Turk’s Head Pie

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Below is a small article about an old dish from the medieval era called Turk’s Head. I first learned of this dish, while watching the “SUPERSIZERS EAT . . .” series. Following the article is a recipe: 

TURK’S HEAD PIE

I believe many would be surprised to learn that Turk’s Head Pie is a basic meat dish made from leftover game meat. The origin of the dish’s name is pleasant and a lot more complicated. Turk’s Head Pie originated probably during the Crusades. European armies that fought during those wars – probably Norman – fed its soldiers by baking leftover game in pastry shells or crusts. These armies named the dish after their enemy – the Muslim soldiers that were known as “Turks”. Judging by the simple recipe, the Europeans did not mean to be complimentary.

The oldest version of the Turk’s Head pastry recipe can be found in an Anglonorman (Norman or French) manuscript from the 14th century. There is an even older recipe called “Teste de Turk” from an older Anglonorman manuscript dated 1290. However, this recipe is not a pasty. Instead, it calls for a pig’s stomach stuffed with pork, chicken, saffron, eggs, bread and almonds before it is boiled. 

The original recipe, which can be found in “Two Anglo-Norman culinary collections edited from British Library manuscripts Additional 32085 and Royal 12.C.xii”: Speculum 61 (1986):

Turk’s Head 

A sheet of dough, well filled(?): much in it, rabbits and birds, peeled dates steeped in honey, a lot of new cheese in it, cloves, cubebs, and sugar on top. Then a very generous layer of ground pistachio nuts, colour of the layer red, yellow and green. The head shall be black, dressed with hairs in the manner of a woman on a black dish, the face of a man on it.

Here is a more updated version of the recipe:

Turk’s Head Pie

Ingredients

300 gram (2/3 pound) minced meat (pork or veal) (optional)
4 hindquarters of a wild rabbit (or one rabbit)
4 quails, or 2 partridges or pheasants
2 Tbsp. sugar
1/4 tsp. ground cloves
1 tsp. ground cubeb (or black pepper with a little piment)
200 gram (1 1/4 cup) dates
200 gram (3/4 cup) young, fresh cheese (sheep, goat, cow)
200 gram (1 1/2 cup) pistachio’s without shells
60 gram (2 Tbsp. or 1 fl.oz) honey
lard, suet or butter
salt
dough for pasties
1 egg (optional)

Preparation in Advance

Fry the minced meat in lard, suet or butter. 

Sprinkle rabbit and fowl with peper and salt. Heat lard, suet or butter in a large skillet, brown the meat quickly, then cover and simmer until it is done (about forty minutes). You can also roast the meat in the oven, baste regularly with the fat (suet, lard, butter). When it is done, let the meat cooluntil you can easily debone it. Cut into large chunks. 

Steep the stoned dates five to ten minutes in honey that is heated with two tablespoons of water. Drain the dates, but keep the honeywater. Cut the dates in quarters.
Crumbe the cheese, or chop it.
Put everything in a bowl – minced meat, rabbit and fowl, spices, chees, dates, sugar and honeywater, mix well.

The crust – make a pasty dough, or use some ready-made if you really think you must. But making your own is more fun, and you get a special dough.

Preparation

Heat the oven to 200 degrees (400 degrees Fahrenheit).

Take a springform or a pie dish that is large enough to contain the stuffing (that depends on how large your rabbit and fowl were, whether or not you added minced meat, or how much leftovers you had). Grease the form with butter and roll out your dough. Place the dough in the piedish. If you use a springform, it is best to assemble the pasty: first cut out the bottom out of a rolled sheet of dough and place that in the springform. Then cut a long strip of dough, a little broader than the springform is high, and cover the sides. Be sure to seal the side to the bottom sheet of dough by gently pressing the edges togehter. If you want to be sure, roll a thin strip of dough between your palms and press that against the edges. Let the dough that hangs over the top of the form be, you’ll use that to seal the cover.

Scoop the stuffing into the dough, cover with pistachio nuts. Close the pasty or pie with another sheet of dough. Press the edges of the cover and the sides together and cut out a small hole or two to let the steam escape. You can incorporate these holes into your decoration (eyes, mouth).

Now the name of the pasty becomes clear – use leftover dough to decorate the cover with a ‘Turk’s head’ or something else. Colouring and gilding is done after baking, but you can baste the dough with eggwhite (for a light glaze) or egg yolk (for a darker glaze).

Put the pasty or pie in the middle of the oven, bake for about forty minutes. Let cool five minutes after taking it from the oven befor demoulding. 
To finish the decoration apply food colouring paste with a small brush, and gold leaf or silver leaf.

To Serve

A pasty like this one can be served hot as well as cooled to room temperature. Cut the cover loose and lift it, and scoop out the stuffing. When eating the medieval way, you use your fingers to pick what you want, and eat it above your bread trencher.

 

“THE PACIFIC” (2010) Episode Five “Peleliu Landing” Commentary

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“THE PACIFIC” (2010) Episode Five “Peleliu Landing” Commentary

I wrote this commentary on the fifth episode of “THE PACIFIC”:

Episode Five began with war hero John Basilone in the middle of a war bond drive with Hollywood actress, Virginia Grey. Everything seemed to be hunky-dory with the Marine. Many servicemen seemed recognize his face on sight. And the good sergeant is also enjoying more passionate moments with the actress. This brief scene into the life of Basilone also featured his reunion with his younger brother George, already a Marine sergeant. The younger Basilone tried to express hope that he would be able to live to the older sibling’s name and reputation. But John immediately warned him not to bother. The last thing Basilone wants is his younger brother getting killed in combat over some reckless attempt to live up to his reputation.

