Every now and then, you run into people who have not seen The Shop Around the Corner. These men and women seem normal enough. They speak English, they wear clothes, they comb their hair. They may be walking the dog or looking for a pinot noir at a party, and they say, “What was that film you mentioned?” They’re good-natured about their ignorance, especially when you tell them the film is 71 years old and in black-and-white. There are people who reckon those conditions are beyond their range or pay level, like the famine in East Africa or the bubbling of the permafrost in Siberia.
So far the members of Congress who think the Treasury Secretary should go don't quite constitute a full-blown caucus, much less anything resembling a majority. But they're expressing their opinions with increasing passion. Early this month Democratic Senator Maria Cantwell confessed that she was "not sure" why Geithner still had his job given his too-soft treatment of Wall Street.
Yes! Steve Weisman over at The Peterson Institute posted a nice riff yesterday about James Stewart's recent New Yorker piece reconstructing the week Lehman collapsed. His (and Stewart's) conclusion? Hank Paulson screwed up massively: My takeaway is that while Lehman executives were oblivious to the warning signs over the imminent failure of their storied investment firm, Treasury Secretary Henry Paulson may have increased the odds of a Lehman collapse by taking a hard line opposing a government role in its rescue.
Well, no, there won't be any Airing of Grievances or Feats of Strength. But for anyone who might be in the vicinity of Easton, Maryland on Sunday night at 7 p.m., I'll be introducing the closing film of the Chesapeake Film Festival, After the Thin Man. The 1936 feature is the second of the Thin Man movies and, in addition to the inimitable chemistry (romantic and mixological) of leads William Powell and Myrna Loy, it offers a memorable early performance by one James Stewart.
Two for the Road and Accident—very chic, clever, skillful and with the very latest in color and time-and-memory techniques—give us the La Notte view of marriage. Boredom, desperation, resignation. Both Frederic Raphael, who wrote Two for the Road as an original screenplay for Stanely Donen, and Harold Pinter, who adapted the Nicholas Mosley novel Accident for Joseph Losey, get a laugh with the same gag: men so self-centered that they don't remember the existence of their own daughters—Caroline in one, Francesa in the other. Great minds travel in the same TV channel?