Unsurprisingly, the MIXmixmixmixmix process is not finished. Thus the activities originally scheduled for today such as photo shoot and dinner are canceled.
Gads, the stuff is gorgeous!
More rain and thunder, but not any of the crackers that announce the coming of god or the devil and the end of all things.
Spent most of yesterday working on the Maryland project while Turner Classics played. The theme last night was Morocco. Bing and Bob's Road to Morocco. It's the first one of these I've ever seen. This may be the fourth time I've seen, so to speak, as I'm not really watching carefully, The Wind and the Lion (1975) down here in New Orleans. Guess Turner Classics really likes this one. The Gary Cooper - Dietrich Morocco (1930), followed, as preposterous as it could possibly be, except for that terrific scene close to the beginning in which Dietrich takes a flower from a giggling audience member's hair, kisses her in gratitude, and then throws the flower to Cooper. I have seen this before and the ending annoyed me as much then as now. But I was wrong! There is something even more preposterous to follow -- The Desert Song (1953), a musical, starring Gordon MacRae who, an American mild-mannered wimpy anthropologist by day, leads the 'Rifters' tribe on raids upon the evile and stupid Legion and a sheikh plotting to Rule It All by night, while breaking into song and rebuffing the native nomad princess. Somehow he's gonna hook up with the daughhter of an American general stationed in Tangier. Or something. All while breaking into the most ridiculous 1950's American movie music. Is he Zorro? The Scarlet Pimpernel? Robin Hood? Not even Avatar - Airbender fail Hollywood would dare such a preposterous set up these days.
I do enjoy The Wind and the Lion as a strongly made romantic historical adventure movie drama, even though Sean Connery plays the courtly Berber, the great warrior, Raisuli, who kidnaps Candace Bergen and her children. Intentionally or not, the film presents a fine portrait of the perpetuated Teddy Roosevelt mythology of American Big Stickness, engineering and military unstoppableness and how we can do anything colonial empire building. I should sometime keep count of how often "Big Stick" is referred to in the film, and by whom. The movie paired very nicely with reading Vidal's Hollywood, which refers back to this era constantly during the Wilsonian administrations. When TRoosevelt suddenly dies, and Harding comes in people feel finally of him and his American abroad masculine adventurism of imperial colonialism. Now they can relax into the orgiastic '20's and make money, which is the actual point of the nation.