The Man of the Hills Waits Here

Another fun music topic is misheard lyrics, which was much more common for me when I was young. I still sometimes intentionally sing the wrong words to Bohemian Rhapsody. The algebra has the devil put aside for me. Yeah, that part. And as a side note, what a legacy that is. One song, bringing unbridled joy to generations. (The eldest stood in the door and listened/sang with me as I played it just now.)

A much more obscure song with an amusing, weird misheard line is Ma Belle Ami, by the Tee Set. (I forgot they were dutch, and for some reason had it in my head that they were Irish. More shocking green than Shocking Blue? But nope, I was wrong.) Great song, which for some reason I connect with my older brother, and with Smile a Little Smile for Me by The Flying Machine (also not Irish – thought I might have been confusing the two bands). Probably a matter of having heard them in his company when I was young, and them having been current in the same basic timeframe.

When I was young, initially and for some amount of time afterward, I heard “the man after him waits here” as “the man of the hills waits here.” In retrospect, that’s a riot. Even more so because I now associate the misheard line with Firefly. There’s an episode where River and Simon disappear, taken by hill people. To this day we joke “it was the best day ever, no hill people required.” Or hill folk, as Jayne says in the actual quote where he’s pretending to read Simon’s diary.

Beware the man of the hills! He waits here, ready to kidnap you! I really don’t know what my ears were thinking. But then, I was young enough that “the man after him…” would have made no more sense than “the man of the hills…”

Speaking of Looking Back

I’ve always loved the Chicago song Old Days. It evokes a wonderful sense of nostalgia, even though to me it was already slightly dated. I missed Howdy Doody being a thing. My older brother watched it as a kid, and I seem to recall my father having fond memories of it, despite having already been 14 when it first aired.

Listening to it today, I was thinking that the old days it described were not that old at the time. Turns out the song released in 1975. I’d have said it was slightly older than that, if I had to guess.

Not it’s 2019. so we are 44 years further removed from the old days of the old days. Isn’t that a kick? For us old people, anyway. Drive-in movies sure take me back! They might mean nothing to folks who are, say, 30. 40? Considering what a significant memory it is for me the first time I went to a sit down theater instead of a drive-in, and how rare that continued to be for a few more years, they fit. Now it’s a novelty.

Anyway, that was all. Just reflecting on the fact that it was possible to look back lovingly on the old days all the way back then, and now the point when the song came out is even older old days than it was about. From 1975, the equivalent was 1931, before my parents had been born.

One Thing Struck Me Funny

When watching the latest Orville episode there was one of those things that tends to hit me as out of place, over the top, weirdly inappropriate. or however you might describe it. Talla, the new security chief, remembers how she could never “get laid” after some incident when she was younger.

Now, I’m all for doing that. I really should have when I was young. Or even in my thirties. And I suppose the show isn’t directed to kids. And I suppose if they’re young enough, it’s just going to be a throw away line that goes right on past them, as these things mostly did with me when I was a kid and movies lacked ratings. (I know, this is a show.) And they’ve show visuals that are worse. All of which is why it really shouldn’t have hit me like that. It did, though. It felt inappropriate.

Perhaps it sounds odder to me given my history of believing that girls actively opposed it and “getting laid” was a purely male obsession. In my brain, intellectually, I know that’s not true. Yet even after being married, I still have trouble buying it in a deeper way. In the way where you just automatically know it’s part of what make all people tick, it’s part of the culture, of being human. I’ve sometimes heard the talk talked, but I’ve never really seen the walk walked.

I know. It’s not something wrong with the show’s dialogue. It’s more something wrong with me. It still struck me in a “did she really just say that” sort of way.

Orville and Connections I Make

I watched the latest episode of The Orville a while ago. I have to go to bed too early to watch it Thursday night, so it’s a Friday morning ritual once I am home. As I told the wife, not every episode is going to be in the best science fiction ever aired on television that last week was, but it was good, and unexpected. For instance, I knew River Tam there had to be involved in the destruction somehow, but I wondered if she could destroy ships with her brain or what else the mystery mechanism might be.

I was also telling the wife that they not only have an Admiral Halsey, but also an Admiral Perry. Heinz Doofenshmirtz would be sad. Everybody knows the name Ted Danson, but the wife didn’t recognize Victor Garber, who plays Halsey. She never watched Alias at all, not even a little as I did. Other than that, to me his most notable role was as one of the friends in Sleepless In Seattle, one of the me movies I named. I forgot While You Were Sleeping when I wrote that post. Those two movies sound antithetical to each other, but I lean toward loving both of them.

Scrolling all the way down, I found Garber’s first role was as Jesus in Godspell, released in March 1973. Doesn’t look at all like the distinguished older gentleman we’ve long seen him as in more recent decades. There’s a video of the song Day By Day as used in the film, and you can see him there. However, the song was on the charts before then.

We sang Day By Day in chorus in 6th grade, which was the 1972-1973 school year. 99% Sure it was 6th, not 5th, and it’d be logical all around, plus well timed with respect to the movie, notwithstanding the song and stage production weren’t new. I’ve long had it on MP3 and just can’t help singing along with it, despite not being religious. It makes me happy and takes me back.

So there you go. From Orville to Godspell and chorus at the twilight of elementary school. It’s the fundamental interconnectedness of all things at work.

When the Pedestal Goes Away

Original title was Shower Thoughts, but since that’s the name of a site or whatever, I figured I’d go with the other one. It is, however, where I had the train of thoughts.

I ended up thinking about what it must be like to be a celebrity and to need or want to protect your safety and privacy. Rebecca Schaeffer came to mind. It must be especially weird when you aren’t a big name, but are nonetheless a name to some.

Melody was essentially a commercial flop, as delightful and well made as it is, and was saved from complete obscurity and financial ruin for the production company’s first film by runaway success and a favorable distribution deal in Japan. So the film was always huge in Japan and a few minor markets, so Tracy Hyde, not already a big name like Mark Lester and Jack Wild, was an idol regionally. She went on to do some other roles through her twenties, but nothing huge. Melody went on to become, increasingly to this day, a cult classic.

Thinking of her life was a trigger to this. You’ve been moderately famous. You’re not hugely sought after, but in some circles there’s still demand. You were paid fairly modest amounts for the roles you did. Now you have to cope with staying private, the possibility of being stalked, the possibility of being more in demand by fans than you’d prefer. Perhaps paid appearances now and then are a boon, but it’s not the same as having been on a series that gets you steady employment as a convention guest for decades. You have a life.

