Tuesday, September 21, 2010

Recommended Reading: Montgomery Clift: A Biography by Patricia Bosworth

Undoubtedly, Montgomery Clift was one of the most talented actors of his generation. He was, however, one of the most troubled. His early life was defined by his mother’s quest to be accepted by her wealthy birth family. She prepared her sons and daughter for the life she dreamed of by sequestering them from the outside world and ensuring that they were only exposed to the things that she thought were the rightful stuff of a noble birth.


Montgomery Clift was a man who was always torn in many directions. The result was a fragmented person--an assemblage of pieces. This chaos afforded his work with a unique brilliance, but dulled his personal life in a haze of prescription drugs and alcohol which climaxed in a horrific car accident.

Patricia Bosworth’s biography of Clift is by far the superior of the few that have been written. She chronicles his life from birth until his too-early death and includes the most intimate details of a man who yearned for success as an actor, but loathed the public eye. While we’ll never understand this complicated man, Bosworth manages to shed some light into the darker corners of his existence by talking with those with whom he was closest. Her writing is honest, clear and unbiased.

If you’re a fan of Montgomery Clift, I would recommend reading this book. However, if you aren’t familiar with Mr. Clift, this is an excellent introduction to an astonishingly talented and deeply complex man.



Film of the Week: Enchantment, 1948

Produced by Samuel Goldwyn and directed by Irving Reis, 1948’s Enchantment featured an amazing cast which included David Niven, Teresa Wright, Farley Granger, Jayne Meadows, Evelyn Keyes and Leo G. Carroll.

The story of the film centers around the residents of an elegant Belgravia townhouse during both World Wars. While in London, American servicewoman, Grizel Dane (Evelyn Keyes) seeks out her aged granduncle, General Sir Roland “Rollo” Dane (played by David Niven). She finds Rollo to be quite disagreeable at first, however, he reluctantly allows her to stay with him in the house. During her visit, Roland recounts two tales from his youth. The first concerns his father’s adoption of a young orphan girl, Lark Ingoldsby. Lark is a lovely young thing, and Rollo’s sister, Selina takes an immediate dislike to her—resenting the attention she received from both Rollo and their brother, Pelham.

Rollo explains that as Lark grew up, she became all the more charming and beautiful. The adult Lark was played by Teresa Wright. Selina (played by Jayne Meadows) treated Lark as she would a servant. However, Pelham and Rollo recognized Lark’s intellect and desire to have a more comfortable life. Rollo, in fact, formed an extremely close bond with the girl. However, he soon departed for the Great War—leaving Lark behind. During his absence, Pelham begins to have romantic feelings for Lark who politely rebuffs him, preferring the attentions of a young Italian nobleman.

In the “present,” Rollo becomes involved in the relationship between Grizel and a wounded serviceman (Farley Granger). He tries to impress upon them the fleeting natures of love and of time. He recounts his missed opportunity with Lark whom he, too, loved deeply. Grizel, encouraged to seek her love, rushes out into the streets during a bomb raid. As the bombs fall, the picture ends with a very shocking twist.

This is truly a wonderful film. The writing is superb—based on a novel by Rumer Godden. What I find particularly lovely about this picture is that the house itself is really the central character. The opening narration is from the house’s point of view—a very clever device which perfectly demonstrates the nature of domestic life during times of peace and times of turmoil.





Humanitarian of the Week: Audrey Hepburn

Taking care of children has nothing to do with politics. I think perhaps with time, instead of there being a politicization of humanitarian aid, there will be a humanization of politics.

--Audrey Hepburn

Enchanting, ethereal and elfish, Audrey Hepburn remains a sentimental favorite of people of many different generations. She redefined elegance through her work in film and her interest in fashion. Her acting with sensitive, yet powerful, and she was undoubtedly a master of her art.

Born in Belgium in 1929, young Audrey had dreams of becoming a prima ballerina. However, the Second World War turned her life and the lives of her family upside down. Audrey never forgot the atrocities that she saw during the war, and the admiration she felt for those who braved the battle-scarred lands to offer aid and comfort to suffering people. She vowed that she would one day offer such kindness to people in need.

