THE LINCOLN BOYS – JOSHUA ZEITZ

This is not an easy book to write. In its telling this book suffers from sets of styles (different voices) imposed by the text. There is biography (A. Lincoln, John Hay, John Nicolay, Robert Lincoln).

Next comes autobiography. Maintaining the voice of Hay and Nicolay in the third person, the text becomes a memoir. What was it for each of them to write a biography? How do either of them write? How did either of them write differently? In short texts most writers ignore these personal voices when writing or they incorporate them into the text, and no one knows better. However, the author here tried at the beginning to keep everything separated.

There is a shift from biography when writers put together the story of the documents, events, people involved and other biographers. It becomes more so evident when the text becomes historical. In a short passage Our Ideal Hero Chapter, Zeitz efficiently tells of literary and social efforts to return the South to the United States. He adroitly puts together many of the same facts Mark Twain viewed before writing Huckleberry Finn and Life on the Mississippi.

Keeping everything distinguishable, clear and fluid was a challenge for this author. I read hoping everything would be in place. Other than for money I do not know why Nicolay and Hay wrote the Lincoln biography. The writing process for both Hay and Nicolay (the autobiography) was shortchanged.

Why write a ten volume biography of Lincoln? Trying to establish the image of Abraham Lincoln for posterity – was a public relations campaign needed? It might be argued that Lincoln could never be buried. The future of the man was set in stone when he was assassinated: Leader – President who took us through the War – Counseled moderation and a warm embrace to the South without slavery. And next, survivors and posterity discovered speeches to chisel into stone, incredible words. The Gettysburg Address may be the best speech of the century, unless it is superseded by an Inaugural Address.

Without the ten volume biography what might Lincoln’s image have become? Frivolous, goofball and irrelevant as some writers treat it today: Lincoln was a quiet lady’s man, manic-depressive, cold and some say, gay. It is likely that Americans will let these quacks polish their views as much as they can. But Lincoln tells Americans more about themselves, to a human being, than any one has communicated to the country and its people since his death.

AS GOOD AS IT CAN BE

THE REPUBLIC OF PIRATES

COLIN WOODARD

This is a very readable book about diverse subjects who have very little substance. I wanted to learn about pirates who have been characterized in history, by Walt Disney, in cartoons and in art. I read this book, and I learned what happened to them and what happened to the people who put an end to them.

Pirate society, however, is not a republic.. It is similar to a mafia or an organized crime syndicate: get money by anyway possible, generally release the victims so they will go off and work to get more money and property, drink to incapacity every day, rape and otherwise be included in a society of men seeking spontaneity, caprice and ease. Sociologically, pirate society was similar to cults; it has elements of male dominated philosophies and societies which appeared in twentieth century countries where mass-murder was accepted (Germany, Cambodia and Rwanda).

A full analysis of the sociology is likely impossible. There are too few historical sources; projecting modern theories into the Seventieth Century seems impossible.

Despite these shortcomings this book is enjoyably informative. One thing it tells the modern reader is the world of the past was not settled and peaceful. There were murderers, rapists and robbers then. But there were also unusually modern situations which may never be found in any university history. The footnote on page 98 would enliven any book, although I don’t know what it has to do with pirates:

Young Sarah Walker (1700-1731) would eventually marry William Fairfax, for
whom Fairfax County, Virginia is named. Her daughter, Anne, was George
Washington’s mistress, a particularly awkward situation as she was married to
his brother, Lawrence Washington. Anne’s own brother, George Fairfax, apparently
had some African features; he suffered humiliation during a childhood visit to
England when his paternal relatives began speculating aloud as to whether his skin
would turn black at puberty.

HOCHSCHILD’S MISREADING

On March 18, 2016, Second D, page 5, Adam Hochschild ventured into an area where he lacks expertise, knowledge and imagination. He described why Mark Twain’s Life On the Mississippi need not be read in its entirety. Being familiar with Twain’s work, I am surprised. I’ve read works from historians competing with Hochschild for readers, and I now wonder if I ought to read his books. The world is more multilayered than Mr. Hochschild appreciates. Regarding Life On the Mississippi he has two grand oversights.

Hochschild stumbled upon the fact that Life On is a companion book to Huckleberry Finn. That novel is firmly set in the 1830s. Life On presents contemporary observations which were added to Twain’s previous publication of Old Times on the Mississippi (@1875).