That made me think of Keanu Reeves, who is an amazing human being, quietly humble, charitable, and an ordinary guy. He reportedly simply goes ahead and rubs shoulders with everyone, riding the subway and so forth. Reading about him makes you want to be more like him. He’s just a guy, who just happens to act for a living. Perhaps we ought to see actors more like that.

All of this, which took far less time to think about in the quick shower before work than it takes to write and expand slightly upon, reminded me of my revelation of the past few years (it’s been around five or so since the provocation and probably between 3 and 4 or so since I worked this out) that I have tended to put people on pedestals in my life. I make them, in my mind, something they can’t ever be. I did this to my friend Zack, but never to my friend Frank. Two very different people met at two different times. If anything, I was the one on Frank’s pedestal, but not the same problematic way.

Being seen by me as falling off the pedestal, or not having belonged there in the first place, was messy. The mess was made and can never be unmade, but I made the breakthrough of recognizing that Frank Zack is and always was just a guy. A good guy. A guy with strengths and foibles like any of us. Which gives me an inverse thought I should address, if not in this post. (Typed the wrong name, though the same applies. Or did, since Frank died several years ago.)

I generally did the same with girls. Those I crushed on, anyway. But if I saw things I didn’t like, that already created cognitive dissonance. Anyway, the more the pedestal, the more difficult for me to see her as approachable and act accordingly. If the wasn’t a pedestal, or it was countered too greatly, I’d go the other way, and be talking myself out of it. I recognized the pedestal problem with girls before I ever recognized the harm it had done to that friendship over the decades, and before I ever saw Zack once and for all as a mere mortal. And figured out that being a mere mortal in not a bad thing!

This also made me think about the way I have always looked at authority figures, which includes teachers/professors and bosses. I have no idea how I developed it. It has to go back to an extremely young age or be somehow inherent to me. I always had a fear of authority figures. I was the last kid who would ever have gotten in trouble with the police. I had no dealings with them. Yet they terrified me.

With bosses, I would either be afraid of them or, if I saw them as stupid or incompetent, not take them seriously at all. Neither thing works very well. Usually they are just people doing a job, and have strengths and weaknesses. Usually they are not in fact out to get you, and do not want you to fail. That’s the opposite of what they’d be after. Duh. Arguably this also intersected unhealthily with my perfectionism problem. Forget bosses. I never thought did a good enough job at anything. Except sometimes I knew I was great, and it would be times like that when I’d know a boss was stupid for not realizing it. Then I’d not take them seriously, rather than being afraid of them. Seldom have I ever realized later that I wasn’t as good as I thought, in those cases. Usually, though, I assume I am awful unless regularly and vehemently told otherwise. I’ve gotten better about this. Assuming you don’t take the state of my employment as an indication that, no, I have not, which could be. If you’re awful, who would hire you, and why would you go trying to get a job you can do better than most people that you’re sure you can’t possibly do as well as they’d expect? Why go there? So maybe not.

But I digress. I know I always do, but these are topics neither thought of in the shower nor contemplated for inclusion when I thought of writing this.

I think my point was to compare my realization about my friends just being people, and girls just being people even if they give me elusive butterflies, to the fact that celebrities are just people. People who sometimes need or want to cope with the potential problem of other people not seeing them as such. Of course, fame can be a rush. I’ve had a minor form of it in the past. It really was kind of a kick. So maybe that’s the price of that rush, but you’re still just people. If you were a kid when the fame started, maybe it’s nothing you ever sought or could have known the price of before you started paying.

Storytelling Part 3

Might as well get around to finishing what I started in Part 1 and Part 2, and finish spoiling the whole 48 year old Melody film for the almost everybody who’s never seen it. Of course, you can see it if you want, using the link discussed here.

When I left off, we had gone through the vignettes of Daniel falling for Melody and then attempting to get her notice, summed up in the great use of To Love Somebody during athletics/field day. This also ends with one of those things that never gets explained or expanded upon, but is pretty dramatic, when Daniel faints after winning the race with visions of Melody going through his head. We don’t know how long had passed between the dance and field day, and we don’t know how much time passes between field day and the next school day shown. Except we do, because we are about to have firm evidence that the timeline is one week from the time he sees her in ballet class to the day they first hang out together.

I could write about how short that seems to me for the sort of scenario the kids are involved in, and for certain things to have been said and done. I went through something like it, less successfully, and we’re talking months, not a week. But that might be another post. I also learned just when filming took place, besides that it was in 1970 and happened to include May, so Tracy Hyde had birthday cake on the set. It was May to August, which supports my observation about the state of vegetation in some scenes. Since filming is hard, it makes sense to have taken that long. But not longer, allowing editing and production time before it started being released in March 1971. You figure the horrible dinner party scene took an entire day of filming, and that was just one little scene to show more about how awful the adults in the Latimer family were. The scene in the headmaster’s office took a lot of takes because Mark Lester was too unflappable to express anger without being provoked sufficiently. Which might explain some of Tracy Hyde’s acting in that scene, depending on how things were spliced. But I digress.

He loves her. She seems to reciprocate. Just one thing remains. It’s another school day, and we see Daniel and Ornshaw both get in trouble with the beastly Latin teacher for not being able to present what was supposed to have been “prepared ‘omework.” We never see the kids doing homework in the film, or worrying about it, but they probably had at least as much as my kids tend to have. That’s vastly more than the almost none I had at their ages, but the British schools seem to have been different from my experience.

After school the boys go to the teacher’s office to face his wrath. Ornshaw has the trick of stuffing a towel down his pants to soften the blow while he pretends it hurts. He has Daniel do the same, but Daniel gets caught and is actually harmed after Ornshaw has left the room. Nice bit of acting, the look on the teacher’s face when he notices the towel and pulls it out. This whole thing ties into a couple of later scenes.

When Ornshaw comes out, he sees Melody hanging around one floor below, waiting. He knows darn well why she is there and tries to encourage her to move along. There’s been animosity between them and of course Daniel is his so don’t come between them please. Too late!

Daniel comes out, sees her, and she smiles at him. I haven’t written about how much the apparent age or maturity of the kids varies through the movie, but in this part she looks particularly old and mature. At any given time, the school blazers tend to contribute to that. I suspect that the filming was long enough that growth was a factor, so they look taller or shorter at points during the film. My youngest is very nearly the exact age as Mark Lester during filming. He’s growing like a weed, and any second will become the tallest of the three kids, even versus the exceptionally tall one who just turned 13. She’s just taller than I was when I turned 13, but then I grew 4 inches in the five months after I turned 13, getting most of the way to my final height. The youngest is that height almost a year and a half sooner. But I digress. I risk digressing into my son having crushed on a girl who played cello, which made him more enthusiastic about his decision to play violin. I think he got over that, but there’s an example of a crush at that age.

