haines his way

04/15/2002:
"FROM WHENCE IT CAME"

Well, dear readers, it has been raining this morning, which I always enjoy. Yes, you heard it here, dear readers, when I woke up this morning I heard the little pitter patter of rain on the roof. Normally when I wake up I only hear the pitter patter of the squirrel on the roof. Did you know I have a squirrel on the roof? I do, and that squirrel has been up there for four years. A squirrel on the roof, sounds crazy, no? It is a lively squirrel and loves to tap dance the day and night away and it loves to chase imaginary foes all over the roof, here and there, hither and thither and sometimes even yon. The squirrel loves to knock the oranges off the orange tree. He thinks that is ever so much fun. Sometimes he even eats the orange. Did you know I had an orange tree? I'm thinking of planting a green tree and a blue tree so that my yard can be really colorful. In any case, sometimes we have a visiting cat and my squirrel on the roof does not like visiting cats and what havoc ensues. My squirrel goes after that cat with a vengence, with malice aforethought, with intent to cause harm. Oh, what a jolly time they have up there, until the squirrel actually catches the cat and then the cat yells like a banshee and goes back from whence it came.
Yesterday, amongst our plethora of posts, someone was asking about the hidden track on the album Lost In Boston IV, an old scratchy recording of a song entitled I Love Fish. Many people have asked about this song and from whence it came and I have remained mute on the subject to all but a few. Or was it few but an all? Several of the all made guesses - some thought it an undiscovered Cole Porter song. One of our dear readers yesterday thought it was our very own Mr. Jason Graae doing the singing. Late in the evening, dear reader Elan hazarded a theory of his own. I will now tell the story of I Love Fish and how it came to be a hidden track. Has anyone noticed that I have totally abandoned the squirrel on the roof story without really finishing it? I mean, I just sort of ended it with a cat going back from whence it came. That is not good storytelling in my book (Chapter 9 - What Is and Isn't Good Storytelling). I just left that story hanging in mid-air like so much fish and then moved right on to the story of I Love Fish. Of course, there is no real ending to the squirrel on the roof story, other than to say it's still up there doing it's thing. It has never, for example, gone back to from whence it came. Apparently it came from whence and when it found my roof, decided it had had enough of whence and made my roof its new home. There, now we've had a sort of ending to the story of the squirrel on the roof. Unfortunately, I've now forgotten what the hell I was talking about. Oh, yes, the story of I Love Fish and how it came to be.
But first, we must all click on that Unseemly Button below because this section is becoming far too long and disjointed.
There. Now if I refer to anything in the first section I can say from whence it came. Isn't that exciting? Isn't that just too too? So, there we were in New York, doing Lost In Boston IV. The musical director on that album was Mr. Brad Ellis. We'd had a very long day of recording and I was sitting in the control booth like so much fish, eating some melon, waiting until it was time to go over to Joe Allen. Brad was in the studio pounding away on the piano as is his wont. He waved at me to come in the studio. I wearily wandered in. He wanted me to hear a tune he'd written. He played it - it was lively. He then suggested I write a lyric to it. I said, "Get out of town". But Mr. Brad Ellis is a persistent fellow and to shut him up I finally agreed to write a lyric right then and there. I got a pad and as he played the first three note phrase "I love fish" came to me immediately. As soon as I got the first verse done and had the form, the second and final verses came easily. Then I did the bridge and we were done. We sang it and it certainly was a fish song and a lively one at that. I waved Vinnie in and he heard it and liked it. So, I suggested we immediately record it. Thankfully, Guy Haines happened to wander in at just that moment, so I enlisted him to do the vocal. We recorded it, went to Joe Allen, and returned to Los Angeles the next day. After mixing the album, I heard I Love Fish, which was still lively. I decided to put it on as a hidden track - but first I thought we should make it sound like an old scratchy recording, which we did. As people discovered the track, there was much discussion and many queries as to what it was. At that time, no one guessed it was Guy Haines, no one guessed it was anything other than an old scratchy recording. Isn't that funny? But now you know the truth, because the truth is out there. Elan actually knew the truth and posted it late last night. Actually that would have made a nice trivia question. Oh, well. At least now you know from whence it came. A postscript: I attended some little fundraiser thing about six months ago, and Brad Ellis unveiled a new song - it was the I Love Fish song with another lyric which was not nearly as good as the fish lyric. One simply cannot top a lyric about fish, and it is futile to try.
The busy Sunday was quite productive - we made many decisions, planned many plans and I believe all this preparation will pay off in the end. But why can't we pay off in the beginning? Did it ever occur to any of us that off might just need the money now? We are a callow lot sometimes. I also ate two very large meals, which I was determined not to do and yet did. At the birthday breakfast (at The Cheesecake Factory), I had Eggs Benedict (but without the potatos), and we also had some Popcorn Shrimp for the table and we also had some Chocolate Blackout Cake with Whipped Cream for the table. The table had more to eat than we did, for heaven's sake. I was quite full after that meal. But after all the meetings and the rehearsal at the Wechter's house, we then had another birthday meal (Jerry Wechter's), where we had salad, prime rib, potatos, asparagus, and cheesecake with strawberries on it. Thankfully, there was no bread so at least it was a low-fat meal. I couldn't move after that and had to be wheeled to my automobile. I then traveled back to from whence I came and crawled into bed.
Don't forget, the new radio show is up, a two hour extravaganza with special guest Billy Barnes. Tomorrow we'll have more of the Meltz and Ernest Story: The Unvarnished Truth. And if you missed any of our weekend jottings or posts, do use the Unseemly Archive Button to catch up. Today's topic of discussion: One of my favorite genres of film is Film Noir. I have really never understood my fascination with Film Noir, the dark side of the screen, but I do love it. In fact, I did a whole album of Film Noir music, called Sax and Violence. So, what are your favorite films noir? I'll start: Double Indemnity, The Big Sleep, the Robert Mitchum version of Farewell, My Lovely, Anthony Mann's Raw Deal, The Big Heat, Gun Crazy, Phantom Lady, Woman in the Window, Laura, Out of the Past, The Big Clock, and the late noir, Chinatown. We'll do other genres later in the week, but for now let's stick to noir. Your turn.

