to the trailer, shall we, while I try to make up my mind one more time:

Of course trailers like these were designed to get you to drag your carcass to the theater or drive-in the next time you had five bucks burning a hole in your pocket. You couldn’t tell if a movie from the 1970s was going to be good by relying on the trailer. You had to go see it to figure it out. The TV, VCR, and the internet took all the mystery out of movies. You could just flip the channel or pop in another tape or whatever, or fold your laundry while Freebie and the Bean plays unwatched in the background.

Well, I saw, you know, this movie in the theater when I was a little kid. It used to be on TV a lot. You could rent it ten ways from Sunday after a while. Hell, at this point, you can watch the whole thing, or download it, straight from the Internet Archive.

I watch this movie every once in a while. I have no idea why. I think it’s sorta like the reason people eat Kraft Macaroni and Cheese. It’s no good, but they like it anyway. I have a hunch that the movie isn’t any good, but I wouldn’t swear to it. I wouldn’t swear at it, either, so maybe it’s not that bad. The movie didn’t make any money back in the day, and the critics weren’t kind to it. But here we are, talking about it, and maybe watching it once a year. I’m really not sure why.

The internet will tell you that Richard Fleischer and Akira Kurosawa directed this movie. Akira was hired to do it, but he bugged out before it started. But the internet loves Kurosawa for more or less the same reason it likes Mac and Cheese, so he gets mentioned when the movie gets mentioned at all. At any rate, Fleischer, and some guys with unpronounceable names made of little pictures made the thing back in 1970. Richard Fleischer’s whole career was Mac and Cheese, now that I think of it. He directed plenty of profitable pictures, but you mostly watch them ironically, or not at all. Stuff like Fantastic Voyage or The Vikings. Why do I watch them, too? I don’t know, but I do.

When you get right down to it, Tora… you know, the movie is dry as dust. In a way, it’s duller than a documentary would be. The events plod along and you get the impression that someone had a clipboard with a long list of things that had to be included, and checked them off one by one. It has an enormous cast of That Guys on the American side, and a bunch of Some Japanese Guys playing the villains.

Except they aren’t, really. Its funny, but the Japanese characters are portrayed as either fairly noble or completely clueless. If it wasn’t for Tojo, you wouldn’t find anyone to dislike enough to call a villain. And the Americans are so clueless in their own right, finding heroes is harder than you’d think. But then again, the American soldier’s vibe in World War II was mostly just farmboys and guys from Brooklyn who shrug and spit on their hands and get on with it. Americans are not a traditionally warlike people, I don’t think. We don’t have a bushido class that I’ve seen, anyway, or a Prussian officer class. Even the uniforms are drab.

Maybe the most interesting part of the movie was all the model ships they constructed to film it. Those were great. I’m sure it’s evident without me even mentioning it, but I sniffed a lot of model airplane glue as a kid. It was a big thing back in the 60s and 70s, and we built plastic battleships in between P-51 Mustangs and funny cars. Check out these from the movie:

That’s from the Model Ships in the Cinema website. It’s one of those wonderful websites that used to be common on the intertunnel but is very rare these days. People used to post things on the internet simply for the love of it. The movie spent a lot of time, money, and effort into building an American and a Japanese fleet. And these things aren’t tiny things floating in a glorified bathtub. Some were forty feet long, and were powered by golf cart motors. They were big enough to climb on:

So, you can watch Tor… you know, the movie. I have, and will again. If you can determine if it’s any good at all, I wish you wouldn’t tell me. I’m not sure if I’d like it less if you told me it was terrific, or it stunk, but either way, I’d rather just enjoy it in peace. If enjoyment is the correct word. Beats me.

What Is Hip? This Is Hip

The internet is for cover bands.

We’ve featured a hearty handful of combos on this blog that resurrected old stuff and put their own spin on it. I nicknamed them Lazarus Bands, because they bring somewhat forgotten songs back from the dead. Leonid and Friends are another sort of cover band. They’re more like tribute bands than cover bands. They can play stuff just like the record. In this case, I can assure you that it’s not easy to play much of any Tower of Power record just like the recording. What Is Hip? might be the hardest one you could undertake.

But then again, Leonid and Friends are terrific undertakers.

High Friends in Places

Ah, Little Feat live in the seventies. Making the world safe for overalls, one Midnight Special at a time.

No, really. Overalls were a thing back then. Or painter’s pants. That was big, too. The girls wore duster jackets and overalls, too sometimes. Tube top, overalls, duster jackets, round tinted sunglasses, straight hair, and a pack of cigarettes was peak ’77 girl fashion.

