Humanitarian of the Week: Mary Tyler Moore

Whether you think of her as Mary Richards, Laura Petrie or, even, murderess Sante Kimes, you have a mental picture of Mary Tyler Moore. She was the girl in the Capri pants who danced with Dick Van Dyke and sobbed, “Oh, Rob.” She was the young woman who could turn the world on with her smile. She had spunk! She still does.

Aside from her well-known acting career, Mary Tyler Moore has made her life’s work helping other people, and giving aid to animals in need. As the International Chairman for the Juvenile Diabetes Research Foundation International, Mary Tyler more has tirelessly worked to raise funds for and awareness of Diabetes Mellitus, Type I—a condition with which she was diagnosed as a young woman. In 2007, the JDRF created the “Forever Moore” program in her honor. This program is a research initiative which strives to turn research findings into useable treatments for Type I Diabetes.

A long-time animal lover, Moore is a firm believer in pet adoption. Along with friend, Bernadette Peters, she founded Broadway Barks to help find homes for rescued dogs. This is just one piece of Moore’s life-long fight for animal rights.


The Conrad Shindler House in 1880 and today.
Shepherd University

Moore is also a supporter of historical causes. Named for her father, a Civil War enthusiast, The George Tyler Moore Center for the Study of the Civil War was made possible by a generous donation from Mary Tyler Moore to Shepherd University. Moore funded the purchase and renovation of the Conrad Shindler House (built in 1795 and named for Moore’s great-great-great grandfather who once owned the property.) The house had been used as Stonewall Jackson’s headquarters at the start of the American Civil War.

Not only has Mary Tyler Moore brought legendary moments of entertainment into our homes and our lives, but she has actively worked to maintain the health and dignity of many people and animals as well as preserve an important part of American history. For this reason, Mary Tyler Moore is our “Humanitarian of the Week.”

Remember, you can still submit your nominations for “Humanitarian of the Year” throughout November.

Film of the Week: “I Remember Mama,” 1948

Irene Dunne

Directed by George Stevens in 1948, I Remember Mama was based on the successful Broadway play of the same name. The original play, produced by Rogers and Hammerstein and written by John Van Druten, ran for over seven hundred performances starting in 1944. The original cast of the play included Marlon Brando in his Broadway debut.


Director George Stevens wished to maintain the feel of the original play with his screen adaptation of the story which centered on a family of Norweigan immigrants living in San Francisco in 1910. Stevens also wished to preserve the sense of warmth and familial love which was such an integral part of the book which inspired the play—Mama’s Bank Account by Kathryn Forbes.

The central character in the story—“Mama” or Marta Hanson—was originally played by Mady Christians on the stage. For his film, Stevens wished to cast a big-name star and asked Greta Garbo if she would be interested in the part. When Garbo declined—stating that she would not play a maternal figure—Irene Dunne was offered the part. Dunne, despite being fifty years old, didn’t look as if she could be the mother of almost-adult children. Special makeup was applied to make Dunne appear to be her age.

Barbara Bel Geddes

The film is told from the point of view of Katrin Hanson (Barbara Bel Geddes) who recalls important moments in her family’s history as she finishes work on her first novel. The story that unfolds is one of strength and bravery as the family bands together to weather events both mundane and tragic. It’s a tale of the every-day, but also an account of the harsh realities of life in the early Twentieth Century.

Stevens’ even-handed direction avoids over-sentimentality, but still maintains the sweetness of the story. He doesn’t shy away from the unglamorous sides of life, but doesn’t present them as overtly ugly either. Of the cast which also includes Ellen Corby, Philip Dorn and Oskar Homolka (reprising his role from the stage play), the stand-outs are really Dunne and Bel Geddes. Irene Dunne, well-known for her comedic roles, delivers a touching and believable performance as “Mama.” Meanwhile, Bel Geddes convincingly ages from a girl to a woman in such a way that it’s hard to believe the same actress is playing Katrin as a young girl and Katrin as a young woman.

Oska  Homolka

This film (and its source works) inspired a television program, Mama, which ran from 1949-1957 as well as a 1979 Broadway musical version starring Liv Ullman. It’s a thoroughly lovely film—true to life and a good reminder of the importance of family.






 
 
 

Punch's Cousin, Chapter 92

Barbara shoved Arthur against the cold brick wall.


“Why’d you want to do that, Pet?” Arthur smirked. “I’m here, ain’t I?”

“Twelve hours late!” Barbara spat. “And, what do you mean that we’ve had a change of plans?”

“I mean that we ain’t goin’ to New Orleans just yet.”

“Yes, we are.” Barbara said firmly. “I’ve promised Iolanthe. She’s expecting me!”

“She’s also expectin’ the diamond. Ain’t she?”

“She is.” Barbara narrowed her eyes. “And when I find it, I’ll give it to her—as promised.”

“How you gonna find it when you’re on your back in New Orleans?” Arthur laughed.

“I’ll come back here and look for it!” Barbara hissed. “You could help me, you know. Instead of carrying on with Ulrika, you could help me by finding the damn thing.”

