1941-42 Conscientious Objectors and Draft Dodgers at War

I’d been all set to close out 1941, but Netflix foiled my plans with the dreaded “long wait” status. To accompany Gary Cooper’s Sergeant York, I received For Me and My Gal with Judy Garland and Gene Kelly. My peevishness at the presumably uncomplimentary pairing transformed into curiosity then utter delight, when I discovered that the two films possess numerous similarities. Both wartime pictures open on the year 1916 and follow the characters’ experiences through WWI. Both male leads attempt to dodge the draft, but ultimately find a way to serve their country. Both movies use the same kind of newspaper headline shots to convey the passage of time; both have heartfelt dedications (though to very different constituencies); both are based on true stories. I’ll stop now.

sergeant york

In an isolated Appalachian town, young York has made a name for himself as a good-for-nothing drunk. His mother asks the local preacher to talk some sense into the boy. The pastor makes some impression, but York’s aim to become a hardworking man is boosted by his sudden desire to impress a girl, Gracie Williams. Then York’s dream of buying his own farm falls through — the competing suitor for Gracie’s heart beat him to it. In a drunken rage, York sets out for murder. A bolt of lightning, however, disfigures his gun and in his astonishment he is drawn to church where he receives a warm welcome. It’s my favorite scene from the movie:

From that point forward, York becomes a mild-mannered man who spends his spare time teaching Sunday school. When news of the draft makes it to the town, York inquires about an exemption on account of his religious pacifism, but the draft board doesn’t spare him. In training, the obedient, thoughtful York distinguishes himself as a sharpshooter, who can reliably hit the bull’s eye (we get a preview of his skill in an earlier scene when the men of his hometown hold a shooting contest). Impressed by York’s convictions and humility, the major at the base takes him under his wing and helps him see that fighting for liberty is a moral cause. Soon after, York arrives in France and, in a battle where the Germans have the higher ground, he beats the unbeatable odds. The seemingly ordinary York picks off Germans like turkeys and ends up taking over 130 prisoners. York’s bravery and clear-headed actions serve as a morale booster to other soldiers and upon returning home, he receives the highest awards from military and Congress. Finally, he arrives back in Tennessee and gets his girl and his farm.

Other notes:

Gary Cooper won the Oscar for Best Actor for his portrayal of York. He couldn’t convince me that he was a 20-something kid, but I’ll admit he rivals Jimmy Stewart for playing the best yokel-inspired citizen-Leader of the Boy Scouts. He gives an understated, but compelling performance and brings a quiet character to vivid life.

Sergeant York‘s running time exceeds 2 hours and I found the first half of the movie painfully slow. Though I enjoyed the setting in the Cumberland Mountains of Tennessee and the scenes of Appalachian life (one traveling salesman asks the locals, “How do you get up here?” “We were born here.”), York’s story seemed to go nowhere. Act 1 of the film, tracing his hooligan days to his finding religion, felt like a completely different movie from the riveting Act 2 when he is at war and faces off with the German machine-gunners. Perhaps that disconnect and sudden uptick in pace was a deliberate choice by director Howard Hawks.

Sergeant York absolutely succeeds in its mission to inspire whether you need to get your act in order or accept that you’ve been drafted into the army. It’s no All Quiet on the Western Front, but it doesn’t glorify war either: “Ma, what are they fighting for?” “I don’t rightly know.” Still, the movie greatly emphasizes York’s morality (he fights to save lives, not to kill) and the rewards he receives for his courage in battle.

Sergeant York was a spectacular success at the box office and became the highest grossing film of 1941. It remains one of the highest grossing films of all time when adjusted for inflation. It benefited from the attack on Pearl Harbor, which occurred while the film played in theaters. The film’s patriotic theme helped recruit soldiers; young men sometimes went directly from the movie theater to military enlistment offices. (Wikipedia)

Sergeant York occupies a special place in time. Its story looks back 23 years to WWI, but the movie’s message is firmly rooted in the present. Glorifying the past is always a temptation, but I find something touching about this film and its role in rallying the nation together.

for me and my gal

For Me and My Gal (henceforth FMAMG) premiered in October 1942. In contrast to Sergeant York, FMAMG tried to inspire whoever was left at home to go to the movies to do something to help the war effort. The cut I watched even ended with a plea to buy war bonds.

The male lead, Harry Palmer (Gene Kelly), isn’t a soldier. He’s an arrogant Vaudeville performer desperate for a break. When the draft stands in the way of his act’s performance at the Palace (the ultimate goal for a Vaudevillian), Harry breaks his hand to postpone being called up. However, he ends up permanently damaging his hand, which permanently exempts him from service. His short-sighted opportunism costs him his love and dance partner, Jo Hayden (Judy Garland), who made a deal with him that after they performed at the Palace they would get married.