This episode also marked Eugene Sledge’s baptism of fire, as he join Robert Leckie and his other fellow Marines of the First Division land on Peleliu for a major assault in September 1944. Three months earlier, Sledge had arrived on Pavuvu, where he had a joyful reunion with his childhood buddy, Sid Phillips and engaged in a brief conversation with Leckie on the meaning of war. But the privations of Pavuvu proved to be minor for Sledge, when the First Marines land on the hellish beaches of Peleliu.

Around the same time Sledge arrived on Pavuvu, Leckie returned to How Company and enjoyed a happy reunion with his three buddies – Chuckler, Runner and Hoosier. In typical Leckie fashion, he kept silent about his experiences at the psych ward on Banika and his encounter with the mentally unstable Ronnie Gibson. But he did find the time for a brief conversation in which he expressed his slightly more cynical views on what the war really meant. Sledge’s expression seemed to hint a reluctance to consider Leckie’s view. Peleliu will end up providing a different lesson for the Mobile, Alabama native. As for Leckie, Peleliu – at least in this episode – provided both some pain and a great personal fear.

Producers Gary Goetzman, Steven Spielberg and Tom Hanks made it clear that the Battle of Peleliu (which was fought between September and November 1944) would be shown in three episodes. Episode Five featured the First Marines Division landing on the island. And director Carl Franklin did a superb job in conveying the horrors that Leckie, Sledge and their fellow Marines had experienced in landing on the island and establishing a beach hold. The most interesting aspect of that landing came from Sledge’s point-of-view, as the camera followed him from his boarding of the amtrack (amphibious tracked vehicles) to the fury of battle on the beach.

With Sledge finally experiencing combat for the first time, the miniseries introduced new characters – Merriell “SNAFU” Shelton (Rami Malek); Bill Leyden (Brendan Fletcher); R.V. Burgin (Martin McCann); and Captain Andrew “Ack Ack” Haldane (Scott Gibson). Burgin barely uttered a word in this episode. I cannot even remember Leyden’s face. And Haldane seemed to be an officer in the tradition of Richard Winters of ”BAND OF BROTHERS”. Shelton is another matter. Judging from the comments on the Web, I suspect that many viewers had been looking forward to experiencing Malek’s performance as Shelton, as much as seeing Sledge experience combat for the first time. And the actor did not fail to deliver. He gave a riveting, yet eccentric performance as the slightly soulless Shelton.

As I had stated earlier, Peleliu provided a great deal of pain and anxiety for Leckie. One, his breakdown in Episode Four led Hoosier to fret over him during the Peleliu landing – much to his annoyance. The two eventually got separated from Chuckler and Runner before disaster happened. Poor Hoosier became seriously wounded in the leg. Although Leckie managed to summon a medic, poor Hoosier lost consciousness before he was carried away. Both Leckie and the audience were left in a state of anxiety over the Marine’s fate. Leckie finally managed to hook up with Runner. Unfortunately, both men seemed to be at a loss over Chuckler, who has yet to make an appearance. And they, along with Sledge and the rest of the First Marines Division were poised to begin the assault on the airfield on Peleliu.

In the end, Episode Five proved to be a solid and very interesting look into Eugene Sledge’s arrival in the Pacific Theater’s war zone. It also provided a peak into John Basilone’s experiences as a war hero on the homefront and what might possibly be the beginning of the end of Robert Leckie’s circle of friends. The episode provided some interesting moments. I enjoyed hometown friends Sledge and Phillips’ immediate reconciliation and its interruption by Sledge’s company commander, Captain Andy Haldane. For some reason, it reminded me of a scene from 1994’s ”FORREST GUMP” depicting the lead character’s arrival in Vietnam. Their reunion became more serious as Phillips tries to warn Sledge that combat was not as they had imaged when they were kids. Leckie’s reunion with his friends brought a smile to my face. I have grown accustomed to all four of them that much. Did anyone notice the grizzled sergeant who was practicing bayonet thrusts when Sledge first arrived on Parvuvu? Keep an eye on him. The episode also featured a poignant moment when Sledge discovered that Phillips had left Parvuvu for leave, back home in Mobile.

But the one scene that caught me by surprise centered on a brief conversation between Leckie and Sledge, inside the former’s tent. That the producers would feature a meeting between the two did not surprise me. After all, ”THE PACIFIC” is a historical drama, not a documentary. There were bound to be some historical inaccuracies. I have yet to see a historical drama that DID NOT have historical inaccuracies – including the much lauded ”BAND OF BROTHERS”. What I found surprising about this scene was that actors James Badge Dale and Joseph Mazello had made it clear in this ARTICLE that they did not have any scenes together. Guys? Lying is a big “no, no” to me.

The episode finally shifted to the First Marines Division’s landing on Peleliu and it was a doozy. The scene featuring Sledge’s beach landing struck me as surreal, especially in that brief moment when the sun shone in the Marine’s eyes as the amtrack conveying his regiment prepared to leave the ship and hit the water. The actual beach landings for both Sledge and Leckie were graphic and rather scary. The scene in which Sledge witnessed Shelton removing gold teeth from a Japanese soldier struck me as an ominous sign of more darkness for the naïve Sledge to encounter. But the biggest heartbreak – at least for me – was the moment when Leckie witnessed Hoosier being seriously wounded by Japanese artillery.

