Carol Arthur was an American actress and wife of Dom DeLuise (1933-2009). She played bit parts in the films of Mel Brooks. I think I was 12 years old when I insisted on seeing Brooks’s Silent Movie (1976).
Silent Movie. Smart slapstick. A film about film. What’s not to love?
In that film she played an “extremely pregnant woman”. Was it perhaps she who completely tilted Brooks’ sports car nose in the air due to a heavy weight in the back seat? I cannot remember.
Blazing Saddles (1974)
Later I saw Brooks Blazing Saddles (1974), the Western parody with the many and loud farts around the campfire. Beans and cowboys, you know how that works out.
In Blazing Saddles, Carol plays a schoolteacher who first speaks very shyly at a city meeting, then is told that she speaks too quietly, and then she announces in a loud and not at all shy voice to the governor that he is the “leading asshole of the state”.
Robert Fisk was an English journalist, writer and Middle East correspondent for over forty years. He spoke Arabic and interviewed Osama bin Laden no less than three times.
His 1993 three-part documentary, From Beirut to Bosnia is fully available on YouTube. In it he tries to answer the question why Muslims hate the West so much. The words Israel and America are, of course, constantly mentioned. The documentary is somewhat in the style of “The Roots of Muslim Rage” (1990) by Bernard Lewis, but with more sympathy for the Muslims.
The documentary and that article are from before 9/11. The documentary marks the moment when suicide terrorism began on October 23, 1983, when a man carrying two tons of explosives drove into Beirut military barracks and blew two hundred American soldiers into the air. That was in response to the Sabra and Shatila massacre.
At seventeen minutes, Hassan Nasrallah, the man who then led the war against Israel for Hezbollah, whose organization is today referred to as terrorist, explains with a smile with which metaphor an average Westerner can best understand a suicide bomber and martyr:
“Imagine,” he says, “that you are in an extremely hot sauna, in a hammam, for a long time, you get very thirsty and tired and hot, you suffer from the effects of the high temperature, then you get exhausted. Someone tells you that when you open the door, you can go to a quiet comfortable room, where you can drink a nice cocktail, listen to beautiful classical music. Knowing this you will open that door without hesitation, knowing that what you leave behind not a high price to pay… and what awaits you is of much greater value. ”
As I was watching the documentary last night, the lack of meta-perspective bothered me. It all seemed as if Palestinians were beyond reproach and only Israel was to blame. took some thorough searching to find even one voice critical of the documentary.
I found one by a certain Joseph Unger or Ungar, who, writing for PRIMER, says:
“History is tailored, twisted, and selectively excised to support this condemnation of Israel. We see, for example, whole neighborhoods of destroyed buildings in Lebanon, and Robert Fisk, the narrator, states “IT all started with Israel’s invasion of Lebanon in 1982.” There is no mention of the lengthy civil war between Muslims and Maronite Christians which decimated the countryside. No mention of the Syrian invasion. No mention of the PLO infiltration in 1969 which gradually overcame the Lebanese army and by 1975 had established “Fatahland,” a de facto state extending from West Beirut to the Israeli border. Lebanon had been raped and battered from within.”
Now I do realize that a reporter is not an historian, so maybe the lack of meta-perspective in Fisk is natural. I also suspect that the Unger/Ungar report is biased. But Iike biases from both sides.
Sean Connery was a Scottish actor, for a long time considered the most handsome man alive.
I have fond memories of four of his films:
In The Man Who Would Be King (1975), he is one of two British adventurers who first become king of Kafiristan, which is an actual historical region in Afghanistan. Kafirs are unbelievers.
In Highlander (1986) he is an Egyptian immortal who has to compete with Christophe Lambert.
In The Name of the Rose (1986), Connery is a cross between Sherlock Holmes and Thomas Aquinas.
But in Zardoz (1972) Connery is the funniest and the most memorable. Not necessarily in the good sense, because Zardoz is really a ridiculous movie, and not even in the “so bad that it’s good” category. But once you saw that movie, you never forget the image of Connery, like a kind of beefcake in orange shorts, with a mustache, with crossed suspenders.
I have to formally advise you not to watch that film.
The plot:
We are 2293. The inhabitants of Earth consist of two groups, the Brutes, the plebs, ruled by the Eternals, a small elite that is bored. Eternals use part of the Brutes, the Exterminators, as a band of chosen warriors to kill common Brutes. Sean Connery is one of them.
The Eternals have a god for the destroyers, Zardoz, a giant stone head that flies through the air and spews weapons.
The teaching that Zardoz preaches goes like this:
“The Penis is evil. The Penis shoots seeds, and makes new life to poison the Earth with a plague of men, as once it was. But the Gun shoots death and purifies the Earth of the filth of Brutals. Go forth, and kill! Zardoz has spoken!””
Movies such as Zardoz were inspired by neo-malthusian overpopulation disaster scenarios distributed in books such as The Population Bomb (1968) and The Limits to Growth (1971) by the Club of Rome. Those books were partly right. Today population stabilization is predicted by 2064. Then we return — I hope with enough secularists (the religious shall NOT inherit the earth) — to an ideal of two billion inhabitants. A gentle return. Two billion is ideal for our planet, we were two billion in 1927.
Although Zardoz was really a shitty film, there were some good films to come out of this dystopian eco-fiction scene.
There is Silent Running (1972), about a spaceship that takes the last plants of Earth into space and Soylent Green (1973), about a society where the starving inhabitants of Earth are encouraged to commit euthanasia. Euthanized people are then offered back to starving humanity as biscuit food, but now I deviate very far from Sean Connery.
Walker recorded “Mr. Bojangles” too, but when I hear that song I’m invariably only reminded of the heavily orchestrated version by the great Nina Simone.
The Nina Simone version wormed itself into my head in 2006 via the compilation Nova Classics 07 released on Radio Nova, keepers of musical taste in the early 2000s.
Nina first released on her cover album Here Comes the Sun from 1971.
Spencer Davis was a British musician known for such songs as “I’m a Man” (1967).
I give you that song here in a 18 minute bastardized disco version released in the US on Prelude.
It became a staple at the Paradise Garage, being, of course, popular with the gay crowd. I can just see all these men dancing and mouthing the “I’m a Man” words while touching their bodies and glancing lasciviously at one another. Lovely.
This I know from the time in the late 1980s when I bought L’Écho des savanes and RanXerox was my hero. That time.
Alex Varenne is famous for his erotic comics which were fashionable from the late 1960s onwards. In this short reportage, he tells about his career in erotic comics, how his love life was very rich and full, how he drew from live models, his girlfriends, or friends of this girlfriends, how he used to tell his models stories, how the times have changed, starting in the sexual revolution, the era between the pill and AIDS (“La periode apres la pilule … avant le sida …”) , then the onset of BDSM and current times which are largely masturbatory. He talks about his admiration for Roy Lichtenstein.
Enzo Mari was an Italian designer. He is perhaps best-known for his Box Chair, of which I am the happy owner of five originals.
I bought them from Bill, a Dutch guy who used to sell designer furniture in Antwerp, where I live. He was a big guy who had a shop in the Kloosterstraat. Not so long ago I ran across him in the Bleekhofstraat.
Mari belongs to the generation of Italian designers celebrated by the MoMA in their exhibition Italy: The New Domestic Landscape (1972) which had this to say of him in their catalog:
“Enzo Mari was born in 1932 and works in Milan. Beside his extensive activity as a designer, since 1952 he has devoted himself intensively to theoretical research, especially on the psychology of vision, systems of perception and the methodology of design.”