Harry sets off on a quest to find a way to contribute to the war effort so that he can forgive himself and perhaps ask Jo to forgive him. Unbeknownst to each other, they both become  members of the entertainment corps. They run into each other in France, but Jo has to get on stage before she can fully express her feelings. They finally reconnect in an affecting recognition scene back in New York. Jo is performing at the Palace, sees Harry, and brings him on stage. Finally, they’re on stage together at the Palace . . . and “the bells are ringing for me and my gal.” Get out your hankies (I had to).

I’m always looking for reasons why non-musical lovers should exercise their suspension of disbelief and enjoy this American art form. FMAMG all too conveniently solves most of its conflicts, but its musical numbers should be innocuous to even the most staunch realist. Like many early movie musicals, the numbers are safely couched in a realistic context (on a stage or at a rehearsal). Also, FMAMG attempts historical accuracy by framing the movie as  an ode to Vaudeville. It provides a sample of the acts one might have seen on the circuit and gives the audience a behind-the-scenes look at the performers’ lives. It helps too that Judy Garland and Gene Kelly are strong, versatile actors, along with George Murphy, who plays Jo’s best friend. Personally, I was surprised that FMAMG, though no Shakespeare, was a step above the typical musical fluff.

Speaking on behalf of the hardcore musical lovers, I’ll say that I watched this movie to see Gene Kelly’s screen debut at age 29. He and Judy Garland (who seems impossibly mature for a 19-year-old) pair well together and I didn’t know how much tapping she could do! Kelly’s signature ease and athleticism is already present, although he’s stuck doing straight-forward tapping here thanks to director Busby Berkeley. Only one short sequence seems to prototype the balletic interludes Kelly inserted into his own movies later on in his career. It concerns Harry Palmer’s one heroic encounter with the Germans, when he stops a caravan of ambulances from getting caught in a barrage. The scene is presentational, done in a kind of short-hand, but it manages to convey that Harry was able to regain some of his self-respect through his chance encounter on the battlefield.

I’ll forgo any conclusion and just provide another clip from the movie. Jo and Harry are relegated to playing the Palace . . . in Newark. They make the most of it.

New Project–Cash Light with Uke

For a while I’ve been thinking about making music recordings and posting them here to help me track what I’m working on and what I like playing. Occasionally I’ll hear something that I’m desperate to sing even if it’s not suited to my voice or limited ukulele abilities. I heard Johnny Cash’s American Recordings recently, loved it, and found that these folky songs stood out to me. I recorded all three with my phone.

“Thirteen” (Glenn Danzig), voice

“Tennessee Stud” (Jimmy Driftwood), voice and ukulele

“Let the Train Blow the Whistle” (Johnny Cash), voice and ukulele

1941 In the Business

I ponder the men behind mass media.

sullivan’s travels

Sullivan’s Travels takes an ancient, comedic conceit — that of a man concealing himself as a member of another class — and cleverly employs a contemporary setting both to poke fun at the film industry and to celebrate popular entertainment. The movie follows successful director John Sullivan (Joel McCrea), who wants to make a social drama, and decides he must understand hardship first. He tries to be a hobo and vagrant, but as an asset to the studio, the executives send a bus full of reporters and medics to trail him (Sullivan tries to shake them in this hysterical scene). Sullivan finds a fellow wandering spirit in an unemployed actress (Veronica Lake) looking to leave Hollywood. They travel across the country in empty rail cars, sleep in shanty towns, and find food and respite in crowded missions. At the end of the trip, Sullivan goes out one night to pass out money freely to panhandlers and homeless; however, he gets into more trouble than he was looking for. He is mugged, receives a blow to the head, and ends up in a prison camp. Sullivan’s memory slowly returns to him and he concocts a plan to get his face into the newspapers. He’s recognized and reunited with all his Hollywood buddies.

Sullivan’s idea that he can learn something about hardship by slumming it for a few weeks is offensive, absurd, but also very funny. In the end he realizes that instead of trying to study the sorrows of the working man, he should stick to comedies — the only source of diversion or joy for some men, like his former inmates.

Plenty of movies explore class, but I can’t think of another film that so exposes the safety net for the rich and famous. Unlike the Joad family in The Grapes of Wrath, Sullivan can always be saved from his transiency. When he gets sick during his trip, the studio steps in and makes sure he rests up and gets health care before returning to the road. As a celebrity, he could be recognized in the newspapers and rescued by the studio, while other innocent men might have been languishing in the chain gang. More alarming, however, is Sullivan’s entitlement when he finally gets himself into serious trouble: “They don’t sentence picture directors to a place like this!” It’s a chilling reminder of how one’s status changes one’s expectations, and people can never really trade places if a deus ex machina, like Sullivan’s protective studio, always stands in the wings.

