Thursday, February 25, 2021

The Great Paper Caper by Oliver Jeffers

This is a darling picture book by Oliver Jeffers. 

It's the story of some forest animals who gradually notice that some of their tree limbs are missing.

And then, later, one whole tree.

The forest animals are pretty upset. They're definitely in the "What is Happening!!?" mode.

They accuse each other.

But everyone has a watertight alibi.

One day, one of them sees a bear shooting paper airplanes. He tells the others. They all go down to the phone booth to phone the police.

The bear is arrested. When he testifies from the stand, he breaks down and confesses that he did it, and all because he comes from a long line of paper airplane champions and another big competition was coming up, he wasn't doing well in his preparation, and he'd run out of paper.

He promised he'd plant new trees to make up for what he'd done, and he did. The other animals helped him.

Perhaps the tragedy of losing a big paper airplane competition is not immediately apparent, but what makes it is the illustrations. They're amusing, whimsical and complicated. 

 My favorite illustration is of the face-down plant the owl makes when he comes in for a landing and "Oops!" his branch isn't there.

I can imagine children wanting to discuss and ask questions about the illustrations, especially the illustration of everyone's "airtight" alibi (they're all alone: one is sleeping, one is watching TV, one is doing the laundry).


 


Thursday, February 4, 2021

Geek out: Maigret and Montalbano

 

Starting in the 1930s, Georges Simenon wrote 75 novels and 28 short stories about the fictional French detective Jules Maigret. Simenon may not be so well known in America today, but in his lifetime he sold about 550 million books worldwide.


Simenon was himself an interesting character. He wrote more than 400 novels, usually in 8 to 10 days. He claimed to have slept with 10,000 women, including the famous dancer Josephine Baker. 


Early in his life, he enjoyed spending time with bargemen and other working class and even criminal types. I think this is what makes his stories so colorful. These mysteries are less about whodunnit, or even why, but about revealing these colorful characters and their hidden world.


Simenon’s Maigret books have often been adapted for films and TV. In the early 1990s, Francophone TV got together to produce a series of shows starring Bruno Cremer as the famous detective. Bruno Cremer played Maigret as a very low-key, patient, and slow to come to conclusions detective. When the famous Maigret is asked about his method, he says, “I like to listen.” Maigret observes the scene with a twinkle in his eye; a furtive smile often dances around the corners of his lips. One fan commented that this detective was never vulgar, despite the fact that the stories are pretty lurid. 


When Andrea Camilleri, a retired director and filmmaker, began writing his Inspector Montalbano novels in 1994, the Maigret novels were his model. Camilleri’s Montalbano novels were also adapted for television. 


Alberto Sironi, director of the Montalbano TV shows, said, “What’s different (from other cop shows) is the ability Camilleri has to tell a story, to present Sicily, a marvel that I myself saw when I was 20. This Sicily is in my memory, a little like the memory of Camilleri in his youth. ...These two things are the most important. First, the idea of story, where the plot’s not so important, but the atmosphere is. . and characters, especially the minor characters.”


Sironi pointed out that Camilleri, who had himself directed a TV series based on the Simenon novels, was deeply influenced by Simenon. Like Simenon, Camilleri’s Montalbano novels feature many colorful Sicilian characters; director Sironi spent months visiting Sicilian theatres, scouting for Sicilian actors to portray these roles. One of my favorite examples of these “real Sicilians,” is the mistrustful housekeeperMontalbano is trying to interview. She mentions that she is a monarchist, and has never supported any of the republican governments. Montalbano slaps his chest. “You’re a monarchist! I’m one, too!” 


The Montalbano stories, although set in northwestern Sicily, came to be filmed in southwestern Sicily. The fictional Vigata, where Camilleri’s stories are set, was based on Camilleri’s memories of his hometown, Porto Empedocle. Porto Empedocle has changed so much over the last few decades that it wasn’t suitable for filming these stories set in the world of Camilleri’s memory. The production needed a beach with sand, rare in Sicily, and a Baroque plaza. 