Replies: 29 Unseemly Comments

Noir-
Rudolph Mate's classic D.O.A. starring Edmund O'Brien.
Posted by Arnold M. Brockman @ 04/15/2002 10:36 AM PST

Not knowing much about film noir, and even less about film blanc and film gris, I will instead discuss the trivia question.
Don't worry, I'm not giving anything away, because I don't know the answer. But I have done a lot of research--primarily on the Internet. And I have learned more about the cast of Nine than I ever wanted to know--and quite a bit about Indira Stefaniana as I went flying off on a tangent along the way.
So although I didn't find out the particular piece of trivia, I did find an awful lot of trivia. And isn't that the point anyway? The journey rather than the destination? The effort rather than the goal? The Recherche du temps perdu rather than the Temps retrouvé?
So thanks for the education, Bruce, and I will be eagerly awaiting tomorrow's stunning revelation. (If the answer is Raul Julia, I give up!)
Posted by William F. Orr @ 04/15/2002 10:50 AM PST

Woohoo! My first post in far far too long, and I get a hole-in-one (or two holes-in-one, depending on how you slice it, I suppose... I never did like golf metaphors).
All adoration and adulation gladly accepted.
Posted by Elan @ 04/15/2002 11:01 AM PST

Researching Nine reminds me that I should give my old friend Louise Edeiken a call. And Robert Mitchum's Farewell, My Lovely reminds me of my friend Noelle North (who kicks Mitchum in the groin at the beginning of the movie). Excuse, me I've got to make some calls.
Posted by Robert Armin @ 04/15/2002 11:37 AM PST

Note to Kerry -- aren't you from Phoenix? Do you live near the roof rats? I have a roof rat trap on my telephone pole.
Posted by Laura @ 04/15/2002 12:29 PM PST

I love Film Noir and my list would be very very long, but I highly recommend "The Locket"....not a great movie, but so wacky in its use of flashbacks within flashbacks within flashbacks
Posted by Donald @ 04/15/2002 12:29 PM PST