Sullivan’s Travels entertains thoroughly by being part screwball comedy and part philosophical drama. It also provides a slice of Americana preserved in Woody Guthrie songs and in John Steinbeck novels — a life of being on the move and relying on the network of truck stops, camps, and missions until you find where home is. Joel McCrea and Veronica Lake are perfect in their roles. I found Lake riveting and so natural. They capture and represent so many American fantasies: life on the open road, escape and anonymity from ordinary home life and work, the desire to move blindly and begin life anew. Rich and poor alike, we’re people on the move.

Here’s a scene with Sullivan and the girl after they first meet. Sullivan has “stolen” his own car so they can get out of Hollywood a little faster. The plan backfires.

citizen kane

Even before starting this project, I’ve had an interest in old movies. I did my time at Hollywood Video and tried to get the people of Baltimore’s suburbs to watch Harold and MaudeJoan of ArcMetropolisSinging in the Rain with little success. When I wasn’t sick of looking at DVD cases, I might rent a classic to keep expanding my repertoire of films which I could recommend and receive a blank stare. I’d heard all the fuss about Citizen Kane and rented it at some point while I was in college. “That’s it?!” I remember thinking. The raving seemed overblown.

On a second viewing and within the context of this project, Citizen Kane is like nothing I’ve ever seen before, though I have indeed seen it before. Now I’m interested in all the big questions lurking behind the deceptively simple story about a media mogul whose dying breath, “Rosebud,” sparks a frenzy. “Who was Rosebud?” every reporter is desperate to know. Curiosity about Rosebud masks the more important question:  ”Who was Kane?” Who was this man who stoked the national appetite for a 24-hour news cycle? Another stereotypically financially successful, but morally bankrupt man who “wanted love, but didn’t have any to give”? As the movie progressed I started wondering more generally: how does success and wealth change a person’s values? and when someone dies, how we do understand and construct the person’s life and legacy?

Orson Welles delivers not only as a compelling, charismatic actor (along with his fellow Mercury Theater players), but also as a masterful storyteller. Citizen Kane seems the equivalent of a needlepoint sampler. Welles tries his hand at suspense, comedy, drama, even a musical number. He dabbles in the vocabulary of other motion pictures styles, like the news reel. He casts off a traditional linear plot and instead jumps through time and different character’s perspectives to give us a patchwork of recollections about Kane. Then there’s the cinematography. As when I watched Jean Renoir’s Rules of the Game, I felt hyper-aware of the fact that I was seeing the movie through a camera lens. I love how Welles and his cinematographer move the viewer through space — through walls and light wells, for example. In short, the untraditional narrative and aesthetics made Citizen Kane a game-changer that revealed the creative potential of film. 

Here’s the trailer:

Spring Rambles

Spring! What better time to pay homage to band leader John Philip Sousa.

I found Sousa in Washington’s Historic Congressional Cemetery.

One of the more unusual characteristics of the cemetery: the numerous cenotaphs for congressmen buried elsewhere.

Another excursion led me to Patapsco Valley State Park near Ellicott City, Maryland.

We walked through the Daniels area to see abandoned buildings,

fun lichen, and

a hubcap.

Most recently I visited Kenilworth Aquatic Gardens along the Anacostia River in DC.

It turned out to be a large, peaceful park with lots of opportunities for seeing wildlife.

Well, hey there, Mr. Speedy.

We got a picture of the skink, but of not the sunbathing snake.

Then, John and our friend Aaron realized their untapped potential…

as the goose paparazzi.

All ended happily.

1940-1941 Not the Marrying Kind

I determine that Johnnie Asgarth, the Wolf Man, Sam Spade, and Little John Sarto are not eligible bachelors.

suspicion

Fun fact: Joan Fontaine is the sister of Olivia de Havilland.

Like Rebecca, Hitchcock’s Suspicion had me talking to the movie out loud as I watched demure Lina (Joan Fontaine) fall for Johnnie Asgarth (Cary Grant), a compulsive liar and an incorrigible joker. Once again, a naive woman was marrying a secretive man, which spells T-r-o-u-b-l-e. How could Lina marry a someone whose nickname for her is “monkey face”?! Was she suddenly interested in Johnnie only because she overheard her parents refer to her by dreaded s-word (“spinster”)? And why is Johnnie obsessed with spending money and living large? When Lina’s parents give them museum-quality antique chairs, Johnnie sells them! Sure, he buys them back, but only after breaking Lina’s heart. When she learns that he lost his job for embezzlement, she loses her trust in him entirely. Her discomfort escalates after Johnnie’s close friend, the loveable Beaky, dies suddenly. Then, when Johnnie begs to know the name of an untraceable poison (the topic comes up at a dinner party), Lina fears for her own life. She decides to go to her mother’s, but Johnnie insists on driving her. Speeding along the coastal highway, her car door whips open and she screams when he reaches over to pull her back in. Out of frustration, Johnnie stops the car and admits that he’s out of options for finding the money to pay his debts. Lina suddenly understands that her suspicions were unfounded and that Johnnie was desperately broke and miserable. Instead of repeating her usual “Why didn’t you tell me?”, she demands “You can’t shut me out.” They ride off into the sunset to face their money troubles together.

