AWstats

To get an idea of traffic here, I normally look at AWStats through the Cpanel utility on the web hosting. It drives me crazy, though, because it can be so hard to tell what’s actually going on. In theory, it gives you search strings that were used to get here. In reality, it doesn’t return enough of those to correspond to the traffic it claims comes from Google alone. In turn, the referrals from Google and other such things aren’t remotely enough to account for total traffic. At least it’s generally possible to get an idea of what the real traffic is, versus the traffic hitting from nefarious sources for reasons having nothing to do with reading my keen and witty insights.

One thing that surprises me is the amount of traffic that seems associated with feed readers. In the heyday of blogs, that would be a given. On a blog that went many years being mostly neglected, and that had much of its contents stripped in a change of CMS, and most of the rest stripped in a change of direction, that lost much of its readership all the way back in 2004… I think it was 2004… When the wife was hot to switch to a clever new domain and name after less than a year here. I’m just surprised that there seem to be so many, in effect, subscribers for me to bore because I won’t stop mentioning that Melody movie and such.

On the other hand, there are no comments, besides a few a day of spam comments. This could be because there’s nothing to say, but they certainly are enabled. I’d see it if any were held for moderation, which is the default if you haven’t commented before and been approved. I was a little nervous about comments, in case I say something unforgivably stupid again. On the other hand, if I lose my mind unawares, that’s a quick way for me to find out and mitigate any public displays of ignorance.

Anyway, it’s a shame Site Meter died many years ago. That was always the standard, and if not perfect, gave useful info. I don’t think I have this on Google Analytics, though I could add it if not, but I’ve never found that information particularly helpful. If nothing else, I’m not generally interested in hitting gnats with sledgehammers.

Mrs. Ginger

Not really a point to this. I’m just still struck by seeing one of the most attractive women I have ever seen arrive at my friend’s mother’s house for a family and friends party on Sunday. The occasion was my friend being out from Las Vegas and having a birthday this week.

If I were young, this is one of those times when just seeing the girl would have left me smitten. It would have been all over. She drew my eye before she even made it in the door. Because I am old and have learned a thing or two, and I am not my brother, I didn’t stare, but it wasn’t easy. I was going to say I’ve never had a crush on a ginger, but there was a minor one in college. Genetics being what they are, marrying one would probably have given me kids with red hair, or some variant between that and blond, with less pronounced brown. At different times, even the kids I have with a dark haired woman have exhibited substantial amounts of red, and one of them is still a dirty shade of blond. Hey, English, Scottish, Irish, and, for them but not me, Swedish.

The woman in question, whose relationship to the family holding the party is unknown to me, is married and has a couple young kids. She’s old enough to start to wrinkle and, well show a ginger’s sensitivity to sun. I’d guess somewhere not a lot to either side of 40. And that reminds me of what I wanted to post about. Which makes her technically young for me, and old for what I’d normally see as super attractive.

In a book, a series of books, that I never wrote, the heroine was a redhead. As if I were Heinlein or something. Notwithstanding my not having run into any I got interested in, she was matched with a hero based on an ideal of me. If I wrote the thing exactly as planned, these days it would sound like I was basing the hero on Musk or Bezos, and various villains on the current political class and Bin Laden/ISIS. It’d need some updating. Internet didn’t even exist then. I was working on what little I did of it at the point when I was hanging out and flirting with Vera, who worked with my sister, and being her date to her sister’s wedding. Funny thing is that the bits I wrote and the bits I planned or imagined are in my head just the way books I read would be, or scenes from a  movie I watched would be.

Mrs. Ginger could easily be the heroine of that series, several years after the beginning of it. She looked the part. No wonder that was what I’d imagined.

Now I Remember

I was going to write about something I’d been thinking of before and during work, which, having not noted anywhere, I promptly forgot. I’d been thinking about how I’d write a movie of an alternate timeline of my life – or just the alternate timeline – to have a scenario that would be Melodyesque. Not a rewrite, and still a product of days gone by, but a “how it should have ended” sort of thing.

I could see it happening with Carol, though holding true to the original timing we’d be on the younger side. I could see it happening with Paula, which would be complicated by her being a year younger and eased by her brother being a friend.