The acting, as usual, was up to par. Joseph Mazello gave a excellent performance as the intense, yet naïve Sledge. In fact, I have to point out that the actor really knows how to use his eyes to convey his character’s emotional state. I could probably say the same about James Badge Dale, who continued to give consistently first-rate performances as Robert Leckie. Both he and Mazello were perfectly understated in their one scene together. Jon Seda, whom we have not seen since Episode Three was solid as war hero John Basilone. I especially enjoyed his performance in a scene with Mark Casamento, who portrayed his younger brother George. As Sid Phillips, Ashton Holmes gave one of his better performances by perfectly balancing his character’s joy at seeing childhood friend Sledge and war weariness at trying to explain the realities of combat to his buddy. Many fans had been anticipating Rami Malek’s debut as Sledge’s very eccentric comrade, Merriell “SNAFU” Shelton. And Malek managed to brilliantly live up to Shelton’s reputation as an eccentric and somewhat cold-blooded warrior. However, I felt a slight disappointment that the Shelton character had already arrived at this emotional point upon his introduction. Considering that his character was already a veteran of the Cape Gloucester campaign, I am not surprised. But the audience will never get to witness Malek develop his character to that point, as we got to witness Ronnie Gibson develop from a rather nervous Marine, to a slightly demented warrior and emotional wreck.

Episode Five was a pretty damn good episode. Audiences managed to witness a full-fledged battle sequence in the daylight for the first time since this episode aired. But I have one major complaint. It ended too soon. I realize that the Peleliu campaign will stretch out in two more episodes, but I still believe that this particular episode should have had a longer running time. Other than that I am looking forward to Episode Six.

 

“ZERO DARK THIRTY” (2012) Review

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“ZERO DARK THIRTY” (2012) Review

Following the release of her 2009 movie, “THE HURT LOCKER”, director Kathryn Bigelow hit Oscar gold when the movie won Best Picture and she picked up a Best Director statuette. Three years later, Bigelow returned to the setting of the Middle East in this historical drama about the operation of the C.I.A. for the manhunt of Osama bin Laden, the leader of al-Quaeda whom the U.S. government held responsible for the terrorist attacks on this country in September 2001.

The movie begins two years after the September 11 attacks with the arrival of a C.I.A. agent named “Maya” to the U.S. Embassy in Islamabad, Pakistan. Although she had been gathering information on al-Queda for two years, Maya becomes familiar with interrogation methods used by fellow agent Dan on several Islamic detainees, including one named Anmar. Maya evolves into a hardened, yet overzealous veteran. Over the next several years, Dan transfers to the C.I.A. headquarters in Langley, Virginia; Maya and her friend and fellow agent Jessica survive the 2008 bombing of the Islamabad Mariott Hotel; and Jessica is killed during a suicide bomber’s attack on Camp Chapman, Afghanistan in 2009. Although Maya is eventually reassigned to Langley following a personal attack on her outside her home, she continues the search for bin Laden. The efforts of Maya, Dan and two other agents named Hakim and Larry eventually leads the Agency to bin Laden’s location in a suburban compound in Abbottabad, Pakistan. The movie ends with an attack on the compound on May 2, 2011 authorized by President Barack Obama.

“ZERO DARK THIRTY” had acquired a good deal of acclaim and accolades after its release. Conservative critics of the Obama Administration accused Bigelow and her fellow producers of planning to release the movie before the 2012 Presidential election as a boost for the President’s re-election campaign.  GOP Congressional leaders also accused the Obama Administration of providing Bigelow and her team access to classified information during their research for the film. More liberal critics accused the director of using the movie’s torture scenes as justification for U.S. intelligence use of torture on his prisoners. Bigelow and Columbia scheduled the movie’s release date for December 2012 for a limited release to theater and January 2013 for a wide release. It was eventually proven that Bigelow and her team never received any classified information from the Obama Administration. As for the accusation that Bigelow is pro-torture . . . I believe it depends upon the individual moviegoer’s point of view.

How do I feel about “ZERO DARK THIRTY”? Generally, I believe it is an excellent movie that benefited from a talented director and cast. Bigelow did an excellent job in capturing the tense, yet meticulous methods that the C.I.A. used to track down bin Laden. Bigelow’s direction and Mark Boal’s screenplay pretty much did solid work in giving the movie a documentary style aura in this historical drama. The character of Maya is supposed to be based on an actual C.I.A. agent who had worked on the bin Laden manhunt. Thanks to Bigelow, Boal and a superb and Golden Globe award-winning performance by Jessica Chastain, audiences saw the gradual development of Maya’s character from C.I.A. newbie to hardened intelligence agent and negotiator, and finally to a woman obsessed with the capture of the man she not only held responsible for the September 11 attacks, but also for the death of the close friend who was killed at the Camp Chapman attack.

“ZERO DARK THIRTY” also featured some top-notch performances from the rest of the cast. Jason Clarke, who had previously worked with Chastain in “LAWLESS”, gave an excellent performance as Dan, the intense and ruthless C.I.A. agent who initiated Maya into the brutal world of intelligence interrogations. Kyle Chandler handed in another top-notch and complex performance as former C.I.A. Islamabad Station Chief, Joseph Bradley, who seemed to be both impressed and exasperated by Maya’s obsession with the bin Laden hunt. I was surprised to see Jennifer Ehle in this movie. Then again, I have been seeing her in a great deal of American productions, lately. In “ZERO DARK THIRTY”, she gave a first-rate as Maya’s friend and colleague, Jessica. The movie also boasted some solid work from the likes of Mark Strong, Joel Edgerton, Chris Pratt, Harold Perrineau, Édgar Ramírez, Fares Fares, Stephen Dillane (who did possess a shaky American accent) and James Gandolfino.