There’s not really talking in any of this, except by Ornshaw. He doesn’t want to lose Daniel, yet he helps by telling him not to let her see him cry, then taking the towel from Daniel so he doesn’t have to carry it. They start down the stairs.

There’s Melody, planted inexorably at the foot of the flight of stairs, in a pose that could be described as forward. It’s completely confident and unambiguous. The boys stop. Ornshaw looks at Daniel. They continue and Ornshaw resumes trying to get Melody to toddle off. When they get to the bottom, she just looks at Daniel, saying nothing, meaning everything. Ornshaw talks, trying to persuade Daniel to go do things with him that afternoon. Anything! Just to be with his friend. It’s a great way of showing just how heartbreaking this will be for Ornshaw.

Daniel walks to Melody,a s she walks away, stops and looks back. They walk off together while Ornshaw pleads. Then they run to the doorway where they’ll go down the final flight of stairs.

We see them round a corner and come down an aisle between seats that would be used for assembly, heading to the door at their theme, First of May, starts to play. The next part is brilliant visual storytelling with no audible dialogue.

We see Daniel try to carry her bag for her, to her amusement, and then she takes it back. They walk close, obviously a pair. When they walk through an arched stretch in the schoolyard, they hold hands, then let go when people might see them.

Oh heck. You can see this sequence without ever watching the whole film. You just need the video of First of May with cemetery scene left in.

They talk as they walk along, but we don’t know what they say. They make their way to an old cemetery and end up chasing around like puppies for a bit, playfully. Then they are walking together again, holding hands as they head into another section of cemetery. Ultimately it’s her leading him to a spot. The music fades and they are sitting, talking.

She says that her friend Muriel says that he’s been going around telling people he loves her, which she doesn’t mind, but why not tell her if he has to tell someone. She’s always the last to know. That last has just the right plaintive tone. Apparently Daniel has been busier than we’ve seen. Perhaps this was why they showed him being impetuous enough to light his dad’s paper on fire, or forthright enough to tell the director of the Boy’s Brigade that he didn’t know what he was doing there, it was his mother’s idea. You need to have enough innocent boldness, or just boldness, to do something like going around telling everyone you love some girl in school.

Sharing the apple is a cute touch. Not sure I’d ever have done that. Germs, you know. It fits the song. Some of the later cover art they did features the apple in a way that sums up the themes of the film. I have never figured out whether there was a point to her tearing up a handful of dead grass or vegetation when he hands her the apple.

She does most of the talking.He’s very quiet, and we’ve already seen that she’s more social, talkative, and can be a smartass when expressing herself. To the degree she reminds me of Ella, a similarity is her being surrounded by groups of other girls who were her friends at school or from the drum and bugle corps. In 9th grade, we read The Merchant of Venice in English, which was one of the classes we shared. She was kind of behind me, so I couldn’t stare at her there as I did in the horrible algebra class. I loved that book! I used to describe the friends around Ella as “Portia’s train,” the way that sort of retinue was described in the book.

She observes it’s nice there, and that her mom tells her not to go there but she’s not frightened. Nothing to be frightened of when you have the boy with green ears and so forth. LOL. Looking for something to say, since he’s about as much help as I’d have been around that age, she looks around and then reads a nearby gravestone. The name of the woman on it is Ella Jane, appropriately. They’d been married 50 years of happiness and then he died just two months later. This is crucial, since this sparks the idea of marriage. Storytelling prop.

I wonder if that’s a real gravestone or if it was a prop they produced for the purpose of the story. I’ve seen video of people walking through the very cemetery decades later, but nothing where someone found the exact spot.

Anyway, she observes “he only lasted two months after she died.” Finally speaking a full sentence, Daniel says “he must have loved her very much.” This is pretty much the most famous dialogue in the entire film.

She asks him how long is fifty years. He gives the reply in number of school terms, which shows how young they are and how limited their worldview is. It’s also kind of funny.

She asks “will you love me that long,” turning to look at him with an adorable smile. He nods. She says “I don’t think you will.” Wise observation, but hey, it can happen.

He replies “of course, I’ve loved you a whole week already, haven’t I?” He smiles and looks almost tongue in cheek. He laughs slightly and they both smile. This is when we first hear him say he loves her. It gives us the timeline from the day he sees her to now, locking everything through that day into place. I know life can move fast at that age, but it seems like too little time for the strength of the friendship with Ornshaw, and for the antics between Daniel and Melody to have happened and come to fruition. It works great for the dialogue, though! This is the scene that Tracy and Mark reenacted on at least one of their reunions decades later. The acting here is great, and so is the way things are conveyed.

First of May reprise kicks in as they continue eating the apple and looking at each other, and we segue into them walking along a road again. I’d love to be able to read lips to know what they are saying when they stop and try to duck through the fence to jaywalk. They pause and are foiled. Not sure, but I assume that is trying to show them being kids and not always angels. Then they are walking through the yard in front of her building. A little girl runs up to her and they pause for a kind moment between her and the kid. Maybe that means to show them as not little any more, by comparison. They reach her door and they have an exchange. It may be that he has seen him as walking her home, and is reticent, while she is inviting him for tea. She opens the door and, in one of my favorite, funny touches, she reaches back out the door and pulls him in by his tie. Inside the door, she looks amused, as well she should. Even though it was different sets and might have been widely separate days of filming, it’s seamless. Her mother and granny look up from the table and at the doorway, surprised. Melody announces “he’s come for tea.” This brooks no dissent.

We get more of her family dynamic when they are at tea. We see her being daddy’s girl, since he is home. We see tension between him and her mother, if not outright fighting as we saw with Daniel’s parents. Her father is obviously someone who can’t do with silences, so he has to find something to talk about, a story to tell. Melody gives him a number of “if looks could kill” looks as he goes along. Ultimately, though, it’s a nice interlude. It cements things and caps off the day.

At no time do we ever see Daniel’s parents meet or be aware of her. Interesting.

This is the end of certainty about the timeline of events. The vignettes used in telling the story until now could have been separated substantially from each other in time, if not for the confirmation on this day that it all took place over a week. To me that timetable is a borderline anomaly, or creates some. But it’s a story. You make decisions and trade-offs.