With her desire to dance a seeming impossibility, Audrey began to take modeling jobs, becoming increasingly comfortable in front of the camera, until one day, Hollywood came calling. We all know how that turned out. With twenty-five lovely film performances to her credit, Miss Hepburn is forever burned into our collective imaginations.

Though successful as an actress, Audrey craved success as a human being and felt that the most important part of her life was giving back to others. After retiring from film, Miss Hepburn was appointed Goodwill Ambassador to the United Nations Children’s Fund (UNICEF). She had worked with UNICEF since the 1950’s, however, she relished the chance to become more physically involved and soon embarked on several worldwide journeys to assist children who were faced with poverty and famine. She worked up until her premature death from cancer in 1993.

In 1994, Miss Hepburn’s sons founded The Audrey Hepburn Children’s Fund so that their mother’s work could continue. Audrey Hepburn was a true pioneer—a beautiful and talented woman who defined herself by what she could do, not what she did for a living. Her efforts paved the way for other humanitarians who yearned to make a difference in the lives of their fellow humans. For this reason, Audrey Hepburn is our “Humanitarian of the Week.”

 

The Belle Époque Today: The Art of Jason Walker, RP

Lily
Jason Walker
Every so often, a contemporary artist will beautifully capture the spirit of the Belle Époque in a new way. Such is the case of the elegant work of Jason Walker, a member of the Royal Society of Portrait Painters. Mr. Walker’s paintings may have a contemporary edge, however, his work speaks of the refined technique of great masters. His use of color is superb and his portraiture is at once as delicate and ethereal as it is anchored by substance.

His subject matter also reminds us of a Victorian love for everyday objects. Even the most commonplace vase centers a composition so regal it could be the backdrop for a royal portrait. A sheer and lacy dress plays ghost above a vivid pair of red slippers—their juxtaposition giving each a majesty only rivaled by the composition as a whole.


Happy Thought
Jason Walker
 There’s a tenderness in his work and a very evident emotional quality. Mr. Walker’s self portrait in a paper crown—the sort one finds in Christmas crackers—is entitled, “Happy Thought.” Yet, the brilliant yellow of the crown starkly contrasts the muddy-colored figure whose face is simultaneously passive and brimming with expression.

There’s a particular genius in this hand. It’s no wonder that Mr. Walker has received numerous awards and much recognition for his exceptional work.

For more about Mr. Walker and to view a gallery of some of his works, visit his Web site.




Maya's Dress and Ballet Shoes
Jason Walker


Punch's Cousin, Chapter 50

Mr. Punch cautiously peered over the side of the bassinette. He looked over at Robert and Cecil who were standing to the right of the room. Robert grinned broadly. Cecil, on the other hand, looked rather nervous.


“Mr. Punch,” Adrienne smiled, “I’d like you to meet Fuller Douglas Halifax.”

“How’d ya do?” Punch nodded Julian’s head at the baby.

Punch squinted. “He don’t answer. See, I knew he’d not like me.”

“Oh, Punch, my dear,” Adrienne couldn’t help but laugh. “He’s still too young to talk. Babies don’t talk until they’ve grown a bit.”

“Oh.” Punch said. “He don’t talk.” Punch smiled. “I can see how that might be nice.”

Punch got a little closer and leaned over the infant who reached out his arms.

“Crikey.” Punch laughed. “Kinda nice lookin’, isn’t he?”

“He wants you to pick him up.” Adrienne smiled.

“How’d ya know?” Punch asked nervously. “Not talkin’ and all.”

“He communicates in his own way.” Adrienne said.

“Now, now, my dear,” Cecil said quickly, “if Mr. Punch doesn’t want to hold Fuller, he doesn’t have to.”

“Who says I don’t?” Punch frowned. “I didn’t say one way or ‘nother. Didn’t know the little thing wanted holdin’.”