I am perplexed about one thing about the cast. Could someone explain why Joel Edgerton was billed over Kyle Chandler, Jennifer Ehle, Chris Pratt and Mark Strong? All four had bigger roles than Edgerton. I realized that the latter portrayed one of the U.S. Navy SEALs that conducted the raid on bin Laden’s compound. But I do not see this as a reason for him to receive billing over Chandler, Ehle, Pratt and Strong. Another problem I have with “ZERO DARK THIRTY” is that the movie struck me as a bit schizophrenic in its style. The movie’s first hour – which featured Maya and Dan’s interrogations of Ammar and other detainees and some detailed investigations struck me as rather dry.  I would have fallen asleep within an hour if it were not for the torture scenes. And honestly? I found that rather disturbing. The movie’s second half seemed to shift in tone with the Islamabad Marriott Hotel and Camp Chapman bombings. The major characters – especially Maya – became more emotional. The second half also featured verbal conflict between Maya and Bradley, and also an attempt on her life. Once the Navy SEALs raided bin Laden’s compound, the movie’s tone shifted back to its dry and documentary style.

Speaking of both the torture and bin Laden compound raid sequences, both seemed to stretch out a bit too long. I understand that the C.I.A. used torture to gather information for their manhunt. Honestly, I am not surprised. I did not believe that the scandal over the Guantanamo Bay detention camp would end such interrogation methods. Personally, I find them repulsive. But I doubt that the C.I.A. or the U.S. government would care less about my feelings. But the torture scenes struck me as too long. I could have dealt with a minor on-screen torture scene. But I think Bigelow stretched it too far. I could also say the same about the SEALs’ raid on the bin Laden compound. I realize that Bigelow was trying to milk the suspense for all it was worth. I am sorry, but I found it difficult to accept the idea that the SEALs were in so much danger. I was not that impressed by the Camp Chapman sequence. I never knew about the attack until I saw this movie. But I pretty much guessed what was about to happen in this sequence at least five minutes before the actual attack. How disappointing.

I had noticed how the media consistently labeled Quentin Tarantino’s movie, “DJANGO UNCHAINED”, has been labeled by the media as a “revenge tale”. I find this ironic, considering that the movie’s protagonist seemed more interested in saving a loved one than revenge. On the other hand, “ZERO DARK THIRTY” practically reeks of revenge. Some movie critics have noted this, but the movie has not really acquired a reputation as a “revenge tale”. I find this odd. Very odd.

I understand that “ZERO DARK THIRTY” earned both Golden Globe and Academy Award nominations, along with a Golden Globe win for Jessica Chastain. On one level, I believe the movie earned those nominations. Thanks to Kathryn Bigelow’s direction and Mark Boal, it is basically a well made movie that featured some top-notch performances from a cast led by Jessica Chastain. Unfortunately, I cannot say that I loved the flim. I barely liked it. It struck me as a bit too cold for my tastes.

“THE PACIFIC” (2010) Episode Four “Cape Gloucester & Pavuvu” Commentary

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I wrote this commentary on the fourth episode of “THE PACIFIC”:

“THE PACIFIC” (2010) EPISODE FOUR “Cape Gloucester & Pavuvu” Commentary

When I first saw the featurettes about “THE PACIFIC” on HBO, I noticed that the filmmakers and screenwriters had made a big deal about the miniseries’ ninth episode, which featured the battle on Okinawa. From what I had gathered, this particular episode might serve as the miniseries’ darkest. Then I saw Episode Four, which featured the U.S. Marines First Division’s experiences during the Battle of Cape Gloucester. And I realized that I had been wrong.

Very little combat played a role in Episode Four. One scene featured Robert Leckie’s brief confrontation with a Japanese scout patrol near the beginning of the episode. And another scene featured Company “H” repelling an intense banzai attack by the Japanese, a few minutes later. But as the documentary had hinted around the beginning of the episode, the Marines’ main conflict during the Cape Gloucester campaign seemed to be the environment – the thick jungle and the rain. And because of this environment, Leckie and his fellow Marines suffered a drop in morale.

Before watching this episode, I had no idea how depressing it would be. So much about this episode struck me as depressing . . . especially from Leckie’s point of view. One, both he and Sidney Phillips had the bad luck to witness Gibson’s murder of the Japanese soldier. Judging from the slightly demented expression on Gibson’s face, I suspect that neither Leckie nor Phillips was willing to interrupt the murder. But they both obviously found the experience disturbing. Eventually, the rain, the mud and the jungles of Cape Gloucester on New Britain got to Leckie and he eventually found himself begging for someone to shoot him after he lost his shoes in the mud and fell down a slope. It got worse. Leckie found his confiscated Japanese chest stolen by a Marine officer. And instead of dismissing the chest lost, he stubbornly tried to get his chest back during a hostile confrontation. Leckie never got the chest back. Instead, the Marine officer transferred him from his duties as an intelligence scout to kitchen and latrine duties. The Marine officer also humiliated Leckie for wetting his trousers. But that was nothing in compare to Leckie witnessing the suicide of a Canadian-born Marine.

Company “H” of the First Marines Division was eventually sent to the island of Pavuvu for some rest and relaxation. Only, the island proved to be nothing like Melbourne. The Marines had to deal with pests like rats and crabs. Leckie’s sense of humor became increasingly irritating to Hoosier. And his bedwetting (enuresis) became even worse. At one point, “Chuckler” Juergens found Leckie lying on his cot, pissing uncontrollably and staring into space. Leckie had finally reached the nadir of his existence. The company’s doctor shipped Leckie to a Naval hospital located on Banika. Leckie discovered that the wing he had been assigned to was for psychiatric patients. Fortunately for him, the Naval doctor assigned to him – a Dr. Grant – realized that Leckie was simply suffering from enuresis and a case of exhaustion. By the end of the episode, he allowed the Marine to return to his company. Before that happened, Leckie made another discovery . . . Ronnie Gibson was also a patient at the hospital. Leckie learned from Dr. Grant that Gibson tried to steal a plane and later commit suicide, while Company “H” were on Pavuvu.