Interesting exercise, and it depends on how some things are changed. Carol’s only real friend was relatively near to where I lived, so that might factor in. It wasn’t until a year or two later that I perceived that friend as being an unpleasant person who hated me, and I didn’t yet consider her father to be evil.

Unlike Daniel, I would never have thought to tell a friend I had a crush on a girl. Further, during part of this time, my best friend was a girl, Kara, who was a year older than me. Still is! Funny how that works. Changing that might help.

The environment was extremely rural. Suburban at best, but I grew up in the middle of the woods, 1/3 of a mile down a dirt road from the main road and the nearest houses. The major intersection in town featured a little liquor store/variety store with a gas pump. Walmart would be unheard of for a long time to come. There was nothing like bus service. You couldn’t hop a train and go to the seaside.

Options for being together would have been things like hanging out at one of our homes, walking or hanging out in the woods, riding bikes around, or hanging out at one of the available beaches at the lake in town. There was an ice cream place it would have been possible to bike to, and not a lot else.

I’ll have to think about this and come back to the topic to see if I can create a timeline/set of events, or an outline, for each of them. I’m getting sick and need to be up extra early, so I need to eat something, knock myself out, and try to sleep an abnormally long time. Actually, looks like the longest possible sleep I could get would be 7.5 hours if I hustle and sleep promptly and the whole time. For me that’d be amazing, but it doesn’t sound like it right now.

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.

Many Worlds

Looking at this article on parallel universes reminded me of thoughts I have had from time to time. It also reminded me of the theory that some things like deja vu and dreams that then happen are associated with quantum leakage from relatively proximate alternate timelines. That is, for there to be infinite parallel universes in which what could happen did happen, there are points of departure, just as you’d see in alternate history fiction. The more recently and/or less dramatically the alternate diverges from the one we experience, the “closer” it is. We might recognize it and be unable to detect a difference unless it affected us very personally.

The story I started a couple years back involves alternate timelines and, between them, time travel. Since it is based in part on people and places close to me, in some ways it was easier. In others it’s still hard, because writing is work, and it’s personal so I want even more for it to be perfect.

But that’s not where I was going with this. When I think what if this, what if that, presumably it has happened, or will happen if time flows slower there, in a parallel realm. All the regrets. All the wishes. All the OMG what if THAT had happened. In an endless multiverse, they all did or will, and are all playing out in many ways. They range from I took the day off work yesterday to I was never born. They range from an elementary crush being the childhood sweetheart I went on to marry young, to I never met anyone and remained single. And that’s just a tiny range of examples that are me-centric, let alone all the things that involve others but change things for me. My brother might never have met his first wife. I would never have met my old best friend. He would never have met his wife as a result. He would never have broken his back while working for me shoveling driveways. He would then have graduated with his high school class. I was due to have a best friend like him, so it would have been someone else. The prime candidate had a sister I was crushing on at that point. Maybe she’d be the one. Or at least I’d have known her well then, instead of getting to know her better than I ever knew him, decades later.

Anything could happen.

It also shows, if we are bold enough to take the lesson, that at any point going forward, we can throw the switch on which variant we occupy. Do that thing. Don’t do that thing. Everything changes, somewhat. Bigger things or cumulative things, bigger changes. Maybe it’s not for the better. Maybe it is. You build your reality. I know this. I’m still hopeless at embracing and acting on it. It’s a weakness.

Reading

I live on inexpensive Kindle books. haven’t really read paper since my last reread of the entire Wheel of Time series, and my second attempt to read Game of Thrones. My first was in the nineties, when it was the only book in the series GRRM had written so far.

At any given time, I have huge amounts of material I have not yet read. I’m bad, in that I’ll skip it for something newer I am more enthusiastic about. It’s worse when things come out in rapid succession. I was reading a Victor Davis Hanson book on WW2. I read mainly fiction, but when I am not reading SF, fantasy, or the odd thriller or mystery, I do read a fair amount of non-fiction. Much of it ends up being series or new books by the same beloved authors. Christopher Nuttall figures most prominently.