And so we have no idea whether the next day is the next day or sometime later. The only evidence we have that it’s not the next day, beside it seeming rather abrupt, is when Melody’s father refers to Daniel having been to tea multiple times. That suggests a longer build up once he is her boyfriend, and more opportunity to reach the point of planning that day together. Also that would give more time for them to be so attached that marriage seems reasonable to them, at least in their perception of it. They don’t always seem innocent enough to be that innocent.

The next scene is a morning at school, attendance, and they aren’t there. We see they are on a train. They hop off, looking sort of furtive even though by then who’s going to catch them. There are a lot of questions about how they managed to sneak away like this. They are dressed for a day of fun. That means their school clothes, blazers, satchels… those are all at home, should someone notice. They had to get out the door that way, with what they were carrying for the day out, not for school. But that’s mechanics that are outside showing the story. We can wonder and imagine, but really it just is. Hand wave.

We see them on amusement park rides. During some of this the some Give Your Best plays, as it did when Daniel hung out for an afternoon with Ornshaw. We see them eating cotton candy and buying ice cream cones. We see them walking along the beach in bare feet, spying and then jumping on trampolines. Then they watch a wee kiddie pageant, which she is totally into and he tolerates because he is with her. We see them sitting on a sheltered bench, which is still there. You could go sit where they sat, if you wanted to seek it out. Mostly it’s companionable silence, which is a great thing to be able to have with someone, but they converse and some of it is lame. It doesn’t entirely fit with them having hung out and talked on other days.

If that tells a story, it tells how limited their world is. They talk about what they would be doing in school right now if they were there, and what subjects they like. He pretends he doesn’t like history so much after all, since she hates it. She loves geography. Can’t blame her there. That actually factors later, as some things do throughout the film.

When the rain is over, we see them on the beach, building a sand castle and talking idly. Her dad doesn’t like the beach and usually stays home, “in the pubs, mostly.” She’s aware of his drinking problem, if it’s a problem.  That reaches back to the beginning when she had to go find him at the pub. That pub is still there, operating under the same name. His family rides in the car, but they don’t generally get out. The adults have a row and don’t talk until they get home. We get some of their view of adults firsthand, besides the over the top adult acting intended to convey how kids see them. He goes down and steps into the water with a container, brings some water back, and then she wonders why it all went away. That’s particularly lame, because a six year old would probably understand that water poured onto sand is going to dissipate through it. Do they really want us to see the kids as being that young and ignorant?

While patting sand in place, one of their hands pats onto the other one’s hand and they are sort of… startled. I don’t know why, given all the hand holding they did, even if it was just the one day prior and this is the very next day. Still, that is the impetus for him asking if they should get married. She thinks maybe someday, perhaps, which is a smart answer. They talk about how old might you have to be before you can get married. As old as our parents? He worries if they wait they might be “old miseries.” Great expression! The wife is an old misery. LOL. Too much social media. I never would have said LOL in blog posts 15 years ago. Most adults they know are old miseries. Melody stands and looks out across the water, getting sandy hands in her hair and wistfully saying to the world at large “I don’t know. I really don’t know…”

That segues into a scene where the two of them pop up from behind a screened enclosure, now wearing their swim suits, clothes hung on the enclosure. Initially holding hands, they run down to the water, step in, then step out because it’s COLD. you hear her say “I’m done!” while pointing to herself. Then she goes back in, which he is supposed to do together with her. He’s a little slow about it. She kicks water to splash him, then he splashes her, and fun ensues. Considering he stepped into the water shortly before this, if it was cold he should have noticed. A little glitch there. That scene ends with a musical thud. We see nothing of when and how they get home, the rest of their day, the reaction at home if any of the parents figured out what they had done, nothing. This is another absence of telling what isn’t essential to be told. I’d expect to see more of it in a book. A film or show would trim things exactly this way.

It goes straight to the two of them in school clothes, insides the door of the headmaster’s office, unambiguously the next day. This scene required many takes, at least the part where Daniel gets angry and yells at the headmaster. We don’t see anything about how they wound up being sent or called there. We don’t see whether there is or will be interaction between school and parents.

I should note, as I may have before, that if kids that age skip school here, the school calls home to see if the parents know the kid is home. A parent is supposed to call to tell the school the kid will be out. In elementary it’s a special number where you leave voicemail. In middle school it’s just calling the office. I don’t know if anyone goes to even that length in high school. The schools seem to be good at treating the kids as being older and more responsible as the get older in age and year. In my day, there was nothing like that. There was no hyperactive fear of kidnapping, which is what actually drives the safe to school line concept. We were simply expected to take an excuse note from a parent the next day and give it to the office.

Anyway, the headmaster is funny. He’s actually quite gentle with them, and I saw Mrs. Latimer’s hand in that. since she is buddies with him and he’d want to keep in her good graces. The range of expressions from Melody during part of this is amusing, since I am not sure that’s what we ought to be seeing. I can’t help wondering what the director was telling them during this. When the headmaster stands behind the two of them and puts a hand each on one of their shoulders, she looks at his hands and has a “get that off me you creep” look, an amused look, a worried or alarmed look, an amused look, and so forth as he speaks.

When Daniels tells him they know what their priorities are: they want to get married, she whips her head to the side and looks at him like WTF. I mean, we never saw them actually come right out and decide with each other that yes, this was absolutely what they wanted to do. However, that doesn’t mean they didn’t. I figure the look was more “OMG why are you telling him that.” Then, when asked if she’s offered him her hand, she says she doesn’t know, she’s not sure what it all means. That sure is a switch from their vehemence. Daniel gets mad because he thinks it funny, but it’s not and he’s treating them like they’re stupid. The headmaster tells them that’s it, “the matter is finished.” Then the real fun starts.

They go back to their classrooms. Weird thing is that if they got sent to the office while other kids went to class, they should be entering a class in progress. Instead, they are entering classes where the kids await arrival of the teacher. She gets tormented, even by some of her closest friends. He gets tormented worse, and ends up in a fight on the floor with Ornshaw. Latin teacher breaks it up. Daniel is nursing his bloody nose while Ornshaw apologizes from the next desk, feeling terrible.

After school, in one of the most iconic scenes, we see Daniel and Melody sitting in the rain in his cemetery. Her head is on his shoulder and his arm is around her neck. His other hand is holding his satchel above them, in a vain attempt to keep them from getting completely soaked. We don’t know what he is saying, but he is talking furiously to her. That is the one clue I figure we have that says the next day’s events take place the actual next day, rather than at some later date. We don’t need words, anyway. This tells the tale of what the day has been like for them and his strength in trying to make her feel better.