In 1882 books and basic knowledge of the Mississippi River Valley were scare. Twain had written about 25 chapters of the novel but needed a refresher course about locations and the sense and feel of the South, and the river. In 1882 he traveled up the river, noting events and occurrences, present time to 45 years before. Not much had changed.

Life On came from Clemen’s notebooks and scrapbooks. Prior to William Faulkner’s observation about the past in the South, Clemens realized in the South that nothing was ever the past. In 1884 he told the world that in Life On.

The second point is what the South did with its history, this time and subject is described by a prominent American historian who quotes Life On the Mississippi from a late passage. SPOILER ALERT! Hochschild’s fans should stop reading NOW!

…Colonel Marshall graphically described the scene demonstrating Lee’s
posture and his forward wave of the hand as Jackson rode away.The
movement became the subject of a painting completed in 1869…Mark
Twain studied the original in New Orleans and reflected on the importance
of explicitly telling people the retrospectively defined meaning of what they
they see when one offers them a historical representation…Unless the
painting were properly labeled Twain said, it might readily be taken to
portray “Last Interview between Lee and Jackson” or “First Interview
between Lee and Jackson” or “Jackson Reporting a Great Victory” or
“Jackson Apologizing for a Heavy Defeat” or “Jackson Asking Lee for a
Match.” “It tells one story and a sufficient one; for it says quite plainly and
satisfactorily, ‘Here are Lee and Jackson together.’ The artist would have
made it tell that this is Lee and Jackson’s last interview if he could have
done it. But he couldn’t, for there wasn’t any way to do it. A good legible
label is usually worth, for information, a ton of significant attitude and
expression in a historical picture.”
Royster, Charles, The Destructive War, Knopf, NY, 1991, p. 203-204.

 

LOCKE BIOGRAPHY OF EASTWARD

THE GOOD, THE BAD & THE VERY UGLY
Sondra Locke

Any autobiography suffers from the writer’s inability to tell the truth, fully, moderately or partially. This flaw has been noted among writers. [William L. Shirer, Twentieth Century Journey, vol. 1, Chapter 1] However, Sondra Locke in The Good, the Bad & the Very Ugly (no index) remarkably tells the truth in a well-written autobiography while coming to incomplete and imprecise conclusions.

General impressions. I like Sondra Locke; this book does not endear me to her. But I am happy she has managed to act in and direct additional films. The more films made the better. This autobiography lacks any setting: What was Los Angeles like for an up-and-coming actress in entertainment(1968-1973)? Locke gives the impression that every role she got except the first and those until she met Eastwood, magically came to her. Indeed, it seems her first and only mentor in entertainment was Eastwood.

Locke presents her life as a fairy tale; the writing is consistent. In a deposition the first questions were about the fairy tale life. She is admirably loyal to persons in her life and hometown who have helped her, especially her best friend Gordon. They marry. Gordon declares he is gay; he finds other lovers. They live separately in Los Angeles but talk daily and see each other often.

Sondra Locke had a good start to a film career in The Heart is a Lonely Hunter. Thereafter her roles diminished, three films that tried to develop the alternative reality of the Sixties: Reflections of Fear was the most establishment.The Seducers, supposedly a true story about teenage girls, gone wild. The Second Coming of Suzanne, hipsters supposedly making a movie. None of these movies added anything to Locke’s career. She mets Eastwood in an audition for Breezy which Locke pejoratively and quickly dismisses: “about a man in his late fifties who choses a young teenage chick with lots of T and A.” (131) Eastwood hires Locke to perform in The Outlaw Josey Wales. It is “love at first sight,” but it was also roles in better movies at first sight.

It might also be better described as physical relations at first sight. Eastwood learns about Gordon. They meet, socialize, chat and laugh. Eastwood produces movies, some of which Locke acts in. For those movies and others Locke says she worked on them when Eastwood viewed them in post production at the ranch.

After discussions with Locke Eastwood divorces his wife in the early 1980s; Locke remains married to Gordon. Eastwood buys a house, and Gordon lives in it. He buys a second house in Los Angeles (Stradella) for himself and Locke, apparently selling a Studio City house about the same time.

What was life with Eastwood like? There is some of that but more about Gordon. The whole book must be consumed before making an impression. Locke and Eastwood spend time in Carmel, Sun Valley Idaho, Lake Shasta and other places. But get to the nitty-gritty – before, during and after dinner talk, the sweet words soothing life to get to sleep.