I doubt very much that Episode Four will ever be considered a personal favorite of mine. I simply found it too depressing. But I must admit that I also found it fascinating. And it is a credit to screenwriters Robert Schenkkan and Graham Yost, along with Yost’s direction that I managed to remain fascinated by it all. While watching Episode Four, it occurred to me that in some ways, it reminded me of the 2005 movie, “JARHEAD”. The Marines in Sam Mendes’ movie were suffering psychological stress, due to their inability to relieve their built-up aggression via combat. The Marines in Episode Four were suffering from a number of factors – including no combat against the Japanese, who had decamped to Rabaul on the other side of New Britain.

For the umpteenth time, actor James Badge Dale managed to knock it out of the ballpark with his portrayal of Robert Leckie. In fact, I would say that this episode marked his best performance in the miniseries to date. He did a superb job in portraying Leckie’s emotional descent without any heavy-handed acting. I especially enjoyed his performance during a scene that featured Leckie’s confrontation with the officer who had stolen the Japanese chest. Badge Dale’s performance conveyed a delicious mixture of aggression, sarcasm and subtlety. I also have to give kudos to Tom Budge’s portrayal of the demented Gibson. Mind you, his performance was not as subtle as Badge Dale’s, but it was just as convincing. And I believe I will never forget that expression on his face, after his character had strangled that Japanese soldier. I also found Leckie’s stay at that Naval hospital equally depressing. It reminded me of a line that the Bill Guernere character had said about military hospitals in one of the episodes of ”BAND OF BROTHERS”. Thanks to this episode, I finally understand what he was trying to say. The Banika sequence also featured Matt Craven, who gave a wonderfully subtle performance as Leckie’s doctor, the slightly sarcastic Dr. Grant. Thinking about this episode, it occurred to me that the one character who managed to remain steady throughout the entire mess was Chuckler, thanks to Josh Helman’s solid performance. It is easy to see why Lieutenant Corrigan had promoted him to corporal following the Alligator Creek action on Guadalcanal in Episode One.

After watching Episode Four, I found myself dubbing it ”Heart of Darkness – Part One”, considering that the entire episode featured a little combat, a murder, a suicide, illness, rodents and crabs and a stay for Leckie at a Naval psych ward. And I had no idea I would be watching this before it aired. The reason I had dubbed it ”Part One” is that I suspect that the Okinawa episode will proved to be just as depressing . . . or perhaps a little more.

“MAD MEN”: The Specter of Intolerance

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”MAD MEN”: THE SPECTER OF INTOLERANCE

Matthew Weiner’s acclaimed television series, ”MAD MEN”, had addressed many issues that American society had faced in both the past and today. Issues such as class, sexism, religion and race have either reared its ugly heads or have been brushed upon by this series about an advertising agency in the 1960s.

The center of ”MAD MEN” was mainly focused upon advertising executive named Don Draper. But the series also focused upon his co-workers at the firm he works at – Sterling Cooper – and his family in the suburb of Ossing, New York. But this article is about two of Don’s co-workers – namely a junior copywriter named Paul Kinsey and the firm’s office manager, the red-haired Joan Holloway.

In the series premiere, (1.01) ”Smoke Gets in Your Eyes”, Joan was engaged in the task of introducing the newly hired secretary, Peggy Olsen, around to Sterling Cooper’s other employees. One of the employees happened to be Paul Kinsey, who briefly hinted that he and Joan had a romantic history in the past. This was confirmed several episodes later in (1.12) “Nixon vs. Kennedy”, when Joan and Paul had a bittersweet conversation about their past romance during an election party (Election of 1960) held at the office. Apparently, Joan had ended the romance when Paul revealed too much about their relationship.

Joan and Paul’s relationship – or should I say friendship – took an ugly turn for the worst in Season Two’s (2.01) ”Flight 1”. Although this episode mainly focused upon another Sterling Cooper employee, Pete Campbell, facing his father’s death; it began with a party held by Paul at his apartment in Montclair, New Jersey. Paul’s guests not only included co-workers from Sterling Cooper, but also some of his African-American friends (or neighbors). One of those guests included Paul’s then girlfriend, a black woman named Sheila White. Paul introduced Sheila to Joan as his girlfriend. He also added that Sheila worked as an assistant manager at her local supermarket. Then he briefly dismissed himself to see to another guest. Once Paul left, Joan turned to Sheila and said the following:

“When Paul and I were together, the last thing I would have taken him for was open-minded.”

In one sentence, Joan managed to stake her claim on Paul as a former lover and make a racist comment. Sheila merely responded with a polite compliment about Joan’s purse. She must have eventually told Paul, because within a day or two, Paul angrily confronted Joan on the matter. She merely responded by accusing Paul of using Sheila to look bohemian and ”tolerant” to his friends and co-workers. She also managed to conveniently forget that Sheila worked as an assistant manager at the Food Fair and dismissed the latter as a mere check-out clerk. Too angry to respond, Paul stalked away. Later, he got his revenge by stealing Joan’s drivers’ license, making a copy of it and posting that copy on the office bulletin board. He did this to expose her age (which was 31 years in this episode).