Then she is home, hair getting dried, sitting at the table while her father does most of the talking to her and her mother interjects from behind. Granny lurks around back there, and we see some good facial acting on her part. They know about her wanting to get married and are telling her people just don’t get married at her age. In this whole scene, she seems pretty young, whereas there are so many times she seems older than she is. They do a poor job of explaining. She doesn’t accept it. If the plans for what in film terms appears to be tomorrow have already been made, it is moot anyway. As I said, I felt for her father here. Tracy Hyde does an excellent job being pathetic. It calls back to her love of geography. She likes being with Daniel more. Daniel is home, in bed, thinking. We see nothing of his parents.

Final bit. Flash to what we could take to be the very next day. Complete turnaround from the classmates. Daniel’s mother is frantic because he left a note that they were eloping. First we have known that she has any clue about the girl or the depth of things, and she’s a mess. It’s ridiculous. Headmaster takes her call, assures her things are fine, he’d seen them in class. He’ll go check. When he does, he learns one of the classes never came back from morning break. The one kid there is the kid who’s been trying to make a homemade bomb the whole time. Turns out their classes went to the railroad arches for a wedding.

Headmaster gathers up the teachers to go break it up. As they are driving off, Mrs. Latimer drives up in her fancy car and ends up following. Nothing to worry about. They get to the barren land by the rails and break up to try to flush out the kids. Meanwhile, Stacey, the bomb kid, has run off to warn them the teachers are coming. Obviously his planned role. The headmaster is so oblivious, he doesn’t notice Stacey had a bomb right on the desk when he walked in and asked where the others were.

We see the kids gathered and Ornshaw starting the ceremony. The kids laugh and he tells them it’s not funny, it’s serious. Rhoda is the maid of honor, even though during most of the movie you might think Peggy or Muriel were closer friends. I didn’t identify the boy who seems to be the best man. I like Rhoda. The actress, Lesley Roach, was in a lot of stuff before Melody, then disappeared after 1976. We had a local family named Roach when I was a kid.

It’s funny when Ornshaw tries to read the whole thing, fumbles it, and basically leaves it as taking the respective other to be their husband and wife. “Will you?” “I will.” “Yeah, I thought you might.” same with Melody, blah blah obey blah. “I will.” She has kind of a blushing bride look, and seems amused. Maybe Tracy was trying to keep a straight face and almost not managing it. This also had to be funny if they shot the scene earlier in filming than they did some of what built up to it. The more extras involved, the earlier they shot it. These were more the core group, but they still might have done this sooner and then completed what had only the main characters afterward.

Before Ornshaw can say man and wife, years before this was a thing in Princess Bride, Stacey gets them the warning and they scatter. The main wedding party goes one way. The rest go the other to run interference. At this point it’s a revolt. It was just the thing with Daniel and Melody that provided the impetus. This is where Teach Your Children plays. I’ve seen it described as out of place or inappropriate. I don’t think so, for the scene and the ending the team decided on. I might have come up with a different ending, though I can’t say what.

The kids fight back with the teachers, who are outnumbered. Eventually it’s down to Ornshaw, Melody and Daniel, running from the evil Latin teacher. They lose him and Ornshaw has the newlyweds hop on a hand trolley that we saw in a much earlier scene of a test of one of the explosives.

In the meantime, Stacey has lit his latest bomb attempt and tossed it into the back of Mrs. Latimer’s car. It works spectacularly. He is amazed and overjoyed. That stops everything in its tracks, including, briefly, the running that Ornshaw and the newlyweds are doing, while they and the Latin teacher look back to see what the noise had been. The headmaster and teachers run away. Mrs. Latimer looks at her burning car in dismay, looking completely lost. More than she had during the brawl.

That’s it. Teachers are a mess and not looking good. Kids are not going to be able to escape being in trouble. Mrs. Latimer is going to have to explain the car to her husband and might want to reexamine her life. The honeymoon is presumably going to be short because where can they go, what can they do? They’re 11. It’s not a real marriage. They can’t support themselves. They’re carrying nothing but the clothes on their backs. But all of that is neither here nor there. What happens next. What people face. Those aren’t part of this story. Leave it to the imagination. Leave it as an ending that is too absurd for reality so why ask those questions. It was fun and told a tale that was meant to be told.

I don’t think I accomplished with this set of posts what I thought I was setting out to do. It ended up being more of a breakdown of the movie, much as people on YouTube break movies or show episodes down and look at what happened and some of the finer points in videos. I still say that watching this and seeing how the story was conveyed helped inspire and make me think, with respect to my old story that I should complete eventually. The lesson for me is it being OK to leave gaps and leave unanswered details the reader doesn’t have to know. There’s also a lesson in tying elements from earlier to later, and how to introduce people and places.

It’s late and I should already be in bed, since alarm time is 2:15 AM. I either have to leave this a draft or publish it but then proofread it when I get home later in the morning. Probably the latter.

Musta Been The Wrong Time

This is the post I was planning when I thought of ubiquitous photos. I often think about the times it feels like I have been in the right place, but at the wrong time. Your life and future can be what you make them if you set out to make the relevant changes assiduously enough, but hey, a little help here? Heh.

Here’s an example. I am fascinated by bushcrafting. Alone is a favorite show, failings or not. I watch a lot of YouTube videos by people out doing this and showing some how-to stuff. Even some of the videos that are simply “watch while I camp in the woods and yammer at the camera” are enjoyable. In my head, I am one of them. If I were in a SHTF situation, lost in the woods, whatever, I’d be better of than most people, worse off than some.

My regret is that when I was young, even all the way through my teens, I was in the perfect position to do this stuff. Some of the people on YouTube are doing this on their own land, or in woods right around their homes. I had hundreds of acres around me that were my domain. Even after a mobile home park for the elderly was built around us, it was a short walk to get into the most of the woods, largely the swampier, more lowland parts, that remained. While there was a great deal of concern for forest fires, which had been more common in the area then and had in fact happened in our woods, I did sometimes have a “camp fire” and knew how not to set the woods ablaze. It was just surreptitious because were not supposed to “play with matches,” and fear of the fire (smoke) observation towers that were in the area at the time had been drilled into me.

I never camped out in the woods, and wouldn’t have known how to make a proper shelter. Along the way I heard of lean-to shelters, but didn’t know what I was doing when i tried to build one. My older brother talked about starting fire by “rubbing sticks together,” but I never knew how you might actually due that until YouTube. Ditto for flint and steel. We actually had a huge supply of flint out beyond our yard. They were round stones of flint, or chert, that had been painted on the outside and discarded in a pile by the prior owner of the land, for whom my grandfather had worked. He had been in the munitions business, among others, so there were interesting artifacts around.