Luciano Ricceri, the Montalbano production designer, found these things in the Ragusa -Scicli-Modica area. 


This area boasts a fantastic collection of Baroque architecture, through a series of accidents. In 1693, a massive earthquake destroyed many buildings and monuments which were then rebuilt in the Baroque style. In the nineteenth century, various social factors contributed to poverty and unrest in Sicily, which had once been the breadbasket of Europe. Ongoing economic depression preserved the architecture and environment of southwest Sicily. 


The TV shows take full advantage of Sicily’s white sunlight, and its striking shadows; the cinematography has a ghostly, painterly quality of a Sicily unchanged by time. 


The Montalbano TV show became a huge hit in Italy, and its architecture and spectacular scenery sparked a tourist boom. Over the years, I’ve talked to people working in economic development, and the fact that the Inspector Montalbano TV show sparked a 40% rise in tourism in the southwest of Sicily, is an incredible achievement, even if entirely unintended. 


It’s the “atmosphere,” the entree to a mysterious unknown world, that attracts me to both TV shows.



A Little Chaos, directed by Alan Rickman

I love this film, but I didn't realize that I loved it until I'd watched it for the fourth time. 

I just read a review (by Katie Erbland) which complained that (Kate) Winslet and (Matthias) Schoenaerts didn't have persuasive chemistry together, while the scenes between Winslet and Rickman "crackled". I hadn't noticed the lack of chemistry between the leads. I can't help thinking it's easier to play with people you've played with before, and Rickman and Winslet both appeared in "Sense and Sensibility." Erbland also believes the plot's got a little too much furniture in it and is quite crowded. It might be a little crowded. 

The UK miniseries Versailles explained the complicated private lives of the folks here; it may not have been necessary for the Princess Palatine to make that speech about her marriage. I think I like concrete backstories and having everything make sense. The emphasis on the class difference between Winslet's character and everybody else is one of those obstacles it's pleasant to surmount in a romance (but unnecessary). Love stories have to have obstacles of some kind because without them there's no dramatic tension. The things Erbland objected to were to me necessary to create a movie plot, which has its own rules and is as artificial as any opera. Otherwise it's just good music, beautiful costumes, beautiful sets, and beautiful photography (which this film has in abundance and is definitely part of its appeal to me). 

Really, as classic are obstacles in love stories ..faithfully reiterating the formula is not pleasing in itself.

What strongly appealed to me was the slight emphasis on aesthetics. French Baroque garden design was austere and certainly grand. Le Notre, played by Matthias Schoenaerts, was a historical character and Madame La Barra, played by Winslet, was not. But the idea of a playful hidden garden ballroom, in the midst of severely elegant garden design is quite appealing. That is the meaning of the title, "A Little Chaos." 

Helen McCrory also appears as Le Notre's wife. She was wonderful and I love watching McCrory's face. Jennifer Ehle's cameo is at least as artificial as any other part of the film, but it's lovely and perfect. Phyllida Law also appears in a tiny part in a fascinating scene when Madame La Barra meets the ladies of the court in a private meeting behind closed doors with no men present. It's almost like a seraglio. 

Fran Lebowitz has a new series on Netflix, "Pretend it's a City," which I enjoyed very much. She and Toni Morrison were friends, and I found a video on YouTube of the two of them talking at an event. Fran said that today's reader really wants reading to "speak to them," and to offer some reflection of their own lives. I think until I ran across this I did not realize that that explained my fondness for certain books and films. I think it's at the heart of my fondness for Normal People, and it's at the heart of my fondness for A Little Chaos. I'm not a landscape architect, but I was forced to write a paper on Pope's Windsor Forest, and later, I had to read Kevin Lynch, and yes, as a result I have an ongoing interest in landscape architecture. So while A Little Chaos may be quite flawed, or whether liking it is a question of experience and taste, I do like it.


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