Paul and Joan did not share any scenes together until a later Season Two episode called (2.10) “The Inheritance”. In this particular episode, Sheila paid a visit to the Sterling Cooper office to meet with Paul for lunch. She also wanted Paul to join her on a voters’ registration trip to Mississippi. Did Joan notice the brief kiss exchanged between Paul and Sheila? Yes. Nor did she look particularly happy about it. This episode exposed Paul’s blowhard attempts to make himself look good in the eyes of others . . . especially in the eyes of Sterling Cooper’s black elevator operator, Hollis and the other members of the entourage he and Sheila planned to accompany on their trip to Mississippi. But I feel that it also exposed Joan’s own feelings about Paul’s relationship with Sheila . . . again.

Don Draper gave Joan the opportunity to exact revenge upon Paul. In ”Inheritance”, Paul and accounts executive Pete Campbell were ordered to Southern California to recruit future clients in the region’s aerodynamics industry. At the last minute, Don decided he would replace Paul on the trip. He ordered his temporary secretary, namely Joan, to inform Paul in a memorandum that he would be taking the latter’s place on the trip. Instead of informing Paul by memo, she verbally told him in front of the other Sterling Cooper employees, during a baby shower for father-to-be Harry. And publically humiliated the copywriter, in the process. Joan got her revenge . . . for something she had set in motion, when she insulted Sheila in an earlier episode. Curious.

And yet . . . most of the fans of ”MAD MEN” seemed to sympathize with Joan and vilify Paul, in the process. Many of them seemed so intent upon pointing out Paul’s pretentious behavior or claiming that he does not really care for Sheila that they have ended up ignoring Joan’s own racism. And there have been those who have claim that Joan was not a racist. They insisted that she simply wanted to expose Paul’s poseur attitude. My question is . . . why? Why would Joan even bother? Both the series’ viewers and Joan received a firsthand glimpse of Paul’s pretentiousness back in the Season One episode, (1.12) ”Nixon vs. Kennedy”. In that episode, Paul had Salvatore Romano and Joan performed his one-act play that he had written, during the office party for the 1960 elections. The viewers also received an example of how dark Paul’s poseur streak can be when he expressed jealousy that Ken Cosgrove managed to get a short story published in ”The Atlantic Monthly” in (1.05) “5G”.  Why did Joan wait until she met Sheila to point out Paul’s pretentiousness? Why did she not do this earlier? I have asked this question on several occasions. Most fans either ignore my questions or insist that Joan is not a racist . . . while at the same time, continue to deride or make a big deal out of Paul’s pretentiousness.

In a ”Christina Hendricks Interview”, the red-haired actress had expressed dismay over the possibility of Joan being a racist, when she read the script for ”Flight 1”. Series creator Matthew Weiner told her that Joan was not a racist. He added that Joan was simply trying to expose Paul’s pretentiousness over his relationship with Sheila. Like many of the series’ fans, Ms. Hendricks accepted Weiner’s explanation. But after viewing ”Flight 1” and ”The Inheritance”, I can conclude that the writer/producer did a piss poor job of conveying Joan’s intention . . . or he had lied to Christina Hendricks. Right now, I am inclined to believe the latter.

“THE CAT’S MEOW” (2001) Review

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“THE CAT’S MEOW” (2001) Review

There have been many accounts of the infamous November 1924 cruise held aboard William Randolph Hearst’s yacht, in honor of Hollywood producer Thomas H. Ince’s birthday. But the biggest . . . and probably the most fictionalized account was featured in “THE CAT’S MEOW”, Peter Bogdanovich’s adaptation of screenwriter Steven Peros’ stage play.

The movie takes place aboard Hearst’s yacht on a weekend cruise celebrating Ince’s 42nd birthday. Among those in attendance include Hearst’s longtime companion and film actress Marion Davies, fellow actor Charlie Chaplin, writer Elinor Glyn, columnist Louella Parsons, and actress Margaret Livingston. Many of the guests harbor agendas that revolve around Hearst and Davies. Chaplin, who has become infatuated with the actress, sees the weekend cruise as a chance to declare his feelings for her . . . and convince Davies to end her relationship with the publisher. Parsons sees the cruise as a chance to develop a stronger professional relationship with her boss, Hearst, and relocate from the East Coast to Hollywood. Faced with a bad financial situation and accompanied by his mistress Margaret Livingston, Ince hopes to convince Hearst to allow him to become a partner in the publisher’s Cosmopolitan Pictures. Hearst suspects that Davies and Chaplin are engaged in an affair and has great difficulty in battling his jealousy. Thanks to this jealousy, a violent death ends the cruise, which becomes a subject of Hollywood legend.

After watching “THE CAT’S MEOW”, I realized that after so many years of documentaries and somewhat mediocre films, Peter Bogdanovich had maintained his touch as a first-rate director. At least back in 2000-2001. “THE CAT’S MEOW” struck me as a first-rate character study of a good number of film and publishing luminaries in the world of 1920s Hollywood. What I found interesting is that aside from one or two characters, most of them are not what I would call particularly sympathetic. Well, superficially, hardly any of them are sympathetic – including the very likable Marion Davies, who was not only Hearst’s official mistress, but who was doing a piss-poor job of hiding her attraction for Charlie Chaplin. But despite the lack of superficial charm, the movie managed to reveal the demons and desires of each major character. And thanks to Steven Peros’ screenplay and Bogdanovich’s direction, characters like Hearst, Davies, Chaplin and Ince rose above their superficial venality and ambiguity to be revealed as interesting and complex characters. The most interesting aspect of “THE CAT’S MEOW” was that many of the characters’ agendas either succeeded or failed, due to the romantic drama that surrounded Hearst, Davies and Chaplin.