The VDH book is great, but then I got notified of a new book in a series I enjoy. It’s book 5 in Magic 2.0, by Scott Meyer: Out of Spite, Out of Mind. I sprung for it immediately and switched my reading. Then before I got far in that book, I got notified that finally Mark David Ledbetter had released his next volume in an amazing US history series. Argh! Normally I’d have bought it immediately and read it next, but I decided to conserve the money until I’m done with the current book, so I added it to my reminders list.

This is how it goes, though. Last night I added a new book by an unknown to my reminders so I’d, well, remember it. It looked good, but it’s the slow time of year for work. This is why my mind turned toward writing and blogging.

Storytelling, Part 2

(I keep forgetting to say spoilers at the beginning of posts like this, though it was released in 1971 so it’s probably not important.)

I was inspired to return to this because I was looking at my old writing and thinking again about the merits of discontinuities in the sequence of events. Not jumping around in time, but skipping the less important or easily extrapolated (or intentionally to remain in the imagination of the audience), focusing on a sequence of scenes or events that flow without filling all the space in between. It’s a resolution to the traditional “we’re walking… we’re walking… we’re still walking…” problem of some traditional fantasy novels. I think I, in my head as well as in what I wrote or made notes about, was too intent on describing the whole journey as they went.

Now, it is after the part I described previously that Melody really throws in a series of scenes with time between them that is not explicitly filled. You aren’t even necessarily clear on the length of time between scenes, or the length of time from now to the end. You see the important things and the payoffs. You wonder about some details, but the story isn’t reliant on giving you those missing details? I’ll resist examples now and give them as I go.

The last storytelling scene I noted was the end of the preliminary setup of who is who, Daniel adapting to what we figure out is a new school, and establishing his friendship with Ornshaw, who is both wise and troubled. The next part establishes the crush and the build of the relationship with Melody, the fallout from that, and the resultant ending for them, the other kids, and most of the adults.

I stopped before the “meet cute” scene. Daniel and Ornshaw had cemented their friendship. Going into school and up the flights of stairs toward class, Ornshaw stops to be amused by girls in a ballet class rather than heading up the next flight. He grabs Daniel and another boy to get them in on the mischief. Ornshaw is jeering the whole time, but Daniel sees Melody dancing gracefully and confidently, hair swishing, and it’s all over. The score makes clear that the world has gone away for Daniel and nothing else exists. Then the teacher catches them and hauls them in there, making them dance along with the girls or else there will be a trip to the headmaster. Daniel actually tries, staring at Melody all the while. She keeps smiling at him. That’s the first vignette.

Do we need to see the rest of the school day? No. We don’t even need to see the conclusion of their time in ballet, and what trouble they get in when they arrive late to the class where they belong. We can wonder and imagine, but it’s not vital to the story. A book might have room for more of that, but it’s still not vital. Not that I don’t love me some Robert Jordan. Conversely, I found Martin boring and a poor writer, and was only able to get into A Song of Ice and Fire via the Game of Thrones show.

Next vignette. School gets out. Daniel is on a mission. He ducks aside to a water fountain (bubbler, in these parts) to wait surreptitiously for her to come out. Then he follows when she and three friends go to the old cemetery to have Muriel demonstrate kissing on a poster of a teen idol. Too funny. A branch snaps. Rhoda says “someone’s watching!” They all look his way. He whistles casually and walks away. They all laugh, except Melody, who just watches thoughtfully. Or seriously, at any rate. She looks serious a lot. I know that range of looks, from when I was 14. But that’s a different post. That’s the first day of being in love, as discussed in the timeline.

Now to see if I can remember the order of everything without speed watching as I write. I may need to review to make sure.

Vignette three of Daniel and Melody drawing together is an assembly, which conveniently places them in the same large room. They appear not to have classes together, despite being the same level. Daniel stares across the room toward her. Ornshaw notices and figures out where he is looking. Amused, Ornshaw starts a whisper brigade across and toward the front of the room. When it gets to her, she turns to look back at some length, and he looks away, as one does when caught staring. Later we see a still image of her that is smiling in this scene, but as shown as “moving pictures” she just looks serious, maybe even a bit annoyed.