When I watched Gone with the Wind, I got to thinking about all the unsuccessful relationships captured in movies. Rebecca and Suspicion would go on my hypothetical syllabus (“How Not to Conduct a Relationship 101″) too. They offer the same lesson:  be open with your life partner. I hope Lina and Johnnie embarked on a new chapter in their life, but I wasn’t left with a good feeling. Such a sensible young woman couldn’t have crumbled into a terrified, defensive nut without some rightful cause; I refuse to write her off as another “hysterical” woman.  

the wolf man

The best things about Universal’s monster flicks? They’re short, not very scary, and mostly entertaining. Lon Chaney Jr. stars as Larry Talbot, a young man returning to his father’s estate after 18 years now that he is the heir (his older brother died in a hunting accident). He goes with friends to get their fortunes told by the local gypsies (Bela Lugosi and Maria Ouspenskaya), but ends up getting first hand exposure to a creature of local legend: the werewolf. Chaney devolves from a chipper, friendly man into a schizophrenic, frightened of himself. Claude Rains co-stars as Chaney’s stern, rationale father, whose total disbelief in the fantastic or mystic drives him to commit a horribly tragic act. Ralph Bellamy fills out the cast as a dumb-witted rancher — I mean, local police chief.

Though not nearly as epic as Frankenstein or as ridiculous as DraculaWolf Man provides a satisfactory introduction to werewolfism and sets up for future appearances of this spectacularly hairy monster. The movie’s tragic ending could have come straight out of a Greek play. Fate punishes Sir Talbot severely for discounting the local folklore. He doesn’t balance his rationalism with due respect for the supernatural, not unlike Hippolytus, who becomes the object of Aphrodite’s vengeance for his supreme devotion to the virginal Artemis, or Pentheus, who prohibits the worship of Dionysus and ends up ripped to shreds by a group of bacchants. Now let that be a lesson to you!

the maltese falcon

I really wanted to like The Maltese Falcon and I’d even prepared by reading the book. Falcon has a perfect score on Rotten Tomatoes – not one dissenter — so I can’t help but think I must be deficient for feeling that the film left me flat. Sure, I can appreciate director John Huston’s style — his shadows, clever camera angles (Gutman vis-a-vis his gut), his fascination with Humphrey Bogart, in great form as the swaggering detective Sam Spade. Furthermore, his film follows Dashiell Hammett’s novel quite closely and does an admirable job of telling the complicated story in a short movie.

My source of my unease and curled nose stems from the interpretation of the characters. I wanted pulpy low-lifes and plunging necklines, an artful B-movie. The benevolent regalness of Sydney Greenstreet and the aristocratic primness and pout of Mary Astor felt off to me and even dear Peter Lorre seemed too ridiculous as the wormy Cairo. The movie might have played better as a farce. The over-the-top characters of a pulp detective novel once on screen seemed pathetic and laughable — total buffoons. In the book, they still made the same mistakes, but the gang after the falcon held some mystery and fearsome dignity. Worst of all, however, the lack of chemistry between Bogart and Astor ruined one of the best aspects of the book. The sexual tension between Spade and O’Shaughnessy — the idea that they have each met their match — makes the book so much fun and adds to the suspense (along with Spade’s incessant womanizing. What is going on with Spade and his secretary? The movie doesn’t offer much of an answer.). Astor, generally a lovely actress, is as much femme fatale as I am raging carnivore.

My conclusion, then: Bogart brings plenty of badass, but the other actors don’t deliver nearly enough sauce and two-bit crookery to make the movie the devilish good fun it deserves to be.

brother orchid

For extra credit, I watched Brother Orchid, starring Edward G. Robinson with Humphrey Bogart in a supporting role as a rival gangster. Ralph Bellamy plays — what else? — a dumb-witted rancher and Ann Sothern is hysterical as Robinson’s dippy girlfriend. Robinson gives an excellent performance as a self-centered gangster who finds peace and redemption at — where else? — a monastery. When you’ve lost your faith in humanity, watch this movie to regain it.

1940 The Legacy of Douglas Fairbanks

I watch Errol Flynn, heir to the swashbuckling throne, in The Sea Hawk, as well as The Thief of Baghdad, a remake of the earlier silent feature starring Douglas Fairbanks. I had also planned to watch The Mask of Zorro, but Netflix has told me for sometime now that there would be a “very long wait” so I’ve given up.

the sea hawk

British privateer Captain Thorpe (Flynn) realizes his patriotic spirit in capturing Spanish ships in this political thriller cum action movie set a few years before the Armada. Thorpe’s unsanctioned actions get him into trouble and his foiled ambush of Spanish troops in Panama leads to his capture. He and his crew become Spanish galley slaves, but the unbeatable and resourceful Thorpe finds his way back to England with the documents to  prove to his Queen (Flora Robson) that Spain plans to attack and that diplomacy is no longer an option.