For costume drama fans such as myself, “THE CAT’S MEOW” offered a tantalizing look into the world of Old Hollywood in the 1920s. Bogdanovich made a wise choice in hiring Jean-Vincent Puzos to serve as the movie’s production designer. In fact, I was so impressed by his re-creation of November 1924 that I felt rather disappointed that his efforts never received an Academy Award nomination. Puzos’ work was aided by the art direction team led by Christian Eisele and Daniele Drobny’s set decorations. But the second biggest contributor to the movie’s 1920s look were the gorgeous costumes designed by Caroline de Vivaise. I was extremely impressed by how the costumes closely adhered to the fashions worn during that particular decade. But de Vivaise did something special by designing all of the costumes in black and white – as some kind of homage to the photography used during that period in Hollywood. And if anyone is wondering whether de Vivaise won any awards or nominations for her work . . . she did not. What a travesty.

Bogdanovich gathered an impressive cast for his movie. “THE CAT’S MEOW” featured first-rate performances from the likes of Claudie Blakley and Chiara Schoras as a pair of fun-loving actresses that embodied the spirit of the 1920s flappers; Claudia Harrison as Ince’s frustrated mistress, actress Margaret Livingston; Ronan Vibert as one of Hearst’s minions, the stoic Joseph Willicombe; and Victor Slezak as Ince’s sardonic and witty colleague, George Thomas. But the more interesting performances came from Jennifer Tilly, who gave a delicious performance as the toadying and opportunistic columnist, Louella Parsons; Joanna Lumley as the wise and occasionally self-important novelist Elinor Glyn; and especially Eddie Izzard, who was surprisingly subtle and witty as the wise-cracking, yet passionate Charlie Chaplin.

But in my opinion, the three best performances in “THE CAT’S MEOW” came from Edward Herrmann, Cary Elwes and Kirsten Dunst. The latter was the only member of the cast to earn an award (Best Actress at the Mar del Plata Film Festival) for her performance as Hollywood starlet and W.R. Hearst’s mistress, Marion Davies. What made Dunst’s performance so remarkable was that she was the only one – as far as I know – who portrayed the actress as a complex and intelligent personality, instead of the one-note stereotype that director Orson Welles had introduced in his 1941 movie, “CITIZEN KANE”. I suppose one could credit screenwriter Steven Peros for writing a more realistic portrayal of Davies’ true nature. But it would have never worked without Dunst’s performance. Cary Elwes gave – in my opinion – the best performance of his career so far as the harried and ambitious movie producer, Thomas Ince. What made Elwes’ performance so impressive was the subtle manner in which he conveyed Ince’s desperation to save his career as a Hollywood producer through any means possible. But for me, the best performance came from Edward Herrmann as the wealthy and controlling William R. Hearst. Herrmann did a superb job in conveying some of the worst aspects of Hearst’s nature – sense of privilege, arrogance, his bullying and bad temper. Yet, Herrmann also managed to convey Hearst’s desperate love for Davies and vulnerabilities through the more unpleasant mask. It was a remarkable performance that failed to garner any real recognition. And this is more of a travesty to me than the lack of awards for production design or costumes.

I tried to recall anything about the movie that left a negative mark within me and could only come up with one or two matters. The movie seemed to be in danger of slowing down to a crawl, following the tragic shooting that followed Ince’s birthday party. I wonder if Bogdanovitch had tried too hard to reveal the details that led to the cover up of the incident. However, one particular scene really annoyed me to no end. It was the scene that featured Elinor Glyn’s theory about the “California Curse”:

“The California Curse strikes you like a disease the Minute you set foot into California … so pay close attention, my dear. You see this place you’ve arrived in, the place we call home…isn’t a place at all. But a living creature. Or more precisely an evil wizard like in the old stories. And we all live on him like fleas on the belly of a mutt. But unlike the helpless dog, this wizard is able to banish the true personalities of those he bewitches. Forcing them against their will to carry out his command, to forget the land of their birth, the purpose of their journey, and what ever principals they once held dear. The Curse is taking hold of you if you experience the following: You see yourself as the most important person in any room. You accept money as the strongest force in nature. And finally your morality vanashes without a trace.”

As far as I am concerned, Elinor Glyn was full of shit. She could have easily described any individual who forgets his or her principles, no matter where that person resided. And according to Ms. Glyn, the curse has three symptoms – seeing yourself as the focus of all conversations, using money as the most important measure of success, and the disappearance of all traces of morality. Why did she seemed to believe that such a mindset only existed in Calfornia . . . or better yet, Hollywood, is beyond me. Anyone with too much ambition could acquire this curse in many other places in the world. Peros and Bogdanovich’s decision to include this crap in the movie damn near came close to ruining my enjoyment of the movie.

But in the end, I managed to overcome my annoyance of the so-called “California Curse”. Why? Because “THE CAT’S MEOW” remained a first-rate and entertaining movie about Old Hollywood that impresses me, even after sixteen years.“Hooray for Hollywood!”.

 

“THE PACIFIC” (2010) Episode Three “Melbourne’ Commentary

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I wrote this commentary on the third episode of “THE PACIFIC”:

“THE PACIFIC” (2010) EPISODE THREE “Melbourne” Commentary

Following their evacuation from Guadalcanal in January 1943, members of the U.S. Marines First Division enjoyed a respite in Melbourne, Australia. There, characters like Bob Leckie and Sidney Phillips enjoyed romances with local Australian girls. John Basilone enjoyed a period of heavy drinking and dodging the MPs before receiving his Medal of Honor for his late October actions on Guadalcanal.