Vignette four appears to be later the same day. We were introduced to Melody playing recorder early in the film, practicing Frere Jacques. In economy of detail, we did not know Daniel played cello, unless I missed something. Not really necessary, but not surprising, given his dreamy, artsy nature.

He clunks his cello down the hall, opens the door to the music room, and there are Melody and Rhoda, waiting while we hear a tuba tryout through a closed door. He pauses, there’s surprise all around, smiles uncertainly at her, goes in and settles on bench on another wall. Rhoda and Melody giggle a lot and whisper furiously, sounding like part of it involves the feeling in the back of her neck from being stared at.

The tuba kid, little bigger than his instrument, leaves and Rhoda gets called in by the teacher, leaving the other two alone. After a moment of uncertainty, Melody blows a few notes and then starts playing Frere Jacques to practice. Daniel joins in for a duet, starting behind and offset from her in a cool way, following her lead as she plays faster and faster. She looks his way through this, and in among the seriousness you can see her eyes smile a couple times.

The teacher bangs out, stopping them abruptly, and gives him a note to take to the headmaster. It takes no imagination to realize that she did this to shut them up because they were loud enough to disrupt what we presume is Rhoda’s singing tryout. I would even surmise that she knows exactly what is going on between the two kids.

One thing that just now came to mind. We are late in the school year. Why are there what look very much like tryouts? Is it just the start of an extracurricular thing, even though we are already in May or even June? Or is it placement for the next school year? Or are we not supposed to ask because the scene of making beautiful music together worked so well?

Daniel leaves with a look and sort of smile. She goes into a thoughtful pose and expression, startled when his cello falls. That was a nice touch. At this point, we will realize, she is sold. The next bits are interstitial to the couple together, but are important to the story.

After school, some of the boys go near the tracks for the latest in a series of tests of a homemade explosive. It fizzles, and the laughter from that segues into laughter at an awful dinner part Daniel must suffer through with his parents and their friends. This seems to serve the purposes of cementing how awful his family is, mostly his mother, and shows a mischievous act, where he drinks his mother’s whole glass of wine while she is distracted.

That segues into a comparative scene at Melody’s house. She is watching TV while eating with Mom and Granny. It’s a humorously lame romance scene, which I believe was created for use in the film. Big difference from Daniel’s house, at any rate. But then Mom asks if she remembered to pick up her pink dress from the cleaner. Here’s where we see her sense of humor and type of mischief.

She says she didn’t, and elaborates that “the man made me forget.” She grabs the alarm clock to wind it, as she is dressed for bed, so it fits the scene. When asked, she elaborates that it’s a man in the cemetery in a raincoat. This freaks out the elder women and they ask if he touched her. She leads them on, knowing darn well what she’s doing. Wonderfully acted, especially when you can hear the air quotes around touch when she says “no, he didn’t touch me.” “Did he show you anything?” What sort of thing?” LOL. ‘Did he show you his legs?” “Oh, yes, I saw his legs alright.”

That fires Mom up to the point of wanting to call the cops, the only reference to that house having a phone. She assures them ‘oh no, he’s not there now” because he ran away after the brick nearly hit him. Did she throw the brick? This answer was hard for me to hear all of the first few times I watched the seen, but in response to “what boy?” she tells them: “the boy with the green ears and the ginger mustache, with a spear running through his head, wearing frog man’ flippers with a machine gun.” That’s the kind of thing I would have done! Smart ass kid.

Speaking of things I had trouble hearing or parsing, it sounds like Mom tells Melody if her father were home she’d get a bloody goody ardin. I wondered what in the world she had said, even though it was obviously meant to be a spanking. Eventually I realized it had to be “hiding,” as in “I’ll tan your hide.” But I digress

That scene ends with Melody popping her head back into the living room after being sent to her room. She says, with a smile, “he’s not got green ears at all, Granny. He’s quite a nice boy really.” So we know who she’s talking about there, even if the cemetery brick throwing scene is purely made up. They have made clear she’s sold.

The next vignette is lunch at school, presumably the next day. This one leaves us wondering what would happen if Ornshaw hadn’t interceded, and sets up a rivalry between Melody and Ornshaw.