“Tut, tut.” Arthur clucked his tongue. “Such language from a lady.”

“Listen, you. You’re my husband. We’re in this together.”

“That we are, Pet.” Arthur smiled. “And, I must say that I’m a little hurt that you don’t have more faith in your husband. Don’t you think I’ve been looking for that lovely diamond?”

“No.” Barbara frowned. “I think you’ve been with Ulrika.”

“And what would you say if I told you that I know where it is?”

“You lie. You couldn’t possibly.”

“But, I do.” Arthur winked. “I know exactly where it is. And, what’s more, I aim to get it. So, you just gotta be patient.”

“Patient!” Barbara growled. “What do you think I’ve been all this time? Now, tell me. Where is it?”

“Safe with Ulrika…” Arthur pointed up La Colline Cramoisie to the Rittenhouse Plantation which stood high upon the red hill. “Right there in that house.”

“How?” Barbara’s eyes widened.

“Don’t matter how.” Arthur spat. “Just matters that I know where it is and how to get it.”

“She told you? Ulrika told you that she has the diamond? Why? What does she want?”

“She thinks I’m under her spell, that one. She thinks I’m gonna do whatever it is she wants. Well, let her think it. Once, I get my hands on that rock, we’re off to our future—you and me!”

“What does she want you to do?” Barbara asked.

“Not much.” Arthur grinned. “Only make sure you and your barmy brother are kept forever quiet. But, see, what she don’t realize is that you and me—we’re the real partners. She don’t know that I’m foolin’ her.”

“Forever quiet?” Barbara’s eyes widened.

“Don’t worry, Pet.” Arthur smiled. “We’ve got help.”

Meanwhile at the Halifax house, Mr. Punch sat on the floor with baby Fuller on his lap and Toby curled up next to them.

“Look, little Chum,” Mr. Punch said—wide-eyed—look at all them candles and sparkly things in the tree. Ain’t it, somethin’!”

Fuller gurgled happily and slapped his tiny fists against Julian’s legs. Mr. Punch tried not to flinch. He didn’t mind that the burns still hurt. Holding the baby was worth it.

Adrienne swept past them and sat on the divan. Her shimmering green silk gown fluttered against the floor as she walked.

“I must say, I’m quite fortunate to be surrounded by all of these handsome men.” She smiled at her husband.

“You’re kind, my dear.” Cecil smiled. “My brother is the better looking of the two of us.”

“Oh, I don’t know.” Adrienne flirted with her husband. “I prefer a gentleman with a little more meat on his bones.”

“Cecil’s got plenty of meat on his bones.” Robert teased. “And more to come by the smell of that breakfast in there.”

“You could do with a little nourishment, little brother.” Cecil grinned.

Gamilla hurried into the room and cleared her throat. “Beggin’ your pardon, Mrs. Halifax.”

“Gamilla, you should be in the servant’s hall enjoying your Christmas morning. We can tend to ourselves.” Adrienne said sweetly.

“I will, Mrs. Halifax. I jus’ wanted you to know that I can’t find the silver trays nor the coffee set.”

“They must be in the sideboard.” Adrienne smiled.

“No, ma’am.” Gamilla shook her head. “We can’t find them anywhere. And, what’s more, Miss Allen is gone.”

“Miss Allen?” Cecil frowned.

“Barbara.” Gamilla nodded.

“Adrienne, I told you that if we let that woman stay on our property…” Cecil began.

“It’s quite all right, Gamilla.” Adrienne said, holding up her hand. “We’ll worry about it later.”

Gamilla hurried off.

“Adrienne…” Cecil began.

“If Barbara took our silver, we’ll buy more silver. She obviously needs it more than we do.”

“She’s Lady Fallbridge!” Cecil grumbled.

“We will not worry about it on our son’s first Christmas.” Adrienne interrupted him. “It’s also Mr. Punch’s first Christmas. Let’s not forget.”

Cecil took a deep breath. “Very well. However, we shall discuss this later.”

“I have no doubt of that.” Adrienne laughed. “Now, shall we get down to the business of exchanging gifts.”

“Here!” Mr. Punch whooped. “I’m for that.”

“Since Fuller has already received his gifts, I think it’s only proper that Mr. Punch should be the first.”

“Already got a gift, I did.” Mr. Punch beamed, showing off his stickpin.

“And it looks very good on you.” Cecil winked. “But, that’s from Robert. Adrienne and I have something quite special for you.”

From behind the piano, Cecil removed a brightly-colored box which, if it were not covered in festive paper, might have resembled a casket.

“That big thing is for me?” Mr. Punch asked.

“For you and you alone, my dear Punch.” Adrienne said happily. “Cecil and I have been working on it for days.”

Cecil set the box on the floor in front of Mr. Punch.

“Shall we open it, Fuller?” Punch asked the baby who clapped his hands.

Very carefully, Mr. Punch removed the top of the box and stared inside. Tears rose in his eyes.

“I…” Mr. Punch stammered. “I…can’t believe it.”



Did you miss Chapters 1-91? If so, you can read them here.