Okay, Robert Armin, you can stand in the corner for 1 hour for forgetting to close your italics with I.
You have italicized every message below (i.e. prior to) your own. If the messages were posted top to bottom, that could be fixed with a simple I at this point.
But now it can't be fixed other than by Divine Intervention by Mr. Mark Bakalor.
No cheese and ham chunks for you tonight, Robert.
Posted by William F. Orr @ 04/15/2002 12:48 PM PST

My favorite film noir is "Spellbound" with Ingrid Bergman and Gregory Pechary (Peck). There is a great dream sequence filmed by Salvadore Dali. Also "Gaslight" is wonderfully creepy.
Posted by Mattso @ 04/15/2002 12:49 PM PST

Someone stop that semi! (colon)
I meant, of course I.
Posted by William F. Orr @ 04/15/2002 12:51 PM PST

As long as I am talking about everything except film noir, I might as well try to explain my somewhat cryptic comments below.
When I refreshed this page a while ago, it was all in italics from the middle of Robert's post to the end of the page, which I attributed to his failing to close his italics. Now it appears to have healed itself, and I checked the HTML Source to see it is all in order.
Either 1)I am hallucinating; 2) My Web Browser is getting kinky; or 3)Mr. Mark Bakalor has descended from Heaven and all is right with the world.
Hope I didn't take up too much of your time... he said, shrinking back into his Mr. Cellophane costume.
Posted by William F. Orr @ 04/15/2002 01:36 PM PST

Great film noir----
"In a Lonely Place"
Bogart,
Gloria Grahame
Posted by Mark Rothman @ 04/15/2002 02:24 PM PST

I have a proposal. I think that since Bruce is such a hunk, there should be more pictures of him posted on this site. Is anyone else just bored (despite the hunkiness) of the same old picture day after day? I think that the pictures should alternate. Or perhaps I'm just much too bored for my own good.
My favorites are Double Indemnity and Sunset Boulevard.
Posted by Lolita @ 04/15/2002 02:26 PM PST

Ja oder Nein?: Has anyone answered the current Unseemly Trivia Contest question correctly?
[I know curiosity killed the cat, but I hope it would not harm an unseemly trivia contestant...]
Posted by freedunit @ 04/15/2002 02:30 PM PST

Help required from our friendly grammar pedants. Is the FROM redundant in "from whence"? Now I will get back whence I came - trying to think of great Films Noir that have not been mentioned already. Has anyone mentioned "Devil In A Blue Dress"? (I think that was what it was called). "Laura" is my favourite.
Posted by Tom Guest (from OZ) @ 04/15/2002 02:48 PM PST

I was wondering this morning when Bruce woke up this morning did he break out in song and sing chante:
Listen to the rain on the roof go
Pit-pitt-pat
Pitty
Sit Kitty cat
I won't be home for hours
Listen to the rain on the roof go
Plunk-plunka-plink
Plinka
I'll have a drink
And shelter from the showers
Rain rain don't go away
Fill up the sky
Rain through the night
I'll stay cozy and dry
Listen to the rain on the roof go
Pit-pitt-pat
(kising sound)
Plunk-a-plink
(kissing sound)
Plank
(kissing sound)
Pity that
It's not a hurricane
Listen "plink" to the
(kiss kiss sound)
Lovely rain
Posted by Michael Shayne @ 04/15/2002 02:50 PM PST

Let's see, I'll go with "Farewell My Lovely," "In a Lonely Place" and "Double Indemnity." I think much of the style (although not story) of "Citizen Kane" frankly inspired a lot of noir works. I think my favorite, although slighty- (italics here would have been nice) less gritty, would have to be "Sunset Boulevard."
To Laura: Yes, I live in Phoenix. Thank goodness, I have no roof rats. I live more in the center of town and have quail, ground squirrels and the occasional mouse. But no roof rats. My suggestion is to talk to them nicley and ask them to go somewhere else-- even if it is just the neighbors' houses. They are probably not used to being talked to nicely and will relish your sweetness and want to please you. It can't hurt to try, and it's a lot less noisy than guns!
Posted by Kerry @ 04/15/2002 02:54 PM PST