We see Daniel getting his lunch and then heading across the room. He goes to her table and asks whether he can sit next to her. She doesn’t say no. She says “well, I don’t know. My friend Maureen usually sits there.” The surrounding tables and Maureen, coming up behind him, laugh. She watches as Ornshaw comes over and guides Daniel away. She and Daniel look across the room at each other after he sits down there. Ornshaw notices, makes a face at her, and she reciprocates.

Next vignette is a dance on what is presumably Saturday. This is where the play in full the song about a shy guy trying to get a girl to notice him, after we heard it much earlier on the radio when Daniel was first introduced. We can see Melody and her friend Peggy dancing, then we focus on a group of boys being at the dance but not dancing. Daniel and Ornshaw are among them, but Daniel only has eyes for Melody. For her part, Melody is obviously trying to attract him. Ornshaw makes fun of her being a stuck up know it all and girls being useless.

This leads up to Daniel saying “I’ve got to dance with her.” “You’re mad!” Ornshaw isn’t amused, and Daniel tries to get him to come out there and dance with Peggy while he dances with Melody. The other boys razz Ornshaw into going along with it. Bottom line is Daniel gets to dance with a receptive Melody very briefly. Peggy is really the one to ruin it, once you see past Ornshaw kicking her and think about it. She should know this is all about her friend getting to dance with her boyfriend-in-waiting, and should put up with the scenario. Instead she insults Ornshaw’s dancing and breaks it up. This leaves Daniel sad and concerned, Peggy sad, and Melody mad at Ornshaw and frustrated.

All of this has been pretty rapid fire. We have quickly gone from Daniel falling in love at first sight to this point, and Melody wanting him right back.

It shows two sequences after the dance. The first is another explosives test. Daniel is with the boys this time. Since they are always duds, nobody takes cover. This one works enough to spray them with dirt. They boys are excited. Things are approaching an explosive conclusion!

The second is Melody, still in her pink dress from the dance, in the bathroom. She is spilling out the contents of what is presumably her mother’s purse or makeup bag. We see her apply lipstick. Then we see her pick her hair up over her head and look at herself in the mirror. She looks a little silly, with the hair like that and the sheer amount of makeup she applied. Then her mother calls her for tea and she has a somewhat panic reaction, wiping the makeup off rather crudely, then looking at herself sadly.

Finally, it’s field day, or maybe athletics day across the pond. This is the ultimate vignette in the course of the build to the two being together, while also starring Ornshaw as the supportive best friend. There’s a lot of them talking and Daniel being embarrassed by his mother hanging around. Lots of fun scenes of kids and adults, just hanging out or participating in events. We see Melody and her friends here and there, but she’s not featured the way Daniel is. There’s a fun bit of payoff to her friend Muriel’s obvious interest in an older, much more mature boy.

Daniel and Ornshaw talk about winners and losers, and who says who will be which. After their conversation ends, To Love Somebody starts playing. There are scenes of the activity through part of the song, cheering but no dialogue. As it nears the end, Daniel’s race in the 220 begins. He is not expecting to win, but to be the one looking foolish by doing poorly. As he runs and the song reaches its end, we see his face, then her, back and forth through the ballet class, assembly, cafeteria, and dance. He gets the inspiration needed to push through to finish first and Ornshaw bursts with excitement. Then Daniel collapses. Faints away.

That’s a great spot for not showing what happens next! Can you imagine his mother being around and seeing that? People checking on and reviving him? Nope. We don’t need all that. All we need is his love for Melody gave him the winning boost.

This is unimaginably great use of the song and what it means. It captures how I feel about that song, one of my all time favorites by any artist, and helps capture how it feels to be in Daniel’s position. Now that I’ve seen it, I’ll never not associate the song with the scene, and I can watch the video of the song set to that every day.

Everything changes after that. This could be a place to stop and move on in a part three. This segment of the film gives the best examples of scenes that are just enough, leaving blanks that aren’t necessary to be filled. Actually, I will stop here. I need to make supper. I was going to add to this while some of the cooking happened, but my son got in the way and I sat back down. The kids are dying for supper, but he slowed it down by making food for himself before he starves. Silly.