Goal for the Day: Collect Some Leaves

If you’re fortunate enough to live in an area which has actual seasons beyond just summer and winter, you may have the joy of seeing the leaves change color and fall to the ground in colorful piles of red, orange, brown, and yellow.  If you have access to these colorful castoffs, you might take a few moments to collect a few good specimens to use in your home as Fall décor.  Press the leaves in a book (between sheets of wax paper) to flatten and preserve their color.  You can use them as accents on tables, in arrangements or even line glass candleholders with them so that the light can flicker through the autumnal hues.  We can take a decorating cue from the Victorians and bring the outside in.  Sometimes what nature produces is more beautiful than anything humans can make. 

Object of the Day: A Victorian “Maple Leaf” Stickpin

The Victorian love of nature took many forms from bright gardens to organic designs in the decorative arts. Leaf designs were extremely popular. Prince Albert’s penchant for oak leaf patterns inspired not only an interest in the foliage of oaks, but also other native English trees.


This stickpin from the mid-Nineteenth-Century is testament to that particular Victorian taste. Here, we have a gold maple leaf, complete with stem, upon which a diamond has been set. If this concept seems familiar to you, I will confess that this stickpin was the inspiration for the gift that Robert gave to Mr. Punch in Chapter 91 of Punch’s Cousin.

Sculpture of the Week: The Nike of Samothrace, 190 BC

The Louvre

Also known as “Winged Victory” or “The Winged Victory of Samothrace,” this parian marble sculpture was created by an unknown Greek artist in 190 B.C. to commemorate a triumphant naval battle. Originally, it was mounted on a gray marble pedestal meant to resemble the prow of a ship. It is believed to have been placed in a niche in an open-air theater which overlooked a ship monument to Demetrius I Poliokretes.


Discovered in 1863 by French archaeologist Charles Champoiseau and brought to the Louvre for reassembly, the arms and head of the piece have never been found. However, art historians believe that her arms extended upward with one hand cupped around her mouth as she heralded her arrival from the Heavens. In 1950, one of her hands was found—missing its fingers. A ring finger and thumb in storage in an Austrian museum fit the piece and were reunited with the hand which is on display in a case next to the statue’s permanent and long-time home at the top of the Daru Staircase at the Louvre Museum.

Winged Victory Being Moved in 1939
The Louvre

The fine sculpting of the piece is often used as an example of the ideals of beauty so associated with Classical Greek art. This is a work that has inspired many artists in all genres and is one of the most beloved antiquities in the world. In 1939, with Europe embroiled in war, The Nike was removed from its perch on the Daru Staircase and taken to a safe location. The statue’s importance and the reverence of the French people were evident as the sculpture was carefully crated and lowered down the grand expanse of stairs.

After the war, it was returned to its place in the Louvre. Many copies of the sculpture exist. Architect Frank Lloyd Wright was fascinated by the organic beauty of the sculpture and often incorporated copies of it in his designs. The Winged Victory of Samothrace is often considered one of the most breathtaking sculptures ever made. Many feel that the piece is the embodiment of the feminine spirit. Others feel that it is a symbol of triumph. Regardless of any meaning assigned to it, no one can deny its supreme beauty.

Person of the Week: Yeardley Smith

Yeardley Smith

You may not immediately recognize her face, but if you’ve seen an episode of The Simpsons at some point over the last two decades, you’ll recognize her voice. Since Lisa Simpson’s beginnings as a character in short cartoon bumpers for The Tracey Ullman show in 1987, Yeardley Smith has been her voice. Originally, Miss Smith auditioned for the part of Bart Simpson. Her voice was deemed too high to play Bart—the part going to Nancy Cartright—however, Miss Smith’s comic timing and excellent delivery made her the perfect choice for Lisa. Little did she know, twenty-three years later, she’d still be speaking for the more level-headed and socially conscious member of the Simpson family of Springfield.

Of course, there’s more to Yeardley Smith than just her voice. Born in Paris, France, in 1964, Miss Smith moved to Washington, D.C., with her family when she was only two years old. After being graduated from drama school in 1982, Smith went to New York to pursue a career in acting, appearing with Jeremy Irons and Glenn Close in the Broadway production of The Real Thing. By 1985, she was working in films such as Heaven Help Us, The Legend of Billie Jean and Maximum Overdrive.

Lisa Simpson
Fox Television

Since working on The Simpsons, Smith has also pursued other projects including roles in television programs (Dharma and Greg, and Herman’s Head, for example) and other films such as City Slickers. Smith also launched a successful Off-Broadway, one-woman show entitled More which landed her very positive reviews. In 2009, she served as executive producer and star of the film Waiting for Ophelia.

Also a talented author and painter, Smith wrote and illustrated the children’s book, I, Lorelei which was published by Harper Collins in 2009. This multitalented woman has brought so much joy into our lives through her many endeavours. For this reason, Yeardley Smith is this week’s “Person of the Week.”

Don’t forget, there’s still time to submit your nominations for “Person of the Year.” Voting will begin in December.