I thought the Sea Hawk rather sophisticated in its attempt to combine politics, action, and a touch of cross-cultural romance. In the end it wasn’t nearly as much fun as the pure delight of Robin Hood. It’s impossible not to compare the two movies since at least four of the same performers appear in each: Errol Flynn, Alan Hale (forever a sidekick), my favorite character actress Una O’Connor, always a lady’s maid, and Claude Rains as the big meanie. Errol Flynn again plays a principled “outlaw” and gets to show off his sword-fighting skills. To John’s disappointment, Olivia de Haviland did not co-star as the love interest.

Still, on the lookout as I always am for strong women in film, I greatly enjoyed the appearance of Queen Elizabeth. The film cleverly compares Captain Thorpe and the Queen, both of whom must conceal their personal thoughts and natural fun-loving devilishness in order to maintain authority. The Queen and Thorpe consider themselves intellectual equals  and I appreciated seeing such a respectful friendship (but not so stuffy that Thorpe couldn’t give the Queen a monkey).

We have no quarrel with the people of Spain or of any other country; but when the ruthless ambition of a man threatens to engulf the world, it becomes the solemn obligation of all free men to affirm that the earth belongs not to any one man, but to all men, and that freedom is the deed and title to the soil on which we exist.

The Queen’s powerful speech concludes the movie as she sends the new British navy to meet Philip’s armada. Wikipedia explains that the speech “was meant to inspire the viewing British audience, which was already in the grip of the Second World War.”

I have two favorites scenes which show the camaraderie of Thorpe and his men. When they first leave the jungles of Panama to head back to their ship, they are so happy to be in the sea as opposed to the swamp. They are men in their element and seeing their joy at being sailors at sea again touched me. In another scene, after Thorpe and the remaining crew are galley slaves, I found their determined escape from their bonds exciting and moving. When all the ragged men run out of the ship’s depths and attack the officers on duty on deck, I celebrated their retribution. I couldn’t find these clips online, but there’s a tribute by a YouTuber. It’s much better than the film’s trailer.

the thief of bagdad

The point of Bagdad is to delight and entertain, which it does with its state of the art (for 1940) special effects, fantastic characters, and complex sets. The story combines adventure, romance, and a little comedy as the deposed prince Ahmad tries to find his true love, the princess of Basra with the help of Abu, an impish guttersnipe. Unfortunately, the evil magician Jafar has his eyes on the princess too.

I was seven or eight when Disney’s Aladdin came out. I see now that the animators copied the likenesses of Jafar, Abu, and the Sultan directly from Bagdad. I don’t think it was fair to render Sabu as a monkey. As “Abu the thief. Son of Abu the thief. Grandson of Abu the thief”, he possesses a vitality and natural athleticism that makes him fun to watch. Rex Ingram as Djinn the genie brings a mountain-shaking laugh. I have a hard time believing that Bagdad came out in 1940. The colors are so rich and vibrant and the film’s love interest, the princess (June Duprez), looks like a 1950s pin up girl.

Bagdad strays toward campy and that’s why it’s so fun. For example, I love the dialogue between Ahmad and the Princess when they first meet (thank you IMDB):

Princess: Who are you?
Ahmad: Your slave.
Princess: Where have you come from?
Ahmad: From the other side of time, to find you.
Princess: How long have you been searching?
Ahmad: Since time began.
Princess: Now that you’ve found me, how long will you stay?
Ahmad: To the end of time.
Ahmad: For me, there can be no more beauty in the world, than yours.
Princess: For me, there can be no more pleasure in the world, than to please you.

The best way to get a taste of the movie is to watch the trailer on the Criterion Collection website. Enjoy!

Dense Fabric

Near the High Line in Chelsea

After two years, John and I were due for a visit to New York City. The more I travel the more I appreciate NYC as a cultural and fashion mecca. I’ve never been to the megalopolises of Asia, but New York seems to me the ultimate city. We spent four solid days there this time with two nights in Midtown and two nights in Brooklyn.

{Saturday}

Chelsea Walk

After checking our bags at Penn Station, we ate lunch at Sullivan Street Bakery to experience their pillowy, yet crusty bread. John enjoyed the Cuban sandwich and I was pleasantly surprised by the room temperature “cavolfiore” pizze with cauliflower, olives, hot peppers, and  Parmesan.

Open space along the High Line includes this amphitheater-like seating area, cafe seating, and areas for lounging on oversized wooden chairs

We found a staircase to the sun-drenched High Line easily. The elevated park offers inviting spaces for relaxation, engaging sculpture, and gorgeous views of the surrounding neighborhood. May this wonderful example of clever city-scaping be a lesson to urban planners!

