Sunday, July 21, 2013
Gonna Prove to You That Love Is Groovy
ghost movie yesterday afternoon? Well, that's really none of your beeswax. And anyway, I also had a huge iced tea at Taylor Grocery, so shut up. So anyway I got up in the dead of night and turned on the TV and there was cynical city slicker Sarah Jessica Parker forced into wholesome country living by contrived circumstances, learning a little something about life by milking a cow. Ugh! I watched the whole thing, of course. At the end, Hugh Grant is saved from an assassin by Mary Steenburgen, Sam Elliott and Wilford Brimley. Wow! So I was sitting there thinking, "Wow." I thought, "Wow, everybody's schedule worked out perfectly to make that happen." Then I looked out the window and saw a fox in our front yard! (See also.) It was cleverly negotiating a white paper bag - one of several dropped nightly after the bars close by young, starry-eyed drunkards whose well-to-do mommies and daddies have sent them off to college without enough God-given sense to use a trash can - to retrieve the leftover chicken-on-a-stick nestled within. Have I told you about chicken-on-a-stick here before? It's a disgusting "local delicacy." I once wrote a whole long article about my complex love-hate relationship with chicken-on-a-stick and even discussed it in an intellectual "panel" format, to the delight of none. But that need not concern you! All you need to think about right now is the fox I saw last night, trotting happily down the sidewalk with his hard-won chicken-on-a-stick in his mouth. So really I should thank the li'l drunkards, who unknowingly arranged such an unexpected treat for my weary eyes and mind! Then it was 3 AM and WAY... WAY OUT was coming on! I can't tell you how many hours I spent on the "internet" this morning looking for stills of Connie Stevens's apartment in WAY... WAY OUT. I found nothing truly suitable, despite all my expert "googling." Above you can see Jerry Lewis and Connie Stevens on her couch, in front of what I first took to be a mural of some kind: please note the strange bubbling texture of the purplish material... at least we are afforded a good look at that. But, you know, I think it is supposed to be a window. In a wider shot, a huge orange-red moon is visible, and at the end of the scene, Connie Stevens, who is an astronaut, shouts to the moon, "Well, what do you know? I'm coming!" or something like that, indicating to me (along with a nearby telescope) that it is supposed to be a window, some kind of futuristic window (the movie, from 1966, takes place in "the future"), and she is addressing the actual moon. In another "screen grab," which you will find at the end of this "post," you can see more of the crazy couch and pillows and yellow-and-orange striped carpet and other furnishings - dig that lamp! - of the type McNeil loves so well, but the image is blurry and faded, and not in the good way, so you're missing the odd vibrancy of the scene. I had more to say about WAY... WAY OUT, lots more (the title of this "post," for example, comes from the theme song to WAY... WAY OUT, about which I planned to wax rhapsodic; would it interest you to know that only moments ago Dr. Theresa, driven past the breaking point, finally said, "Okay, you're going to have to start humming something else now"?), so much more, and it seemed like a great idea, like something about how Dennis Weaver's turn in WAY... WAY OUT is a gloss on his twitching, weeping, writhing weirdo from TOUCH OF EVIL, but who cares? Honestly.