That’s a lot of firepower on the stage there. Then again, everybody loved Lowell. Teddy bear of a guy. He had quite a trip through the musical world on his way to Little Feat on the Midnight Special. He appeared on Ted Mack’s Original Amateur Hour playing the harmonica when he was only six years old. At one time or another, he learned to play the flute, the guitar, the sitar, the saxophone, and various other instruments. When he was around 20-years-old, he was in a band called The Factory. They made a record or two, and almost got their head above water in the entertainment biz. Not exactly how you’d expect, though:

Mmm. Melody Patterson. Back in the day, when you tired of the Ginger/Mary Ann contretemps, you could fire up the Wrangler Jane/Ellie Mae druthers thought experiment. Anyway, people trying to get famous don’t turn down offers to appear on TV, even if they do change your name in the script to The Bedbugs. I’ll spare you their appearance on Gomer Pyle, USMC.

After that, Lowell started playing with The Standells. I was in a cover band in Massachusetts for a bunch of years, along with assorted lovers, muggers, and thieves, so I’ll bet I’ve played Dirty Water more than Lowell George did. He probably didn’t like it any more than I did, either.

Then Lowell joined Frank Zappa’s Mothers of Invention, of all things. Frank didn’t approve of drugs and Lowell did, which could be forgiven after watching that F Troop episode. They parted ways, but remained friendly. Lowell started Little Feat, and Zappa convinced Warner Brothers Records to put out their first album. It wasn’t a big success. It wasn’t until their third album, Dixie Chicken, that they had any mass appeal, if you can call it that. It’s a kind of Rosetta Stone of proto-swamp rock, funk, and Nooawlins rhythm and blues. Lowell’s slide guitar stuff was his calling card. He got an original sound with audio compression and a Sears Craftsman spark plug socket from a wrench set.

His time in the limelight was limited, though. The drugs caught up to him, and his heart gave out when he was only 34 years old. He had a wife and three kids, so his friends threw a benefit for him: The rest of Little Feat, Jackson Browne, Nicolette Larson, Linda Ronstadt, Emmylou, Bonnie Raitt, Michael McDonald, and the Tower of Power horn section all performed.

Speaking of the Mississippi, the lyrics to Dixie Chicken have a hint of Twain about them, don’t they? A sly little story, with a crusher of a punch line at the end.

Many years since she ran away
Guess that guitar player sure could play
She always liked to sing along
She’s always handy with a song
But then one night in the lobby, yea, of the Commodore Hotel
I chanced to meet a bartender who said he knew her well
And as he handed me a drink he began to hum a song
And all the boys there, at the bar, began to sing along

We’re still singing along, Lowell.

Elaine May Isn’t Funny

I was treated to The Heartbreak Kid (1972) last night. “Treated” may be the wrong word here. I’ve lost my thesaurus, so I’ll have to wing it. Subjected to? Mistakenly viewed? Doggedly watched all the way through? Suffered from a full-blown bout of Elaine May?

Well, I guess it’s not that important to characterize the experience in depth. I’ll bet the signs posted outside a leper colony have far fewer words on them than the warning label on Wegovy.  If you’re doing a lot of explaining about danger, people will ignore what they hear. Post a sign that simply says: Leper Colony, and people stay out. I wish I’d read the sign that said: Elaine May Is the Director outside the leper colony of entertainment that The Heartbreak Kid encloses. I would have heeded it. A picture of Charles Grodin would have done the trick too. A hard pass on him never disappoints.

I was cozened into watching the thing because Neil Simon wrote it. I like Neil Simon less than I like Neil Hefti, but he’s alright. His hyper-Levantine microscope doesn’t resonate with me, but it holds no terrors, either. The Odd Couple has lots of good jokes in it. I thought there might be at least one in The Heartbreak Kid. I thought wrong.

I admit I’m defective. I can no longer enjoy entertainment simply on its own merits. I get to wondering about things outside the frame. Since it’s not possible for anyone who hasn’t been thrown clear of an automobile recently to enjoy The Heartbreak Kid, I started thinking outside the frame almost immediately. I could be certain that Elaine May wasn’t going to amuse me, so I knew I had to amuse myself. My mind wandered, and I wondered through the whole shebang whether I was supposed to like the main character, or dislike him, or laugh at what anyone said, or be outraged, or any other normal human emotion that it failed to engender. That goes for any of the other characters, or anything they said, or did, or wore, or drove, or ate, or talked about. There simply was no there, there for me to hang my hat, or my head on. But that’s Elaine May’s career in a nutshell.

Nichols and May are from before my time, but I have a library card. They were famous for stretching 15 seconds of material over 15 minutes of occasional nervous laughter from what I gather was some kind of prison audience. They say people always clap. Some because they like it. Some because it’s over. I know which way to bet on anything from Nichols and May.