After exiting the High Line, I consulted my map for other points of interest in Chelsea. First stop: the British mini-mart, Myers of Keswick. Although I didn’t buy anything, I’m comforted by the fact that I can find Cornish pasties this side of the Atlantic.

The Chelsea Market‘s narrow walkways bustled with shoppers and, packed in with my fellow foodies, I felt overwhelmed by the number of shops and restaurants. I’d love to go back when it is not a Saturday afternoon and when I have a ravenous appetite.

To console our disappointment in learning that the Hotel Chelsea is under renovation, John and I went next door to El Quijote. Little seems to have changed since this restaurant/bar opened in 1930. We reveled in being the youngest couple there and entertained ourselves by identifying the easy listening instrumentals (I heard “Alfie”).

As we continued north to go back to Penn Station, we took a detour to the antiques flea market in a garage on W. 25th Street. In one booth, we saw some amazing printed art books from the 1920-40s. The George Gershwin Songbook with illustrations by Alajalov was tempting, but we refrained. Across the street from the market, we visited a vintage store with some beautiful pieces.

We returned to Penn Station, got our bags, and walked ten blocks north to the Royalton Hotel, across from the Algonquin. (Unfortunately, the hotel has a very silly website featuring a large picture of a woman’s legs. It’s much better to look at the Visa Signature Hotels page for it.) I rested my feet for a short time before hustling down to Murray’s Cheese in Greenwich Village so we could have grilled cheese sandwiches before the 6pm cut off.

Greenwich Village Crawl

The subway got us down to the village quickly. Murray’s is a cheesy paradise and offers plenty of other tasty treats. While we waited for our sandwiches, we looked at the catering menus and catalogs. On a bench outside, we ate the gooey, satisfying melts, which had a little tomato and pesto as well. Next time I would like to attend one of Murray’s classes, which typically focus on how to pair beer or wine or cider with cheese.

Sated and stuffed, I led John to the Market NYC, which features crafts and clothing by local artists. I bought a flapper-esque hat and earrings made from old tin signs. Woo! I also went to McNulty’s Tea and Coffee to look for varieties of Japanese green tea. McNulty’s has a delightful, old-fashioned atmosphere. The tea is not self-service and I had help from a young man who helped me find bancha tea, a green tea varietal I’d never heard of before. Turns out, it is quite tasty.

In search of jazz with no cover charge, we stopped for drinks at the laid back Arthur’s Tavern, festively decorated for every possible holiday. John and I had fun talking to the Macedonian bartender and analyzing the trio which played original compositions by the Japanese pianist leading the group.

Our long day caught up to us, so we headed to the hotel for a night cap. The dark, warm lobby has a sleek fireplace and comfy chairs — a perfect place to relax.

{Sunday}

Museuming

The Cloisters overlooks the Hudson River

Each time we visit New York we have gone to a different museum. Early on Sunday morning we rode the A train to the very last stop to see the Cloisters, an extension of the Metropolitan focusing on Medieval and Renaissance art. We loved the museum for its fantastic objects and its atmospheric presentation. Every museum should have outdoor spaces, fountains, and living plants (these were all in the reassembled period cloisters). With only 20 rooms and a clearly guided route that took us through the museum chronologically, we exited feeling refreshed and energized by the experience rather than overwhelmed and exhausted. Highlights included the exquisite sculpture “Standing Virgin and Child” and the famous unicorn tapestries.

The imposing Cloisters

We walked through the park surrounding  the Cloisters and left by a different subway station. Sometime later we re-emerged at 86th Street and walked across Central Park while eating super salty pretzels.

Once on the east side, we walked to the Neue Galerie, which features Austrian and German art. This small museum contains exquisite paintings and drawings by Gustav Klimt and fantastic work by German Expressionists. I don’t think I’ll ever forget the dimly lit room housing faint pencil drawings by Klimt of gorgeous, sensual women, who upon close inspection — one had to follow the lines of the figures’ arms and hands — turned out to be masturbating!

All the stimulation couldn’t suppress the rising hunger for lunch. We happened upon a Dean and Deluca, got sandwiches, and ate them in Central Park.

Class Consciousness

After lunch and a good sit on a park bench, we started walking along Madison and later 5th Avenue. John and I discovered our differing approaches to high end shopping. He has no fear and can touch a $2,000 dress without qualms. I am afraid to go into any such shops  where I feel I do not belong (some kind of inferiority complex here). Also, I don’t want to draw any attention from the hawkish salespeople (although others were quite friendly even though there was no way we could buy anything). As a non-serious buyer, I don’t want to waste people’s time, although John and I can be rather entertaining. In Barney’s, he picked up a pair of sunglasses which resulted in a cartoonish encounter with the salesman who said “Hellooo?!” as he stuck in face into John’s. Saks Fifth Avenue provided us more freedom to wander at will and I viewed the women’s department as a kind of fashion museum (like seeing the first ladies’ dresses at the Smithsonian). Later on, we peeked through the windows of Bauman Rare Books and John checked out Hickey Freeman suits. We finally compromised that if I refused to go into shops, I would at least keep a list of designers to look up online, free from social anxieties, at home.

