Posts Tagged ‘1956’

The Fall of Society

Tuesday, January 17th, 2012

Grace Kelly’s last film before she became Her Serene HighnessThe Princess of Monaco, was High Society. High Society is a remake of The Philadelphia Story, which is about waspy rich people who misbehave. Grace Kelly is the spoiled rich girl with an icy heart. Before her wedding to a fussy and uptight man, Frank Sinatra shows up as a writer for the trashy tabloid Spy magazine. Yes, Spy magazine, but not the 1980s one. Bing Crosby is Kelly’s ex-husband and happens to be throwing a jazz festival with Louis Armstrong. It’s wonderfully Hollywood. Everything in the house is brand spankin’ new and big. I love the incredibly hip patio furniture that was obviously on a set in Culver City. The film looks fantastic. The songs, when not sung by Kelly, are swell.

But there is a giant elephant in the room. Bing Crosby is the true romantic interest for Grace Kelly, but he’s older than her grandfather. It’s creepy. And Frank Sinatra is lurking around the property leering at Kelly. The reality of a dusty old mansion with ancient broken lamps that shock you when turned on doesn’t fit here.

I would like to remake High Society, but with realism, like Trainspotting. This is how it could work: The main character (played by Evan Rachel Wood) is divorced and bitter, with a filthy mouth. She lives with her hateful sister and alcoholic mother at the family estate with cat urine and a filthy kitchen. Her ancient, creepy ex-husband, who moved next door, (Harry Dean Stanton), stares at her through windows. “I liked it when you dried yourself with the pink towel,” he could say. The tabloid reporter (Philip Seymour Hoffman) is an immoral opportunist, who spends a good deal of the film secretly playing with the family dachshund in both an abusive and almost sensual way. I’d drop the songs, they get in the way of the scenes with screaming followed by tense silences. Of course, the film cannot end with the heiress reuniting with the ex-husband. It will be left open for interpretation, with a final scene of the heiress standing on the verandah with broken rattan furniture and empty Mountain Dew cans, staring at herself in the reflection of a window.

Slow Boat to China

Sunday, October 30th, 2011

Salem China Dinnerware, Old Gloucester, Pat Prichard, 1956, detail

A great episode of the Twilight Zone is Time Enough at Last with Burgess Meredith. Meredith plays a man who loves to read, but is annoyingly interrupted by those around him. He survives a nuclear war while reading in a bank vault, and then discovers a post-apocalyptic world with no people and all the time to read for the rest of his life. Unfortunately, he drops his glasses and is left with time and books, but cannot see them. I have a similar irony, albeit less dramatic.

I love dishes and drinking glasses. I have too many of these. But, I live in a region where earthquakes cause breakage. I’m also concerned that my guests will break a glass or dish. So I keep the collections in a cabinet, and use the Melmac plastic dinnerware. I typically say, “I know you won’t mind using plastic, but we’re all family and can be casual.” Of course I say this to everyone regardless of my relationship and carefully watch the dish cabinet. I realize this is selfish and stupid. Is my goal to maintain a complete set of Russell Wright Iroquois Casual dinnerware intact until I die?

One of my absolute favorite sets is Salem China Company’s Pat Prichard Nostalgic Old America from 1956. Viktor Schreckengost designed the forms, and Pat Prichard created the art. Old Gloucester is a fantastic collection of New England forms such as clipper ships, rooster weathervanes, baked beans, and a seaside village. I guess baked beans are big in New England. Old Comstock depicts a western scene with happy horses, old west saloons, and a stagecoach. Clearly, this is New England nostalgia from another time. Unlike the HBO mini-series John Adams (yes related), there is no depiction of surgery with no anesthesia. And on Old Comstock, unlike Deadwood, there is no whoring or liberal use of the “C” word (and I don’t mean China).