“You may pick him up if you like. Just make sure to support his head.” Adrienne said softly.

“What’s wrong with his head?” Punch’s eyes widened.

“Not a thing.” Adrienne giggled. “It’s simply that babies can’t support their own heads.”

“Kinda helpless, isn’t it?” Punch responded quietly. “Makes you want to take care of it.”

“We prefer to refer to Fuller as a ‘him,’ as opposed to an ‘it.’” Adrienne responded cheerfully.

“I see.” Punch continued to look at the child. “So, ‘e’s gonna grow up to be a man? A man what’s got legs and arms and strength—huh?”

“That’s the plan.” Cecil said. He, too, began to smile again.

“Well, then.” Mr. Punch sighed. “I think that’s a fair thing and all. Yes, maybe I would like to hold it…errr…him.”

Adrienne lifted Fuller and placed him gently in Julian’s arms as Mr. Punch made a considerable effort to make sure the child’s head was supported.

“Soft and warm, he is.” Punch grinned. “Smells nice, too.”

The baby cooed and tugged at Julian’s lapel.

“Not made a wood, are ya, little human?” Punch smiled at the baby. “You’re made a people stuff. How nice for you. Now, you take care of that head of yours. See, I know about that sorta thing what with me head bein’…” Punch paused. “But, that ain’t for the likes of you, little people. No. You should be told about happy things. I know some happy things, I do.” Punch thought for a moment. “Like I can remember when me master went to London in lived in a big house all his own. He had shiny things then what he made into even shinier things like this here ring.” Punch gently wiggled Julian’s left index finger so that Fuller could see.

The baby was mesmerized by the sparkle of the diamond.

“Now, that’s a nice thing, isn’t it?” Punch continued. “I want for you to have nice things and to have that same look ‘bout you what you got right now. That kinda happy look so that you’ll know that you’re a nice thing yourself.”

Cecil sniffled and looked away.

“Here, what’s with him?” Punch asked.

“I think he’s touched to see his son treated with such kindness.” Robert answered for his brother.

“Oh.” Punch nodded. “Not bein’ ‘specially kind, I’m not. Just tryin’ to let the little human know that he got folk what like him. Even if I ain’t a real man. I’m still kind of a man.”

“You’re most certainly a man, Mr. Punch.” Robert said, his voice hoarse.

“What this?” Punch said with considerable alarm as he looked at the baby. “He’s got wetness comin’ out his mouth! Did I break him?”

Adrienne chuckled, “No, not at all. He’s doing what babies do. They tend to drool a little.”

“I see.” Punch said. “Kinda messy things, then. ‘Spose he’ll get over it?”

“Yes, he will.” Cecil laughed.

“You got yourself a nice little people here.” Punch said to Adrienne. “Now, you talk to him, don’t ya?”

“Yes. Every day.” Cecil answered.

“Glad ta hear it.” Punch nodded.

“Well, then,” Adrienne said to the baby as she took him from Julian’s arms, “Fuller, say ‘good night’ to Uncle Punch.”

Punch’s eyes widened happily. “Uncle Punch?”

“Of course,” Adrienne said as she laid the baby down. “Robert is his uncle, and, now, so are you. And, when we meet Lord Fallbridge, he will be Fuller’s Uncle Julian. Our son is quite fortunate—in you, he has two uncles in one.”

“Never been uncle to nothin’ afore.” Punch coughed. “Only how’s he gonna say ‘good night’ to me when he don’t talk?”

“Give me your hand.” Adrienne said.

Punch offered Adrienne Julian’s hand.

“Hold out your finger.” Adrienne said as she guided Julian’s hand toward the baby. Fuller grabbed Julian’s finger in his tiny fist.

“Here!” Punch whooped. “He’s got a grip on him, then!”

“That’s his way of saying ‘good night.’”

Punch grinned, taking Julian’s finger back. “What do ya know? Sleep well, small people.”

Robert laughed. “What do you think of my nephew?”