Sixteen Years!

I managed to remember that it’s my 16th blogiversary before the day ended and I went to bed. On February 25, 2003 I made my first post on a blog I had finally setup. I’d thought about it much sooner and could have been in the class of 2002 instead. If I’d started when I first heard of those oddballs doing online diaries, which turned into blogging, it would still have been the late nineties. I never checked that out, but it would have been just my thing in retrospect.

My blogiversary preceded my wedding anniversary by just over ten months, so that was 15 years at the beginning of 2019. That was how we met. Along the way, it did occur to me that who knew, maybe I’d meet someone that way. Didn’t really expect it and it wasn’t why I started. The thought came to mind when I started meeting people online and attracted attention. It was social media before social media existed. There would be overlapping circles of bloggers who read each other’s posts and commented, as well as people who were there just to read and didn’t blog themselves.

My family didn’t know about the blog or pseudonym, as I recall, until I got married and particularly until we drove across the country, documenting it along the way. Big mistake for them ever to know. I’m still not sure I should be posting here or under this name, rather than somewhere I am unknown and building from scratch. Even more from scratch, since I posted so little for so long, scattered in so many places, in a blogosphere that all but disappeared.

For that matter, it’s funny to count it as 16 years when most of that has amounted to nothing. I stopped seriously posting by around 2009, doing it in fits and starts after that. Twitter was fun when it was new and I was big on it in 2007 and 2008, but it wasn’t blogging, and helped kill blogging for me, if not the Facebook would. Then Facebook became a place where you couldn’t say much lest it might offend someone. Both as a matter of what you posted and the length of what you posted.

I think I just blogged in the past week more than I blogged everywhere combined in the past several year. Few years, at least. There was a time I posted regular book reviews and sometimes food-related stuff. What I’ve been posting might be a weird mix and may need to break out of a rut, but it’s a start and it feels amazing.

Dialogue Dialog

I just found myself looking up the difference between dialog and dialogue when I found myself uncomfortable typing dialog, to mean words exchange between characters in a story, and changed it to dialogue. I am pretty sure I have been leaving off the -ue in that usage recently, without being tripped over into rebelling.

Looks like it’s overwhelmingly dialogue until very modern times, mainly as a computer term for a dialog box. This makes sense. Conversely, catalog was adopted more universally over catalogue, as an American spelling, long ago.

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.

Storytelling

One of the things I wanted to write about in regard to Melody and myself involves the skill involved in the storytelling – the presentation and progression involved in showing what needs to be shown, without starving or overfeeding the audience. We get a wonderful, thought provoking, moving story without being left short and wanting more, beyond a modicum of curiosity or blanks we might like but needn’t have filled. Much is shown, not stated in dialog, enhanced with setting sequences to songs. I was sure this would be a huge post, so I have hesitated to start. Perhaps I can start, get as far as I get, then complete the thoughts in subsequent post(s) if needed.

I started writing a book a couple years ago, finally bringing together some ideas and things niggling at my mind for many years as to setting and such. I ended up drifting away from it, partly because I got busier, partly because writing is hard, and partly because loss of focus, direction, or inspiration can derail you for a time or a lifetime. Melody, specifically the way the story was presented, has helped inspire me. Along with that, I’ve had some additional ideas, and may be ready to try again. As I wrote, it was already visual and film-like, to me. Not hard, being inspired by my childhood, where I grew up, and my kids.

Needless to say, anything that goes into this kind of detail about the movie will spoil it if you haven’t seen it.

First, the setting is established while a Bee Gees song that had been unfamiliar to me plays. Completely suitable, though, since it talks about morning, ends in evening, and how it’s the morning of his life. It is the morning of the lives of the children involved, and the introductory song seems to touch on a dreamy relationship at the end of the song. It has a childlike innocence and magic, and urges patience. This fits with details much later in the film, but could have helped inspire it:

building castles in the shifting sands
in a world that no one understands

I probably had heard and dismissed the song years ago, but I love it now. It means so much.