Salem China Dinnerware, Old Gloucester, Pat Prichard, 1956

Salem China Dinnerware, Old Gloucester, Pat Prichard, 1956

Salem China Dinnerware, Old Gloucester, Pat Prichard, 1956

Salem China Dinnerware, Old Gloucester, Pat Prichard, 1956

Salem China Dinnerware, Old Gloucester, Pat Prichard, 1956, detail

Salem China Dinnerware, Old Gloucester, Pat Prichard, 1956, detail

Salem China Dinnerware, Old Comstock, Pat Prichard, 1956

Salem China Dinnerware, Old Comstock, Pat Prichard, 1956, detail

Salem China Dinnerware, Old Comstock, Pat Prichard, 1956, detail

Salem China Dinnerware, Old Comstock, Pat Prichard, 1956, detail

Salem China Dinnerware, Old Comstock, Pat Prichard, 1956, detail

Salem China Dinnerware, Old Comstock, Pat Prichard, 1956, detail

Wonky Type Round-up

Friday, September 23rd, 2011

I can spot the issues of a counter in a bad cut of Bembo. I berate students until I see tears for the use of a bold serif (bad, bad, bad). Yet, I love wonky type. I’m not talking about über-hip hand-drawn letterforms on a gallery announcement. I’m talking about a 1965 Sprite can. There is something so happy and hopeful about wonky type. It’s spontaneous and communicates levity. This love, however, should not be taken as an excuse by any current or future student as an excuse to ignore tragic typographic choices such as ITC Garamond Bold Italic.

Lost in Inner Space

Monday, July 11th, 2011

Lost in Space robot, 1965

This morning, driving to work, I was thinking not about an upcoming presentation, but about robots. I was trying to determine why I preferred the 1960s Lost in Space robot to Robbie the Robot from Forbidden Planet. They’re both clumsy, have difficulty navigating around a rock, and have trouble grabbing items. They make a lot of noise and have lighting effects. These would be dangerous in a stealth operation on another planet. But I like the saucer top on the Lost in Space robot. It has the style of a hair dryer at a beauty parlor. He has treads like a tank, or the vehicle used to move rockets at Cape Canaveral. Robbie, however, is like the Michelin Man. Why all the balls? The advanced civilization couldn’t smooth him out and help with his limp?

Now the vehicles are another story. When I was a kid, I loved the RV on Lost in Space. The all glass exterior is a fantastic design to drive around a planet and see the sights. The drawbacks are, of course, the weight. Schlepping that thing around in the space ship must have taken a lot of extra fuel. And it was bad dealing with falling boulders. Their spaceship, the Jupiter 2 is a great flying saucer design. It’s not as svelte as the Forbidden Planet one, or the fatter saucers from Earth vs. the Flying Saucers. It’s functional, though. The Forbidden Planet saucer is like a 1954 Corvette. It’s sleek and hip, but seemed to break down often. The Jupiter 2 is more reliable, like a 1964 Mustang, but had a crap navigation system.

You can buy this robot at hauntersdepot.com

Robbie the Robot (fat)

Los In Space RV

Lost in Space, Jupiter 2 model

Forbidden Planet saucer, 1956

Forbidden Planet saucer, 1956

Earth vs. the Flying Saucers, 1956

Earth vs. the Flying Saucers, 1956

And Now for Something Really Disturbing

Wednesday, April 6th, 2011

Harvard Crew 1913

Do you ever do something and then doubt your sanity? For years I’ve been collecting family images. I find them at the Virginia Historical Society, Library of Congress, old books, a shoebox from my grandmother, and ask for photos of portraits hanging in a relative’s foyer. So far, so good. This might be obsessive, but certainly productive. Everything was working perfectly. I’d find an image of Gen. Ambrose Powell Hill, attach it to a short bio, and voila, another leaf on the tree was articulated. In some instances, I could only find someone in a group photo such as the crew team at Harvard in 1914. But that was fine, as long as I could point out the right person.

Then something changed. Working on this one night after a rather grueling day and a couple of ginescas (Tanqueray and Fresca), I slipped into a disturbing place. I fixed the levels and color of the image, and then replaced my relative with a picture of myself. Okay, scary, I know. Then it seemed to become a bizarre art project. It’s not as easy as it seems. Modern lighting and cameras are very different than an image taken in 1880. Now it hasn’t gotten so bad that I’ve started recreating the lighting and shooting new images to drop in (although I did consider it). I can justify this in a couple of ways: first, I’m learning Photoshop techniques; second, it’s a “Cindy Sherman in history” art project. But I’m pretty sure this points to a tragic desire to retreat into the past.

Hollywood, 1950


Eleanor Roosevelt, 1956


Virginia Military Institute 1908


Charlottesville, 1865


Boston 1910


Paris, 1938


RKO, 1940


Richmond 1885


Harvard Football 1912


Harvard 1916


Camp Pisquaney, 1920


Henley, 1914


Virginia Senate 1875