Nichols and May are often exalted as comic’s comics.

Woody Allen declared, “the two of them came along and elevated comedy to a brand-new level”.

They did indeed elevate comedy to a brand new level, a subterranean one, which is no mean feat. Before them, comedians never realized you could be a comedian without ever saying anything funny, or even interesting, and still get paid. Woody took a page out their playbook, but chickened out and sprinkled his movies with Borscht Belt jokes between the scenes of people behaving badly towards one another in rent-controlled apartments. This rendered the tedious behaviors of the revolting characters watchable.

If you look up The Heartbreak Kid, they refer to it as a “black comedy.” This term has been twisted from its original meaning to cover stuff that’s painfully unfunny, instead of stuff that’s darkly amusing. The Coen Brothers do black comedy. Elaine May farts, sticks out her hand, and says, TaDa!. When no one laughs, she says she meant to do that. You know, black comedy!

I have no notions that the entertainment world is a meritocracy. People willing to get Weinsteined know how to climb the greasy pole, so wondering how talentless people thrive in it is a fool’s errand. But analysis visits you unwonted sometimes. I started to analyze The Heartbreak Kid, and where it came from.

A cursory glance at Elaine May’s filmography reveals that the high point was writing and directing Ishtar. Now there’s a clue. Ishtar is Hollywood shorthand for a thoroughgoing, money-desolating Armageddon-level flop.

Ishtar was nominated for three Golden Raspberry Awards, including Worst Picture and Worst Screenplay, with May winning Worst Director, tied with Norman Mailer for Tough Guys Don’t Dance. Ishtar also was nominated for Worst Picture at the 1987 Stinkers Bad Movie Awards. When the Stinkers unveiled their “100 Years, 100 Stinkers” list to present the 100 worst movies of the 20th century, Ishtar made the list and ranked at No. 20 in the listed bottom 20.

So Nichols and May had parted brass rags by 1961. Nichols went on to become one of only 21 persons to achieve an EGOT (An Emmy, a Grammy, an Oscar, and a Tony Award). Elaine May… didn’t. Nichols was the most successful stage director anywhere for a good long while, and then became a wildly successful movie director. His films were nominated for 43 Academy awards, and won 7 of one kind or another. And the most successful of all of them was The Graduate. It cost $3 million to make, and earned $105 million at the box office. That’s $857 million in 2024 bucks.

So I started to do a compare and contrast between The Heartbreak Kid and The Graduate, and for good reason. The Heartbreak Kid is a wan attempt to accomplish the same story, one done by someone who really knew what they were doing, by someone who never did. The Heartbreak Kid is so badly done that no one noticed the similarity, but it’s there.

In The Heartbreak Kid, the protagonist (Lenny) is a creepy nebbish played by Charles Grodin. He literally has no redeeming qualities, and is uninteresting in every way. He decides to dump his wife on his honeymoon because WASPy Cybill Shepherd winks at him. In The Graduate, the protagonist (Dustin Hoffman as Benjamin Braddock) is a uninteresting loafer with no redeeming qualities. He wants to marry a girl way out of his league after sleeping with her mother. Both characters turn their lives (and everyone else’s) upside down to convince their respective inamoratas to marry them. These women are supposed to be attracted to them for reasons that would escape any normal person’s thinker-upper.

Lenny goes through his banal machinations to marry his manic pixie-shiksa dreamgirl, and ends up at his wedding reception reciting the same humdrum bromides about life he used to win fair maid to everyone there, ending up on the couch with two children listening to him. He’s already bored with the whole idea. That’s the point, I guess. You have to guess. It’s a May black comedy, remember?

Now, many people think Romeo and Juliet is a love story, instead of a cautionary tale about teen infatuation that ends up with everyone dead. These same people also think The Graduate is a sweet love story, and that it has a happy ending. Not hardly, if you’re paying attention. Here’s the final scene of the movie:

In the back of the bus, it finally dawns on Benjamin Braddock that he has no idea why he was trying to woo fair maid. It was forbidden, so he wanted it. He’s already ambivalent about her. She looks at him and maybe wonders what she saw in him in the first place. It’s a subtle punch line delivered with panache at the end of a rollicking sendup of late sixties suburban ennui and misbehavior. The Heartbreak Kid is just an unfunny attempt to find some ore in the same, played out mine.

All in all, I wished I’d watched Ishtar instead. At least I could have made fun of it.  Making sport of dreck is a form of entertainment, I think. It’s the only form of amusement you’ll find if Elaine May is involved.

Tag: 1970s

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