The film "Laura" is so great. I'm sure our Laura is great, too, but now I'm talking about the movie. "Laura" is dripping with such style (almost self-conciusly at times, but that's part of why I love it). I don't know if I ever really thought of it as noir, and yet, i guess it is. It almost has its own style. Just like all of is here!
Posted by Kerry @ 04/15/2002 02:58 PM PST

Well I don't know from italics, but everything after Robert's post is falling off the right hand side of the page, so, Mr. Orr, you have company in your hallucination!
I have a favorite pre-noir, which I have mentioned here previously, "Among the Living," with Albert Dekker, Susan Hayward in the role that first brought her a lot of attention, and, need I say it, Frances Farmer. It is rightly cited as one of the first films to use chiaroscuro and odd camera angles to heighten effect.
And, BK, I know it's not "Ask BK Day", but I just can't wait: what do you think about the "Producers" Goodman brouhaha? Should Stroman et al. have seen this coming? More pertinently, perhaps, should Goodman?
Posted by JMK @ 04/15/2002 03:13 PM PST

I have another to throw out. Much less well-known. The British "Dead of Night" with Michael Redgrave in a wonderful role. It's a few stories strung together- quite compelling. As a matter of fact, since it has been years since I last saw it, I feel compelled to find the tape and watch it.
And yes, I too am hallucinating with all the letters falling off on the right. It did this the other day when you boys got all fancy schmancy and showing off.
Posted by Kerry @ 04/15/2002 03:34 PM PST

I withheld comment on the absent-without-leave I, but write of it only to offer gratitude for its return. However, I cannot ignore or withhold comment on the unseemly shift to the right, especially since others have mentioned it and I do not want to be left right out. These United States have shifted too far to the right already, and I can tolerate no more. If it must, please let the column bleed liberally to the left. Thank you.
Posted by freedunit @ 04/15/2002 04:35 PM PST

I have alerted Mr. Mark Bakalor about the unseemly shift to the right - I'm sure it has something to do with when he fixed the other stuff earlier. However, he is out and about and also about and out and cannot fix it until late this evening. He has told me that there's a reason for it happening and I will impart that info tomorrow.
As to The Producers brouhaha - from everything I'd heard, Mr. Goodman was just not suited to the role. I do find it hard to believe that Brooks and Stroman didn't see this in advance. It's not like he's a household name or anything, in fact I'd never heard of him, so why entrust your franchise to someone who is neither household name or suited to the role?
Posted by bk @ 04/15/2002 05:16 PM PST

Well, BK, with that approach (why cast a no-name) we'd never have had Miss Vivien Leigh's portrayal of Scarlett O'Hara.
Miss Jennifer Jones would never have portrayed Bernadette Soubirous.
In fact, MANY Broadway stars might never have been if someone had not put a no-name talent into a leading role and created a S-T-A-R (ahh-ooohhhh!)
Mr. Goodman is, apparently, a leading luminary of London's west end and is particularly adept at portraying loony characters. However, and this is from the NY Times article, it appears he did not want to be compared with Nathan Lane and chose to take a "serious" approach...which, as anyone with a peanut for a brain can tell you spells d-i-s-a-s-t-e-r if you want to be a Mel Brooks star.
Stroman is cited for saying she had hoped Goodman would have more time to grow into the role.
Oscar Brand, for those who haven't heard, is now portraying Max Bialystock. He was Franz Liebkind and Tony-nominated and also Lane's understudy. I guess his understudy will take on the Liebkind role.
Reportedly, there was no chemistry between Steven Weber and Mr. Goodman. Weber is a pleasant light comedian...one would hate to imagine the personality that would not be able to spark with his, so agreeable does he seem (a stronger personality would simply carry him along, one would think...which is sort of the whole idea in the relationship, yes?).
Mr. Goodman will be compensated for his complete 8-month, $15,000-per-week contract.
Posted by Ron Pulliam @ 04/15/2002 05:52 PM PST