You see the area where to story will take place from the air, and then you meet Daniel and Ornshaw as they participate in Boy’s Brigade. Ornshaw first, in fact, then Daniel held up as a comparison. We get an idea that Daniel’s mother is obnoxious and snobby. We get an idea of Ornshaw’s situation and see Daniel’s home life. Even his father makes fun of his mother’s antics.

Daniel seems sweet and innocent, but lights his father’s newspaper on fire by way of acting out. The song we hear playing on the radio is the same one the kids will dance to days later, a nice touch.

Then we meet Melody, the title character, to instrumental strains of her theme song, as the rag man arrives out front and she looks wistfully at what’s in his cart for trade. This introductory part does the job of portraying a more childlike side she is perhaps already losing. It also, in a more subtle way than Danny’s acting out, shows the anarchic nature of children when she takes clothing from the house to trade for things.

Back with Daniel, we learn he is talented at painting, but his mother objects to his moving to painting nudes and having something that someone gave him at school to show what they look like, She subtly destroys his painting and diverts him with the model rocket his father had broken, while she takes the material showing topless women. Thus we learn he’s good at painting and building models, and cement that she’s a lousy parent, not very nice at heart.

Back to Melody, we establish that she plays the recorder, which she’s doing in the bathroom to her mother’s annoyance. It appears that her mother and grandmother might not know she had traded clothing for a goldfish. The pinwheel is a symbolic connection to childhood. Sent to find her dad at the pub and get money for ice cream (we never see ice cream until she is with Daniel at the seaside, intentional resonance or not), she takes her newly acquired goldfish for a walk. During this part, Melody Fair by the Bee Gees plays, and it’s essentially a music video for the song. She doesn’t go find her father at first, but lets the fish go for a swim in a metropolitan water trough, still in the same spot at Lambeth and Kensington Roads almost fifty years later, but as a planter.

After catching the fish back into its jar, she heads to the pub, which is also still there. She looks through the windows, and into the door as an entering customer holds it open, but waits outside, looking worried. I had the impression kids weren’t allowed in. Her dad steps out, drink in hand, no indication how he ever knew she was there. we see her show the fish and presumably explain her mission, and he gives her money and tousles her head. She may make fun of him spending all his time in the pub later, and may glare at him repeatedly as only a girl that age can, but they obviously adore each other. She walks off. We segue into a scene of mayhem as kids race through an overgrown cemetery to school.

The initial introduction of the main two characters, and to a lesser extent the tertiary main character, are basically complete and now we set the stage with the school and surroundings that will play a big role. There’s an extended crowd scene of kids doing as much mischief as they can manage on the way to class. We meet the headmaster and get a humorous introduction to both the lame instruction and the challenge the kids can be.

That segues into kids going to morning recess, or break. The play games, fight, hang out and talk, one of them smokes, and we get to meet some of the supporting cast of friends. We see Melody in the context of a big group of friends, including the one who has kissed boys and is most advanced. Very much 5th grade as would have been familiar to me in 1971/1972. All the girls laugh when Muriel says she never used to kiss boys because she thought kissing would bring babies.

We move to history class with Daniel and Ornshaw, with more humor about the teaching. Ornshaw asks a valid question, showing how smart he actually is, but gets treated as cheeky and stupid.

After school, some boys go out by railroad tracks while one of them tries his latest attempt at a homemade explosive. Daniel follows. He’s apparently new and has no friends in the school yet. They tell him to go away, but Ornshaw defends him and he joins in. Bomb is a dud and they go to the bus stop. First bus leaves without most of the kids, then Ornshaw and Daniel establish their friendship by going out on the town, to Trafalgar Square, running around and goofing off to Give Your Best to Your Friends. This parallels a similar, later sequence when he is with Melody.

When Ornshaw needs to get home, Daniel freaks him out by getting a taxi, because money. This is one of many ways in which class distinctions are established.

We find that Ornshaw takes care of his grandfather and will have hell to pay if he doesn’t get home now. Daniel volunteers his mother to come help them out, as she does social welfare volunteer work.

That ends the beginning part of the film, where the basics are established. Melody and Daniel haven’t met yet. Daniel and Ornshaw had immediately become besties. This makes Melody displacing Ornshaw possible, because it will put Melody into Daniel’s life. At least, sooner rather than later. Same school, same year, they could have met eventually.

