Tag Archives: Ingmar Bergman

Lame Adventure 333: A Brief History of Hollow

In July my friend and fellow blogger up in Montreal, Le Clown, published a post that resonated with me that he magnificently titled, “FTW LOL [Insert Emoticon]”.

Dad Le Clown going incognito wearing his daughter, Tiny Geek, as a fashion accessory. Paper glasses optional.

For anyone that’s just emerged from a twenty-year hiatus trapped near the earth’s core that may be unfamiliar with Internet slang, FTW can mean For The Win or Fuck The World or Free The Whales or What The Fuck backwards.  LOL means Laughing Out Loud or Lots Of Laughs or Lots Of Love or Lick Oggleby’s Lederhosen (to an imbecile).  Knowing Le Clown as well as I do, I don’t think his post’s title was shorthand for “For The Win Lots Of Love [Insert Emoticon]”.

Le Clown trying to sleep off the horror of Internet slang.

His post was a concise and witty rant about foregoing emoticons and simply owning what it is that one is trying to communicate.

Le Clown’s back yard. The horror of lawn mowing.

If you’re saying, “Fuck The World”, it’s ridiculous to add “Laugh Out Loud” and a Smiley Face emoticon.  We get it; you’re feeling like one of life’s losers.  Own it.

In general, I loathe emoticons. I am well enough equipped to mangle the English language on my own without the addition of shallow symbols or acronyms, but I do revert to Internet shortcuts when writing texts.  In my overall writing, I make a conscious effort to use these abbreviations sparingly.  I would sooner sever a digit than use slang or emoticons in business email.  I admit that my job as Minister of Tile is the embodiment of a comedy of errors, but I do try to give the illusion of being professional.

Recently at The Grind my computer was rendered inoperable when my hard drive became infected with a nasty virus that took a day to clear.  I spent several hours on the phone with my company’s IT support service.  Never once was I compelled to Laugh Out Loud.

No laughing at this.

After work, I was walking down West Broadway to the Chambers Street subway station en route to The Land of Gin and Tonic.

A happy place.

As I was passing Balloon Saloon, I encountered a giant yellow balloon Smiley.

Smiley.

I emitted a low growl:

Me: There’s the bastard that started this emoticon hysteria!

Smiley:  I’m going to outlive you!  LOL!

You’re a schmuck-ette!

That elicited the one Internet slang term I have had reason to use in daily life.

Me:  WTF?

That does not mean With The Flowers.

Later, I Googled Smiley and learned from Wikipedia that its first known appearance was in 1953 on a poster for a film called Lili starring Leslie Caron. Apparently, it also appeared five years later, on the poster of another Caron vehicle, the multiple Oscar-winning Lerner and Loewe musical, Gigi.  What blew the little that remains of my mind was the first time that Smiley appeared in a film.  This was a drama written and directed by Ingmar Bergman called Port of Call, described in Wikipedia as follows:

“… this 1948 Swedish film deals with adolescent sexuality, promiscuity and abortion in a frank and open way that would have been impossible to portray in Hollywood films of the same period.”

Where Smiley fit in that story, I have no idea.  The Swedish title of the film is Hamnstad, not, to employ a Le Clown-ism, “Hamnstad LOL :) ”.  Knowing the Bergman film canon as well as I do, this Glum face would seem much more appropriate than Smiley.

The Ingmar Bergman-worthy sibling of Smiley.

I purchased that Glum greeting card approximately twenty-five years ago.  I have had so many friends I could have given it to, I regret not purchasing it by the case.

In 1963, a commercial artist named Harvey Ball was paid $45 to create a happy face symbol to raise the morale of employees at a Massachusetts-based insurance company.  In ten minutes he created the yellow Smiley.  Less than ten years later, Smiley exploded when two Phildelphia-based brothers Bernard and Murray Spain used it on novelty items including mugs, bumper stickers, and tee shirts.  If you loathe the phrase, “Have a happy day,” blame Gyula Bogar.  By 1972, a New York-based button manufacturer, NG Slater, produced 50 million happy face buttons.  The population in the US that year was 209,896,021.  If the average US household was comprised of four people (mine was comprised of six that year plus my dog, Mean Streak), there were 52.5 million households. Figure that almost everyone in the country had at least one of those irksome buttons.

“That really makes me smile!”

Yes, when I was thirteen I had one, too.  You could not escape Smiley.  And now forty years later, Smiley continues to thrive on the web.  This vacant symbol and cockroaches will likely survive nuclear war.  I’m not feeling very Lick Oggleby’s Lederhosen about that.

So confusing and all in French! WTF?

Lame Adventure 135: Watch Out For That Dove!

Milton, and many of my other friends as well as my boss, Elsbeth, revere filmmaker Ingmar Bergman, and so do I.  Whenever I feel the need to watch a film with emotional depth, I bypass my vast Ren and Stimpy collection and head straight for Sweden.

I am grateful that many of this legendary artist’s library of brilliant films are available on DVD, and I would appreciate it if one of Gotham City’s revival houses would feature another Bergman retrospective soon.  I much prefer watching films on a movie screen, especially when the prints are pristine.

My ideal Bergman double bill would be Wild Strawberries and The Seventh Seal chased with the Academy Award nominated short from 1968, De Düva: The Dove, featuring the screen debut of the late great Madeline Kahn.   Fellow Bergman aficionados might scratch their noggins and ask, “De Düva, what’s that one?  I’ve never heard of it and when the hell did Madeline Kahn ever work with Ingmar Bergman?  Didn’t she play Lily Von Shtupp in Blazing Saddles?”