There was plenty of water, and even springs if you knew where to look. There was not the wildlife that exists these days. I could have tried building various types of shelters. I could have slept out in them and been a reasonable walk from my house if needed. It would have been wonderful. If he’d been interested and his mother wouldn’t have minded, my old friend and I could even have done that on his land in an adjacent town. It would have worked for the purpose. Closest we got was sleeping in the tree hut we’d built, or under the stars in a field with some other people.

Another example is when I had an amazing apartment, but a complete lack of girls I could meet to bring there. LOL. Not that I had the audacity, but in college I had the opportunity and it even kind of went as well as it was ever going to. But then I lived at my father’s house, rather than in my own place not far from the college. In retrospect, and ignoring for the moment some other factors, smartest thing I could have done was find a way to go to college while making enough money to keep that apartment. It was big enough to have had roommates and was near enough the college to have been acceptable for that to some prospects. If I could have kept it without roommates, it would have been an amazing bachelor pad. It would have been a place I could have had college friends gather for study sessions or projects, or just to hang out. Of course, I should arguably have kept my full time job and just started taking classes on the side, rather than diving in as  I did. I was much bolder then. I was always sure things would be fine. It took all these years of things being too often not fine to leave me timid in ways that have nothing to do with girls. It’s a whole different thing, for instance, holding onto a job no matter what happens, because you’re terrified of being out of work. Be it by quitting cold with nothing to replace it as you’ve done in the past, or because maybe the replacement thing won’t work out or will create other problems.

Anyway, i have often been sure I would have gotten out of my college experience something that I didn’t if I had been in my own place.

I could come up with more examples than those two, but this is the general idea. In things big and small, it seems like circumstances never line up. A bit like when my family could have bought as much of the land around us as we wanted for $400 an acre, but a year of income was $2000 or so. It’s been decades since the value of that land hit $100,000 an acre. While it may not have increased as dramatically since then, I think that was something like a 24,900% increase in, say, 30 years.

Me Movies

Back when he was one of my business partners, my friend Ted and I would go to a lot of movies. A lot of times they were ones his girlfriend wouldn’t have wanted to see, and I was single at the time. Before that, I frequently went with friends from my previous job. They did things like move across the country over the course of time. Late nineties, 1998 particularly, when I saw most of what showed locally, I went to tons of movies, usually alone. Sometimes I’d go to the mall, see one, eat at the food court, and see another, just to be out of the house.

Ted would tell me about movies he’d seen without me, usually with Winnie, and if it was something like a romantic comedy, his shorthand was to say “it’s a ‘you’ movie.” Everyone knew I was especially fond of those, and would sometimes get emotional, even at scenes or films where most people wouldn’t.

To this day, as a result, I refer to them as “me movies.”

A prime example would be You’ve Got Mail. I expected that to be lame, like one big ad for AOL, but it was one of the finest romantic comedies ever made. I really should watch it again sometime, as it’s been at least a few years.

After I was married, they maybe lost a little of their appeal. After we had marital problems, which in a sense have never ended, anything like that lost all or most of its charm for me. I was already recovering from that somewhat, but the story of, you guessed it if you’ve been reading the other posts, Melody, is that it took me the rest of the way out of the funk. Romantic songs didn’t lose their appeal in the way that movies did, but they also have more spark than they did. I’ve been feeling inexplicably happier and more hopeful than I probably have in years.

Melody is definitely a me movie. It hit a particular nerve because of the memories it dredged up, and the introspection it shone on my life.

Sleepless in Seattle. That’s a good one! I didn’t see it until years after it had come out. Ditto for When Harry Met Sally. Meg Ryan in her prime was just amazing. Joe Versus the Volcano! That was a riot, and she was so talented, playing three distinct characters. I still joke about having a brain cloud. I saw Kate & Leopold in the theater with my friends Naomi and Sally. It was Naomi who was the last of my serial crushes, the one who broke the streak and left me having given up, which led the way to meeting the wife online and in a more clinical, intellectual fashion. I miss the idea of romance, even though I never had it except in my mind.

Splash I saw on a date with Maddie, in a dollar theater in downtown… Salem, I think. Somewhere in that area. It’s had long since come and gone, and she thought I really really needed to see it. Tom Hanks before Meg Ryan. That was great. Imagine, me seeing a date movie, on a date. Of course, Maddie was attempting to encourage me, so that fit the bill. She also played songs on a jukebox that were meant for the purpose and went right past me, when we were in a restaurant the same day.

I was never as big on Julia Roberts, but I absolutely adored Notting Hill. It’s one of my favorites of all time, up there with You’ve Got Mail. I was sad to see the news when Emma Chambers died. Rhys Ifans as Spike reminded me of my older brother, and was amazing as an utterly different character, Earl of Oxford, in Anonymous. That’s not a romantic comedy, but posits the idea that Edward de Vere was the author of the works of Shakespeare. Brilliantly done. A different variety of me movie, you could say.

None of this is to dismiss the usual fare of action, science fiction, superhero, or fantasy movies and shows. Die Hard, for instance, is one of the greatest films ever made. You could use it as an example to take apart in detail to teach film making. It’s just that I’m known for loving me some romantic comedy, or even not so comedy.

The Orville: Identity Part 2

Holy cow! I am going to try to avoid spoilers, but this was one of the most amazing SF works I have ever seen on TV and up there with decent films, especially taken together with part 1.

Hooray for Yaphit! It was great to see him in an important, serious role and his skills put to such good use.

I think I’m just as glad that the unlikely but possible “it’s a simulation” theory of what went down starting in part 1 was not true. It’s cool that the Cylons could nudge the Klingons and Federation together, as some suspected might happen.

I am still amused that there’s an Admiral Halsey. It was cool he got a somewhat bigger role than normal this episode.

It will be interesting to see where they go from here. They’ve added some major serious to comedic yet serious science fiction. If The Orville isn’t careful, it’ll become highly respected as Its Own Thing, and not just some homage to that other franchise. The Force is totally with them now.

Filming Is Hard

Or, to quote my daughter, “acting is hard.” I’ve been relating my limited experience in the filming of a video with children circa 11 years old to the challenges faced in filming Melody with, part of the time, hundreds of children. The core contingent centered on the age my daughter was in summer 2017.

My daughter’s 5th grade teacher was going to be on a network TV show, again, and they were pushing her as something of a superstar in the reality competition involved. Make people want to watch by promoting her. Add human interest by showing stuff about her. They had previously filmed on an entirely normal classroom day. That was awkward when my daughter had an inconveniently timed dental appointment and had to be extracted from the room without disrupting filming.