Now, my story started with minimal setup, then action, of sorts. That could work, but now I am thinking that maybe the kids should be better introduced. In writing it can be explained, but if it were on screen, there would have to be establishing scenes that show in a wider way where they are, who they are, why they are there, and how they reach the scenario where the action starts. I figured out how I can make this happen and give what comes next a more logical basis to boot. Since I was thinking about the story and the pacing as a result of this, I also solidified how to deal with one of my concerns about the later sequences. For that matter, they are not the only character and scenario to be introduced. That one was actually going to have more of an introduction, but I see how I can improve it, and perhaps that will unstick me on that part. I hadn’t even been able to begin writing it, and had written the character starting from the point where he meets the other three.

This observation is more about the storytelling subsequently in the film, but I was struck by the use of vignettes separated in time, sometimes ambiguously so, and by what was left out because every little thing need not be told or shown. It might not affect my writing, but I also observed just how much can be conveyed by minimal action. Tiny bits of dialog. Expressions, looks. Tracy Hyde was a master of that. It’s a wonder she didn’t have more of an acting career, but perhaps that’s a reflection of how poorly Melody did at the box office, and how long it languished before getting a DVD release in 2010.

I may break down the rest of the story later. I also need to talk about my Melody-like experiences, and about the mechanics of production. Having been there for one long day of shooting footage with a bunch of kids, I can imagine how grueling it was. All the more so after hearing the description of the whole day of shooting it took just for the obnoxious dinner party, and the large number of takes it took of the scene in the headmaster’s office, where the director thought he’d never get Mark Lester riled up enough to express Daniel’s anger.

Chicane She Came

There’s no work due to icy conditions, so I should be back in bed long since. I didn’t want to wake up in the first place. Instead, I am thinking about songs.

Melody is based loosely on the songs Melody Fair and First of May, two old favorites of mine. I never thought of writing a story based on them per se, but to me the latter, in particular, told a story. It was bare bones yet evocative. I could imagine young love, much as depicted in the movie or perhaps a wee bit older. I could imagine the years going by and either wistfully remembering that, having drifted or been driven apart yet still loving each other on some level, or the years going by and the relationship growing mundane while still ultimately being in love and remembering that first day. You can be “old misery” and still remember what it was like, still love each other, even if you don’t always act the part.

Melody Fair is one of my misheard lyric songs, due to the muddled, drawn out way they sing the word woman. Still, hooker was a strange thing to hear. I figured it out quickly, but sheesh.

She’s a pretty girl who perhaps doesn’t think she is, doesn’t try hard to be, and feels down. Cheer up, make an effort, be the pretty girl you are, have a better life.

Many years ago, I did have a rough story idea inspired by or vaguely based upon what one might expand the ELO songs Strange Magic and Can’t Get It Out of My Head to depict in your mind. Those are two of my favorites. I also love Mr. Blue Sky, but it actually goes best with the entire side of Out of the Blue that it ends, collectively known as Concerto for a Rainy Day. That whole side is itself a story of hopelessness, depression, feeling suicidal, then coming out of it. I always associate it with an old friend who loved it and went through that suite of feelings in the first three songs when he had a broken back I always felt responsible for and guilty about.

My story idea would have been science fiction or fantasy. While not fleshed out and not thought about much in years, it probably would have involved time travel in some manner, our world ending, and a literal stone age dawn.

Thinking about this today, I remembered being told vehemently by someone, I remember it as my older brother but am not certain, that it was “walking on a wave’s chicane” dammit, not “walking on a wave she came.” Apparently the lyrics with the album used chicane, but people have attested to hearing it clearly from Jeff Lynne as she came. There doesn’t seem to be a definition of chicane that means a wave’s foamy crest. It seems weird that you would ascribe an intentional S curve not dictated by natural features to a wave. In either case, it is obvious this woman, whatever she is, appears to be walking on the crest of a wave. She also flies, which could explain how she could stay on top of the wave when she’s not flying so high. Unless high is a state rather than a position.