We had walked some 40 blocks so we returned to the hotel to rest before getting ready for a big evening out!

A New Tradition

We took the subway downtown and arrived at the Flatiron Lounge for pre-dinner drinks. We had the art deco bar almost entirely to ourselves and talked with the friendly bartender who convinced us to try the cocktail flight of the night:  three mini-drinks with sherry. I discovered a new personal favorite — sherry cobbler — with sherry, simple syrup, and fresh fruit.

Whereas I have anxieties about fancy clothing stores, John got a little nervous about our dinner date at Gramercy Tavern. However, we couldn’t have had a better experience or better food. We had planned for this foodie splurge and tried the vegetable tasting menu. We tried a new (to us) white wine, an Austrian gruner veltliner, which was delicious on its own and accompanied the parade of courses spectacularly. Five savory courses featuring kale and cabbage, brussels sprouts, vegetable salad with farro, curried squash, and finally mushrooms, celery root (the new “it” vegetable), and polenta preceded a dessert bonanza! Dessert part 1, a mango panna cotta, cleansed our palates for part 2, a coconut chocolate cake with divine butter pecan ice cream. And then! came an assortment of gorgeous chocolates. And then! after we paid the bill came the little goody bags — a mini-coffee cake for each of us to have the next morning at breakfast. We felt truly pampered by the waitstaff who were kind enough to laugh at John’s question “What is the record for napkin dropping” (since he had done it twice without realizing and newly folded napkins would appear for him like magic), but professional enough not to answer it.

Despite being dressed up, we were so close to Forbidden Planet comics that we stopped there after dinner. Then, because it was a beautiful night, we took the subway uptown to the Kimberly Hotel’s Upstairs bar on the 30th-something floor. The view was lovely, especially because we were in the midst of the skyscrapers and not looking down on them. I’d love to go back to this totally chill spot in the summer when the bar isn’t glassed in.

Though I was wearing heels and my feet were killing me, we both felt a sudden urge to go to the Empire State Building. We took a taxi the 6 blocks to the hotel, so we could quickly change. By 11:30pm, we were on the 86th floor:

There’s something intoxicating and lovely about eating an amazing meal and then visiting romantic high places.

{Monday}

Trinity Church cemetery

The Seekers

We slept in on gloomy Monday morning, ate our mini-coffee cakes, checked out of our room (goodbye amazing shower!), and left our bags at the hotel before going downtown. In the cold and mild drizzle, we visited the cemetery of Trinity Church where we found a delightful assortment of spooky gravestones.

We walked by elegant City Hall and decided we needed a second breakfast/early lunch as the rain picked up. At Andy’s Deli on Broadway we found warmth and delicious sandwiches.

Another great stone at Trinity

We took the subway a few stops north and spent a good while in foodie heaven at Eataly. Since we didn’t want to go back out in the cold just yet, we scoured every corner of the shop and came out with an assortment of chocolates, meats, dried pastas, and a loaf of seeded semolina. The bonet-flavored (amaretto and cocoa) “pralines” by Bodrato are quite possibly the most divine mass-produced confections John and I have ever had. I wish I had bought bags of the other flavors!

The weather improved slightly so we walked around the Flatiron District toward Chelsea and stopped at a few vintage stores. After a short time we took the subway uptown near the hotel and looked for the AXA Equitable Tower on 6th Avenue, where we had hoped to find a Thomas Hart Benton mural, but it had been moved in December to the Met.

Before picking up our bags, we had lunch at the Long Room, a friendly Irish pub in Midtown with an awesome draft selection and to John’s delight, buffalo bangers and mash! Each month the pub features a different brewery. John tried Sixpoint‘s Belgian farmhouse ale and the next day while eating lunch at a different place I tried Sixpoint’s Diesel, a rich stout.

Brooklyn Bound

Alexander Hamilton is the most famous resident of the Trinity Church cemetery. The church museum offers this irresistible photo opp.

With our luggage we got on the F train for a long ride to Brooklyn. At three o’clock we arrived at the doorstep of John’s cousin and lounged around the rest of the afternoon.

When hunger struck, we walked to Hamilton’s, where we found comfort food (I had mac and cheese as well as a stellar kale salad with dried cranberries) and, surprisingly, Greek wine by the glass. I enjoyed my Nemean red. The restaurant’s folky soundtrack (perfect for a dreary Monday) got us talking about music straightaway.

{Tuesday}

A Very Long Walk

We didn’t set out to walk seven miles, but that’s what happened. It all started with a sunny morning on the Brooklyn Bridge.