Hey, I'm all for total unknowns getting their chance and break - as long as they can deliver. Certainly you will find amongst the 130 albums I've produced many first-timers that I've taken a chance on - some of those performances are amongst my favorites, and some of those folks have gone on to bigger and better things I'm happy to say. Mr. Goodman apparently either couldn't or wouldn't deliver what was needed. Mr. Mark Bakalor is working feverishly trying to figure out what went awry here in terms of the right side being cut off. I hate things that go awry, don't you? I much prefer when things go awholewheat. In any case, I'm sure he'll figure it out. If not, I'm sure everything will be back to normal tomorrow. And no, no one has gotten all the components of the trivia question as yet. You still have a few hours to go, though.
Posted by bk @ 04/15/2002 06:14 PM PST

Producers Producers
I first took note of Henry Goodman when he became a successor of Victor Garber in the role of Serge in the insubstantial and much over-rated Art. I was surprised that The Producers producers would select a virtual unknown to succeed Nathan Lane as Max Bialystock in the Broadway production, but I was impressed with the decision and took it as confirmation of Goodman's West End reputation. I had been looking forward to seeing Goodman onstage. I am sorry I missed my chance to see him in The Producers. It would be a mistake to interpret Susan Stroman's diplomatic remarks as meaning she was not party to Goodman's termination. Stroman's statement is very carefully worded and, moreover, it would be difficult to imagine the Producers producers individually, or even collectively, over-riding Stroman if she voiced ardent belief that Goodman be given more time in the role.
I am very pleased for Brad Oscar, who in the course of one show has gone further and with less blood than Eve Harrington. Oscar was delightful as Franz Liebkind. He could be excellent as Bialystock, and I hope to see him perform the part. Given the fates of Ron Orbach and Henry Goodman, I shall hold steadfast to my identity while in the St. James Theatre. I would encourage others to do the same--especially you, Mr. Bancroft.
Posted by freedunit @ 04/15/2002 07:51 PM PST

Thanks Bruce. you have used my favourite word today. - awry.
For years I read it as aw/ry. I think I first realised what it was when I heard Noel Coward's use of it in "I'll See You Again".
Posted by Tom Guest (from OZ) @ 04/15/2002 07:53 PM PST

Boy, I leave out one / and suddenly I'm responsible for throwing the entire site out of whack! What am I -- Henry Goodman all of a sudden? Geeeeez.
Posted by Robert Armin @ 04/15/2002 08:38 PM PST

I for one would love (help me, I can't stop italicizing) to see Oscar Brand in The Producers. Perhaps he could interpolate tunes from A Joyful Noise, How to Steal an Election and H*Y*M*A*N K*A*P*L*A*N--I mean, the show is about flops, isn't it?
Posted by JMK @ 04/15/2002 09:01 PM PST

This whole Goodman thing reminds me of Faye Dunaway and SUNSET BLVD; which is my favorite Billy Wilder film, and, incidentally, it's NOIR!
THE THIRD MAN
TOUCH OF EVIL
DOUBLE INDEMNITY
CHINATOWN
L.A. CONFIDENTIAL
THE POSTMAN ALWAYS RINGS TWICE
FAREWELL, MY LOVELY
THE BIG SLEEP
Why doesn't someone get around to filming James Ellroy's THE BLACK DAHLIA? Still one of my favorite novel noirs.
Posted by td @ 04/15/2002 09:32 PM PST

FILM NOIR - one of my favorite genres too because they always have such good endings. DITTO to all mentioned plus how about these...
RAIN (1932) with Joan Crawford and Walter Huston. Storyline especially relevant today.
FLAMINGO ROAD (1949) Joan again with portly Sydney Greenstreet - who in one scene moves and spins so fast from a seated position you wonder if it's a double.
SUDDEN FEAR (1952) Joan (nominated for an Academy Award) with Jack Palance and Gloria Grahame.
THE KILLING (1956) with Sterling Hayden. Early Stanley Kubrick.
VERTIGO (1958) with James Stewart and Kim Novak.
HAMLET (1990) with Mel Gibson.
Posted by Donna - Cabaret West @ 04/16/2002 01:53 AM PST

Ask BK: Got a question? Ask Bruce Kimmel...

© Copyright 2001-2003 Bruce Kimmel.
All Rights Reserved. Site design by hijinks design.