“He’s me nephew, too. So, rightly, I think he’s a fine wee chap.”

“That he is.” Cecil laughed. “Now, I suppose you two men must be starved. Let’s retire to the dining room and take some sustenance.”

“That’s the way to do it.” Punch smiled. “Only what ‘bout Naasir? I ‘spose he’s hungry too what with being a human and all.”

“I’m sure Naasir has eaten with the rest of the servants.” Cecil answered.

“What? Can’t he eat with us?” Punch asked.

Cecil looked at Robert—confused.

“Our Mr. Punch doesn’t quite understand why people need to be separated because of their lot in life.” Robert said.

“Don’t make sense.” Mr. Punch shrugged. “But, long as he’s been fed, I ‘spose it’s all right.”

“I’m sure he has.” Adrienne answered.

“Interestin’ place, this is.” Punch continued as they walked downstairs. “Full a heads and babies and things to eat.”

“I’m pleased that you like it.” Cecil laughed.

“So, you made these men?” Punch asked. “Gave ‘em heads an’ all?” He pointed to the busts in the corridor.

“I did.” Cecil answered.

“Can you fix a head what’s been broken?” Punch asked.

“I imagine that I could, Mr. Punch.” Cecil nodded.

“Huh.” Punch grunted.

Adrienne, Robert, Cecil and Mr. Punch walked into the elegant dining room. Its walls were painted a deep coral color—brilliant against gleaming white moldings. In the center of the room hung a glimmering crystal chandelier with blazing candles. The long cherry wood table was set with fine crystal and china and the sideboard brimmed with peculiar foods the likes of which Punch had never seen, but the smell of which appealed to him.

“Coo.” Punch hooted. “Look at all that.”

Cecil pulled out Adrienne’s chair so that she could sit at her place at the head of the table. Upon sitting, she reached for the linen napkin to place it on her lap. As she did, something fluttered out of it.

Adrienne shrieked!

“What is it, my darling?” Cecil asked quickly.

Adrienne could not speak. Trembling she pointed to the thing on her lap.

A long, deep-purple feather lay across her fine gown.

“Dear God,” Cecil hissed. “That woman has been in my house.”



Did you miss Chapters 1-49?  If so, you can read them here.

Goal for the Day: Look to the Future

Some days, nothing seems to go right.  The Internet connection is down, you have to do battle with people to do their jobs, the shipment you expected is late, etc.  Even on our worst, days, however, you can always find something to look forward to.  No, none of us knows what the future holds.  And, there’s a lot that’s coming that is out of our control.  But, what we can control is the way in which we look forward. 
Present your best face to the world, confident that you can handle anything that comes your way.  Yes, the future holds great mystery.  However, it also holds great triumph and joy.  Even if what’s ahead of you is something you didn’t plan for, you still always have the chance to make it something grand.

Object of the Day: A Rose Cut Diamond Stickpin

The rose cut diamond is rarely seen anymore outside of antique jewelry. However, this early diamond cut has been used since the Sixteenth Century. A rose cut diamond is so named because of its resemblance to a rosebud.


Looking at a modern brilliant cut diamond, you can see that the stone has a long pointed part underneath. This is called the pavilion which ends in a point called a cullet. The top part of the diamond—which shows in the setting—is called the crown. In a rose cut diamond, there is no pavilion. The stone is flat on the back and is usually set in a mounting lined with silver foil. The silver foil served to reflect light through the stone. Remember, these stones were popular during an era when evenings were lit by candles. A foil back on the stone caught candlelight and reflected it beautifully. The crown of the rose cut diamond is formed of triangular facets which rise to a central point.

This rose cut diamond stickpin dates to the early 1800’s. It is English in origin. We can tell this because the stone is set in 15 karat gold—a British standard. This pin would have secured a gentleman’s cravat or scarf—adding an elegant shimmer at a special event. Diamonds were the stuff of evenings. To wear a diamond during the day was considered gauche. Thankfully, that little social rule has changed.