John’s view to Manhattan

Lanah’s signature diagonal

Then we picked up where our self-guided cemetery walk left off on Monday. We visited the site of an African burial ground, now covered by a federal office building (290 Broadway). I enjoyed the informative exhibit, which incorporated archaeology and forensics. The guards were so fixated on getting us to go in to watch the exhibit’s 20-minute movie (which we didn’t), when they should have told us that there was more to the memorial behind the building outside (which we totally missed!).

In Chinatown, we saw one of the oldest Jewish cemeteries in North America: the small First Shearith Israel graveyard. A short distance away we found the Eldridge Street Synagogue, a gorgeous temple built in 1887. We entered the building at the basement level, but weren’t really sure where to go. John and I stumbled upon some kind of ritual or prayer service when we went upstairs to the sanctuary. In our befuddlement and embarrassment, we quickly left, so we didn’t see the interior.

We continued our wanderings north and slowly honed in on the Doughnut Plant, where we ate three light, tasty cake donuts and rested our feet. Then, we visited the Essex Street Market, bought a fruit cup, and enjoyed it in Tompkins Park. Throughout our trip we relied on the public toilets in the New York City parks. Tompkins, however, offers no stall doors in the men’s bathroom; even curiouser, the doors to the women’s were sawed off mid-thigh level, but there was still a working lock!

Toasted almond, lemon, and double chocolate

While in the East Village, I also got a hair cut at Whistle. I had never been to a salon where I was asked whether I would like water or something else to drink and Will gave me a fun, but professional cut that I have been able to style successfully at home! The fact that Whistle has two resident dogs made the experience even more awesome!

Lenin watches over us

Bolstered by my new ‘do, we continued window shopping through the village with stops at vintages stores, Trash and Vaudeville (who can forget a name like that?), and a few book stores. We also walked down streets just to gape at beautiful fire escapes. Around 3pm, we found ourselves near Cooper Union and saw the Barrel. The restaurant was nearly empty, but we found good food and relaxed while deciding what to do next.

We walked through NYU and over to Greenwich Village, where we stopped for a drink to rest again. John realized that our cash was running low and we thought that finding an ATM for our bank would be a fun adventure. Deceitful Google maps directed us to Wall Street so we began walking down 6th Avenue and eventually made it to Broadway. Our walk through SoHo yielded gasps from me at the sight of every 19th century Italianate (if I have my architecture correct) building:

Closer to Wall Street, we saw an incredible art deco government building:

We found an ATM, the one we were looking for didn’t exist, and we also discovered that there is a T. J. Maxx on Wall Street. Yes, there is. We saw it.

Totally wiped out, we heaved ourselves onto the subway back to Brooklyn.

Calling Eastern Europe

Visiting New York inevitably provides me an opportunity to get in touch with my mysterious Eastern European heritage. There’s no doubt I have a bit of Bohemian Czech, but there must be something else as well. Last time I stayed in Brooklyn I went to the Golden Fest; this time I persuaded John and his cousin to come with me to tiny Barbes to see Slavic Soul Party for their standing Tuesday-night gig. To our unexpected delight, they played Duke Ellington’s Far East Suite during their first set (I still need to listen to the original), before launching into their standard Balkan brass band party music for the second set.

The young crowd really knew how to squeeze in tight and after 90 minutes or so of having my spine misaligned and being jostled I was ready to go home, as much as I was enjoying the music. If there’s no room to dance, it’s just not as much fun. John and I hadn’t really had dinner, so we got late night pizza slices before riding the subway the few stops to home.

{Wednesday}

When I awoke my legs and feet refused to move. I spent the morning relaxing and doing stretches. At some point John and I went for a walk to Prospect Park in the hopes that light movement would get me limber again. Nope. We stopped in a mini-mart for Tylenol.

Around 1pm, we gathered our bags and got on the subway to Penn Station. We found a healthy lunch at Chickpea and ate in the Amtrak waiting area where there is plenty of good people watching to be had. By 3pm, we were settled in proper seats on the train and heading through the coastal marshes back home.

Now that I’m back home and have recovered from our invigorating escape, I’m looking toward our inevitable visit in the future (I can’t help myself!).

{Thoughts for Future Visits}

Murals: see Benton’s America Today in its new home; visit the King Cole Bar at the St. Regis Hotel to pay homage to Maxfield Parrish’s mural

More music: Joe’s Pub, Le Poisson Rouge, Smalls, Jazz Standard

Eastern European music in the East Village: Drom, Mehanata

More markets: Brooklyn flea, Hell’s Kitchen

House museum mania: Pieter Claesen Wyckoff House (1652), Morris-Jumel Mansion (1765), Dyckman Farmhouse (1785), Merchant’s House Museum (1832), Lower East Side Tenement Museum (1870s-1930s), the Frick (1913)

Other notes: Still need to go to the Guggenheim and to the New York Historical Society. I also need to pay a proper visit (i.e. not 10 minutes before closing time) to the NYPL. John’s interested in checking out the Society of Illustrators museum.