After the school year ended, I got a call from the teacher, inviting my daughter to be in a video being filmed on an upcoming Saturday. Well, of course!

Little did we know it would be a long, grueling day of takes and more takes, between waiting for setup of scenes, for under a minute that actually aired, with my daughter visible for perhaps a few seconds.

Most of the kids were not from the actual class the teacher had during the school year just ended. My daughter was tall for her age. About half the kids were children of the principal. Kidding, but a few were, and they ranged pretty young. There wasn’t an effort to go for authenticity so much as teacher plus kids. My daughter was sidelined somewhat due to her height and apparent age compared to the norm among the bunch of kids involved.

The first part was a faux classroom scene, which none of the parents there were able to witness being filmed. It was in the actual class, but rearranged and lit as a set for the video. My daughter wasn’t really in that at all, because they clustered the little kids in the area where the action took place. It was like a transformation of the teacher to something else, bounding across the desks, if I recall the details correctly.

The rest was basically a music video, in the hall and then outside. That’s the part where my daughter could be seen if you knew to look. The teacher and the kids around her were ad hoc choreographed with different moves, props and lighting, coming down the hall to music.

Outside there were scenes filmed of action on playground equipment, then in the parking lot. On the playground equipment it was action sequences. My daughter would have figured prominently in one bit, but she didn’t match the size of the other two kids, so they swapped her out. Then she was kind of at the end of the line because she was too tall in another scene. Kind of hard when you’re hanging from bars but your feet touch the ground. She was taller than the teacher, even then. Now she’s 5′ 4 1/4″ at the dawn of 13, and her brother is 1/4 inches behind her all of a sudden, six months shy of 12. That part featured the use of colored smoke effects.

Finally, there was a victory scene of sorts, where the kids mobbed around the teacher in the back parking lot of the school, cheering and throwing colorful dust, like powdered chalk, up in the air, then they all walked off into the distance at the cameraman was rolled after them on a little cart.

It was grueling, even just watching and waiting, let alone being in the cast of kids, directed to do this or that different ways over and over and over. I found it fascinating. There was a young guy who was the director. Totally looked the part. There were a few assistants or people with defined roles, like the cameraman and the art director. There was one young woman, kindly yet stern, super attractive, consummately professional, whose job seemed to be resolving problems and doing anything necessary to make things happen. Sometimes this involved the tool belt she wore. Sometimes this involved fetching things or helping the art person.

The kids were each supposed to bring a sedate outfit and a flamboyant or colorful outfit. With my daughter, it was hard to tell the difference! It started with sign in, so to speak, at a table up on the stage in the auditorium. I had to give them a release form and they reviewed the outfits. Then we waited, even before anything at all started. They gave something of an orientation. They served lunch for everyone, Subway, and had lots of snacks and candy. It took until lunch for the initial art, the classroom scene, to finish shooting. During the break, the kids all got shoelaces that lit up, worn turned on in part of what shot afterward. Those they got to keep.

It was easily supper time before we were done. Then that was it. We had to wait and hope to catch it when it aired or when someone posted it. As I said, it didn’t amount to much, after all that work and what they spent to send the crew there to produce it. I got some bits on video and in pictures, but we were barred from posting any of that online until after it had aired. I haven’t gone back and looked at any of it almost since then. Nothing earth shattering.

As my daughter would say, “So, that was a thing that happened.” It certainly didn’t inspire her to want to go into acting. Shy or not, last year she got up on stage and sang a cappella a song that she wrote, but that didn’t require acting or take after take while following a director’s instructions.

Now take that day and make it a feature film featuring kids. A lot of kids. The core cast of kids for Melody exceeded the number in that video shoot, let alone the hundreds of extras employed for the crowded scenes. The child stars may have considered it “a romp,” but it’s still work for all involved.

Modernizing Films and Shows

My youth, too. This is a topic I thought of long before discovering Melody, and had thought to write about in conjunction with it. I just remembered that when I sat down and started to read my unfinished book from a couple years ago. The very beginning holds up better than I had thought it would, for all I had been thinking of making substantial changes that would introduce the characters and modern location more fully. A tiny snippet:

Ben grumbled. He didn’t like camping much in the first place, so why should he have to help load the car with last minute supplies from the basement?

“Come on Ben, you dork!” His older sister, the older older sister, was probably no happier, but at least she loved camping. He was only in it for the swimming. Carrie put on her backpack and followed Lydia out the door and down the stairs.

“Fine,” he said grudgingly.

 By the time he got down two flights of stairs, he had almost caught up with his more enthusiastic siblings. They were at the back of the open part of the basement, looking at the shelves where odds and ends were stored.

 Ben noticed light glowing from under the plywood door to the landlord’s storage area and thought that seemed odd. Nobody ever went in there, and the landlord certainly wasn’t around just then. As he approached the girls, Carrie threw an unopened tarp package at him.

 “Here, carry that to the car,” she ordered.

 He picked up the tarp and the bag of snacks he’d dropped while trying to catch the unexpected missile, turned around and stopped cold.

 Not only was the light under the landlord’s mystery room door brighter now, but also the door was ajar. He had never seen it open. It was normally locked. Presumably it was locked. He had never checked it out. Why would he? But now…

The connection here is that they are going to find themselves in the past, but with one piece of modern technology.

What if the events of any given movie from the past were now? How would you write the same scenario? How amusingly or distressingly would that truncate the plot?

In Melody, phones are barely a thing. They exist, and toward the end are used, but people don’t seem to use them casually, or even have them if they are lower class or poor. Not like it’s the ancient past, after all. If I’d had a crush in, say, 1972, in theory I could have picked up the phone and called the girl, if I could obtain her number. It’s just that I wouldn’t have dared. I didn’t call my junior high crush until after I’d already made, in my eyes, a fool of myself. She liked me a lot but didn’t *like* me, and wasn’t bothered by my foolishness the way I am (decades later, we are friends on social media).

Now? Kids are online, depending on parents and age. They have phones after a certain point. I could say much about the wonders of being young now. The sum of human knowledge at your fingertips? I get absorbed sometimes for hours online, learning things, surfing from one topic to the next. I’d have been in heaven. Timid about calling? Where you might write a note decades ago, if you thought of it, you can write an e-mail or a text. It can spread embarrassment at the speed of internet, but hey. The tools for communication and knowledge are so much better, if less charming than alerts whispered across a room from kid to kid.

This happens in written fiction, too. Wheel of Time would be dramatically less drawn out with instant communications. It becomes more compressed and actions more effective as speeds of travel and communication improve in the manner they do during the series.