Unlike 2001’s ”BAND OF BROTHERS”, this third episode featured the very first one that did not include any combat. Instead, the First Division Marines enjoyed a respite filled with booze, women, a medal ceremony and more training. This episode featured two of our major characters confronting their demons. But let me focus on the minor stuff first.

Some of the funniest romantic scenes featured Sidney Phillips romancing a young Australian girl, under the watchful eye of her grandfather. Ashton Holmes was a hoot portraying Phillips’ struggles to suppress his desires and somewhat more questionable actions (like leaving the “base” without a pass) in order to impress his new girlfriend’s Draconian grandfather and behave like a Southern gentleman. His funniest moment occurred in a scene inside a pub where Phillips was trying to assure the girl’s father that he intends to be the perfect gentleman, when the MPs appear. Although he assured both his girlfriend and her grandfather that he had a pass, he subtly suggested that they leave the pub through the back door.

Other funny moments featured Leckie’s friends, Hoosier and Chuckler. From the moment when the Marines are bivouacked at a cricket stadium, Hoosier and his government issued blanket are never apart. Never. He quickly fell asleep, while Leckie, Runner, Chuckler and other Marines left the stadium without permission – clinging to his blanket. And for several days, it never left his side. Another moment featured the Marines back in formation at the stadium, the day following their first night of liberty. Most of them looked as if they had spent a week of debauchery with no sleep . . . including Lieutenant Corrigan. One Marine could not even remain standing and in a moment of pure slapstick, fell flat on his face. Corrigan did not say a word. But the funniest moment – at least for me – featured a drunken Leckie coming upon poor Chuckler on guard duty at the stadium. Why did I call Chuckler “poor”? In a scene that brought back memories of my mad dashes to the bathroom, poor Chuckler was dancing his ass off, while trying to convince Leckie to stand guard in his place so he could relieve himself. I have to pause for a moment to keep my laughter in check. Excuse me.

This episode did not feature any scenes of Eugene Sledge. However, I suspect that viewers will be seeing him in the next episode. It did feature Basilone receiving his Medal of Honor. Like the other Guadalcanal veterans, Basilone and his friend, J.P., hit the streets of Melbourne for a night of heavy drinking and debauchery. The pair found a convenient bar where they indulged in a great deal of booze and a brief, yet violent encounter with Australian servicemen. Fortunately, their hostile encounter with the Australians became friendly. But when Basilone reported to Chesty Puller’s office the following day, Basilone was not so fortunate. One, he learned that he was to receive the Medal of Honor, which produced a delicious “WTF” expression in Jon Seda’s eyes. Then his expression became even stranger, as Puller chewed out Basilone for failing to set a good example in Melbourne . . . before eventually throwing up. Next to Chuckler’s “dancing” moment, I thought this was the funniest scene in the episode.

However, matters did not seem that funny when Basilone finally received his Medal of Honor in a formal ceremony at the cricket stadium. Poor bastard looked as if he wanted to flee for his life, instead of receiving that medal. I do wonder if something within him suspected that medal would separate him from J.P. and the rest of his men, as surely as death had separated Manny from him. The expression in his eyes seemed to hint it not only during the medal ceremony, but also when he bid good-bye to J.P. and on that flight to San Francisco near the end of the episode. And I have to give kudos to Seda for expressing this emotion without saying a word. In fact, he did a damn good job all around.

Finally, we come to Leckie. Man, I do not know what to say about him. Actually, I do. But I suspect that describing James Badge Dale’s interpretation of Leckie’s character would take a multi-page essay. It is that complicated. In fact, Robert Leckie seemed to be one of the most complicated characters I have come across in any biopic either in a movie or on television. I cannot recall any character in ”BAND OF BROTHERS” as complicated as him. Judging from his conversations with his Australian girlfriend Stella and her Greek-born mother, his demons had already been established before he saw combat or had joined the Marines. As much as he loved his family, Leckie apparently did not like being part of a big family – especially as the youngest member. He seemed to have felt crowded, yet at the same time, ignored. His description of his father made me revised the father-son good-bye scene in “Episode One. At first, I thought Leckie Sr. was simply reluctant to bid his son good-bye. I had no idea that the older man was also suffering from slight mental problems.

The episode started well for Leckie. He met Stella on a trolley car and managed to garner her interest, despite being drunk. The two seemed to take to one another like duck to water. And watching Badge Dale and Australian actress Claire van der Boom act together made me realize that they have a strong screen chemistry together. Although their loves scenes were slightly explicit, they were still very tasteful. Frankly, I saw nothing that anyone could complain about. Thanks to van der Boom’s excellent performance, Stella proved to be just as complicated as Leckie. Upon his return following a three-day hike for the Marines, she eventually dumped him. She claimed that her mother, who had taken a shine to him, would have great difficulty in dealing with his death. But Leckie had witnessed her reaction to the news of a friend’s death and immediately surmised that she was simply guarding herself from possible future heartache.

Needless to say, Leckie did not take the end of his romance very well. Not only did he get drunk, lost his temper with Lieutenant Corrigan after the latter confronted him for taking Chuckler’s place during guard duty, while the latter was taking a piss. Not only did Leckie ended up in the brig for a period of time with Chuckler, he was booted from the company and his friends, and assigned to become an intelligence scout. Poor Leckie. But I must say that the more I watch Badge Dale’s skillful portrayal of the complicated Leckie, the more I have become impressed by his talents as an actor.

Episode Three proved to be an entertaining episode. Viewers got a chance to see how some of the characters behaved away from the threat of combat. However, I rather doubt that it will ever become a favorite of mine. Aside from the personal conflicts of Leckie and Basilone, it lacked the edge that Episode One and Episode Two possessed. I suppose that is due to the lack of combat shown.