Yes she did, and you’re in the right place to find out all about De Düva … I wish the quality was better, but I urge all Lame Adventures readers and Bergman fans to stick with it. 

Adorable leopard cub that would surely love to eat a düva.

Lame Adventure 17: Shiny Naked Gold Guys

The only major television event that regularly excites me is the Academy Awards.  This is a bit perverse since I am seldom excited by most mainstream movies and that is the predominant fare that rules this extended tribute the film industry pays itself annually.  Yet, I am what I am, a film-whore.  Although I’ve seen nine of the ten Best Picture nominees (only missed District 9), no commercial films released in 2009 blew me away including Avatar (but I will admit a soft spot for Up since it made me think of my widower father, plus I liked the chubby Asian Boy Scout and the dogs).  I am not such a snob that I failed to recognize this box office titan as highly entertaining and worthy of its nominations, but as the ending credits rolled, I wondered, “Huh, what will the kids look like?”  Since it sounds like James Cameron is going to create a sequel, I guess I’ll get to find out.  Woo hoo.

Every so often, a fluke that annoys the masses, but impresses me, does get award-winning recognition.  In recent years, friendo, it was No Country for Old Men.  Usually, I’m apoplectic about some poor choice, like Crash stealing Best Picture from the far more worthy Brokeback Mountain.  I can feel my blood pressure rise just typing that sentence. Even my father and boss were scratching their heads over that one.  Yet, if Avatar is the big winner on Sunday, I do not anticipate anyone needing to call 9-1-1 for an ambulance on my behalf.  Ideally, I would like to see Kathryn Bigelow win Best Director for The Hurt Locker.  She’s the first woman nominated for directing that deserves the victory since Lina Wertmuller for directing the Nazi concentration camp dramatic comedy, Seven Beauties, back in 1977.  Wertmuller lost to John G. Avildsen who directed that year’s (allow me to access my air sickness bag) crowd-pleaser, Rocky.  Should Bigelow lose as her predecessor did, I will think that she got robbed, but I will be able to function in-between screaming fits.

Bigelow with her Directors Guild award.

My first lame adventure that I can recall was film-related.  It occurred in my San Francisco-based tot-hood when my parents announced that they were taking me to see my first film, Best Picture winner, West Side Story.  I was no more than 4, maybe as young as 3.  It was one of the best days of my life (ever).  I also got my first pair of sneakers that afternoon.  They were PF Flyers and marketed as allowing the wearer to run faster, jump higher and a third thing, maybe kill yourself sooner.  My mother also allowed me to select the color I wanted.  I shrieked, “Red!” at the top of my lungs and almost deafened the salesman.  That evening, after seeing my first movie in my first pair of sneakers, I went out of my mind.  I HAD to move to New York.  I wanted to be a shark.  I wanted to be a jet.  I wanted to dance in the street.  I wanted a girl named Maria.  I had so much energy after seeing that film in my brand new sneakers, I did a somersault, and threw out my neck.  That instantly slowed me down.  During my recovery, my father offered me a compromise solution to appease my delirium.  He taught me how to snap my fingers, a safer alternative to channeling my non-existent inner Cirque du Soleil.

The film that started it all.

Now, that I am some years older, I am more tranquil when expressing my film-inspired enthusiasm.  Last October, I was eating a roast beef sandwich as I waited for Milton in the seating area outside Alice Tully Hall to attend a screening of Michael Haneke’s The White Ribbon at the New York Film Festival.  Haneke walked right in front of me, and stopped to talk to a small cluster of people, clearly friends or family.  This thrilled me beyond belief and I could feel my heart race.  I may have even had a beef shred protruding from my mouth momentarily before quickly accessing my toad-skills to suck it in.  I considered taking a photograph of one of the most talented filmmakers currently working, but I decided to feign cool New Yorker-dom and remain in the closet about my consummate film nerdia.  I so wanted to pee myself.

Lincoln Center's Alice Tully Hall

When Milton joined me, oblivious to walking past Haneke, he said, “Hi.”  I pointed with my eyes and replied sotto voce, “Haneke.”  Milton turned, and looked nonchalantly in the direction of my visual cue.  He looked back at me nodding his head slightly and smiling wryly in approval, equally aware that we were in the aura of filmmaking genius.  After Haneke entered the building, I gushed my guts out to my friend about aching to take a photograph of this great cinema artist, possibly the most interesting filmmaker working today since Ingmar Bergman retired from directing.  <sigh>  Milton thought that ignoring my inner paparazzo was the preferred course.  I agreed and then pounded my head against the pavement in agony before following my companion into the theater.  When will I ever be this near cinema greatness again?

Michael Haneke, filmmaking jesus.

The White Ribbon is nominated for two Academy Awards, Best Achievement in Cinematography, and Best Foreign Language Film.  Avatar is also nominated for cinematography and I anticipate it could dominate, but The White Ribbon was spectacularly shot, so I was delighted when I heard that it received a deserved nomination in this category.  I have only seen two of the other Foreign Film nominees, Ajami from Israel and The Prophet from France.  The competition from those two is stiff, but if I were a voter, I’d stick with The White Ribbon.  I will be dismayed if it loses, but not so dismayed that I will end up on life support …  Famous last words.