I’m so stuck on Melody, I am having trouble thinking of old enough examples to be deeply affected if you updated for internet or ubiquitous smartphones. It’s funny to picture the kids in Melody rushing home to get on their Xboxes to play online games with each other, but that’s a possibility. But then, it’s hard to imagine how one might put internet and a game console where people like the Perkins lived. Under those conditions, what kids would be excited about hanging out together in an overgrown cemetery?

I was thinking I should do a series of posts inserting new technology into old stories to imagine something along the lines of how it should have ended. We’ll see. They’ll need to be less lame and more coherent than this one, if so.

Identity Part 1 (Possible Orville Spoilers)

The Orville. Wow!

The wife interrupted me right here, so now I have to think about what I was writing.

My comment at the end of the episode was that if Disney could write a Star Wars film of the caliber, that franchise wouldn’t be struggling.

It’s a complete game changer, and that after I thought the new view of the Moclan was a game changer, but in more of a long term way. We did get an answer to the question that entered my mind last week: How many planets/species are part of the Union. Over 300. Which, going back to the previous episode, makes the Moclan pretty impressive, if they are considered so important to keep happy. But I digress.

I was excited to see an Isaac centered episode, which also made it a Dr. Finn episode. It seemed so mundane, until Isaac collapsed.

It answered my question of how you get a non-biological species out of nowhere. Who builds the first androids? Where are they?

In the latter part of the episode, I was thinking of Terminator. I was thinking of Borg, except the Borg are part biological and will assimilate you.

How can Earth be saved? I suspect the answer finds a clue in the title of the episodes, but I guess we’ll find out next week. Whatever happens, if Isaac is back on the crew, he will never be the same character we thought he was. I expect his home may never be the same, and the ship will never be the same. It’s all fun and games until it’s an all out war for survival that, if they really want to shake things up, could bring your heretofore enemies in on your side.

I was blown away, in a season of being blown away, once we got past the first couple episodes that made me say WTF.

Melody Remake

Melody is definitely a product of its time. One of the topics that came up in the BFI roundtable video was someone wanting to do a remake. The director and writer didn’t understand how that would be possible, on the one hand, and on the other hand described Moonrise Kingdom, partly inspired by Melody, as a remake. That movie is one I’ve never seen, that never pinged my radar, but that I’d now like to see. It appears to be funnier and perhaps less adorably innocent, while leaning that way.

But a remake? A new Melody? Hard to imagine. An exact analog? Just about as hard to imagine. You might have to do it as a time travel movie to capture anything like it, or as a memory/dream of the past. I could totally see either of those kinds of scenarios. Peggy Sue Got Married, but with a childhood crush. Since mine all went wrong, I could imagine making one go right, or giving it a better shot. But if you go back and are the youngster, knowing what you know, you’re not exactly innocent. Maybe you go back as a friend or classmate and exert influence.

You know what I wouldn’t mind? A book version. Not sure it’d sell, but the film leaves me wanting more detail, to know more about what they are thinking and feeling, and about their families and situations. I’d been thinking to post about the timeline of the movie, what happens when, how much time passes between scenes/events, and how much time the whole thing covers. Maybe I’ll launch right into that, now it’s on my mind. I am normally a reader of SF and fantasy, though I’ve been known to read almost anything. What would you call it? Fictional biography? Young adult romance? Juvenile romance? Emphasize the school aspect, the other kids and the revolt, and call it something else?

Yeah, I don’t think a remake seems like a good or viable idea. A direct one would be a period piece, but the past is a foreign country and it’s hard to capture the scenery or the feel with modern locations. A book? I’d read a book that was the exact story, expanded. Heck, I’d read the script it was made from, and watch any deleted scenes. It’s a shame it was made in pre-VHS days, let alone pre-DVD days. Few people even had cable TV then. If Melody appeared now and had mediocre box office, it’d be out on DVD shortly, complete with deleted scenes, interviews, etc. It’s amazing we have the 17 minutes of “making of” footage we do on YouTube.

Melody Ending Again

Revisiting my discussion of the ending of Melody from the prior post, Discovering Melody, after seeing a video of a BFI roundtable discussion that included Waris Hussein, Alan Parker, Mark Lester, and Sheila Steafel. Also contributing is a rewatch of a “making of” video from the time when it was filming, in which they talk to some of the cast and crew, and show small bits being filmed and directed.

One of the themes being explored was the anarchic nature of children. The ending seemed a bit extreme, but it had been brewing through the film. The teachers were depicted as being lousy, and the kids were increasingly rebellious until the proverbial explosion. Since Daniel and Melody could be considered “good kids,” it was funny that they were at the center of it, or the spark for it, in the end, but hey. Both of them are also shown being kids and being random, naughty, rebellious, or wise asses. Lighting his father’s newspaper on fire always struck me as completely out of character for Daniel, but that’s funny because it was still the establishing scenes of the movie and we didn’t know him that well yet. His father made me think of Mike Brady. Looking at IMDB, I can see why. They were also just two years apart, so of an age at the time.

The director or writer also referred to Melody and Danial “running away.” I wondered if they meant that was what the two were doing at the end, or if they meant the day playing hookie to the seaside and amusement park.

Notwithstanding that they might be trying to run away, they’d still end up home and back in school. While it’s clearly late in the school year at that point, it clearly wasn’t the final day.

On another note, before it’s off to work, in the other post I noted that the ages of Mark Lester and Tracy Hyde were the same. She turned 11 during filming, in May 1970. He was actually a year older, turning 12 in July, probably after filming was done. So they were both “11″ during at least part of the shoot, but the ten month difference would explain why they seem so identical in apparent maturity. If that makes sense. Girls tend to be ahead, so it made it seem more likely they’d latch onto each other. Plus his character was artistic and thoughtful, all the more reason his impish behavior to his father seemed odd. But there will be more on the families and such in a different post. Hard not to overlap the topics, but if I wrote it all in one, I’d forget things even more than I do already, and it would be way too long even b y my standards.

Update:
I realized later that the song used during the end rebellion is a big tie-in to the idea that the teachers are lousy and the rebellion has been simmering as a result. It’s the major song included that’s not by the Bee Gees: Teach Your Children by CSNY. I always loved that song. Looking at Wikipedia, it gets better, given the homemade grenade used at the end:

Nash, who is also a photographer and collector of photographs, has stated in an interview that the immediate inspiration for the song came from a famous photograph by Diane Arbus, “Child with Toy Hand Grenade in Central Park.”