In the mid-1980s Locke spent a couple of years decorating houses.(175) Gordon is frequently with her during that shopping. If Eastwood is in town, Locke and Eastwood would be together during the evening: What did you do today, darling? Chapter 12 late in the book gives a run down of a Locke and Gordon day. Gordon has spiritual qualities and abilities. Locke enthusiastically writes about days of spirituality but lacks specifics. In talks with Eastwood Locke likely was very verbal about those spiritual events. There was no communication. Eastwood seems like a feet-on-the Earth fellow.

Screaming at the reader is one word: INCOMPATIBLE. It is completely unfathomable why Locke would call Eastwood, a man 14 years her senior: “Daddy.”(152) And when Eastwood left she would “cry like a school girl.”(148)

For Every Which Way But Loose Eastwood wanted Locke to sing songs she had written and composed. She didn’t want to and never wanted to sing again.(157) Eastwood liked Locke, a beautiful woman, to wear no make up.(148) NO: put on the ughs and toss on the paint. Locke wanted to direct. Through Eastwood’s production company the script of Ratboy is bought(mid 1980s).

First-time director Locke and Gordon want to rewrite the Ratboy script. Gordon has no writing credits (that are mentioned)l Locke has none. Eastwood says no. There are schools of practice about producers/directors rewriting scripts. Eastwood may favor, Buy a script, shoot it. Undisciplined, enthusiasts among producers and directors don’t believe writers do anything, but they, themselves, can take years rewriting screenplays. This autobiography does not go into business customs and practices. Eastwood’s point of view is clear. Locke is deeply offended. It should be observed for her next film, Impulse (1989) Locke does not admit doing a director’s rewrite of the script.

While Locke is engaged in the film as a director, someone she likes back home dies. Gordon returns. Over Eastwood’s objections Director Locke returns home (203). The autobiography casts adjectives, one of which is mean which is completely meaningless. Locke’s adjectives are belied later in The Good, The Bad (249): “In a near-hypnotic manner I went back to work. Directing a film requires awesome stamina and with claiming of so much emotional drain on the my life I could hardly stay afloat.” There is no discussion of Locke’s emotional state after her return to directing of Ratboy.

Locke is incredulous about her palimony suit (remember she is married to Gordon throughout), that participants can be petty in a domestic relations litigation. Locke’s description of what happened is run of the mill. It is equally surprising that entertainment closes in trying to keep people out, but think of the earlier incident: Academy Award Winner Cliff Robertson and the $10,000 check. None of those schemes are very sophisticated. It is probable that Sondra Locke has now learned Samuel Goldwyn’s aphorism: “An oral contract is not worth the paper it is printed on.”

There are items every writer ought to know: A baby deer is a fawn.(165) There are no “preliminary hearings” in civil cases.(7) There are Pre-trial conferences, Settlement Conferences and Law and Motion. One “saves” money. One does not go about “saving up” money.(46) And it is inconsistent to call Eastwood a “spoiled child”(236) all the while the author is describing her life as the fairy tale she has lived in since the 1950s.

RADS, TOM BATES, 1993

This excellent book recounts anti-War and anti-establishment activities at the University of Wisconsin (`1965-1971), including the bombing of the Army-Math building on campus causing one death and five severe injuries. They used a fertilizer bomb costing less than $100.00 packed into an Econoline Van. It was a smaller version of the Oklahoma City bomb in 1995. Divisions of various academic subjects were destroyed including decades of work in physics, mathematics and in other disciplines unrelated to Army Math. Army Math which dealt with a bunch of transitory subjects was inconvenienced.

An amazing fact was the location of Army Math in a building on campus. There had been protests and riots, some close to the building. Yet, there was no security, except a guard with a time clock. The building was a convenient open target.

The individuals made unrelated events the basis for the bombing in August 1970. The individuals and friends were moronic; no one broke any IQ records. Within 24 hours of the bombing law enforcement had the names and identities of the four suspect. The FBI’s arrogant attitude screwed up immediate arrests which led to manhunts which brought three bombers to trial. It is postulated the fourth bomber was a police informant who either did or did not alert anyone about the bombing. Either decision he made plus the bombing of the building was a death sentence for the fourth bomber.

The three remaining bombers were pleasant, not threatening, socially capable and able to light a joint, take a suitable toke and graciously pass on the remainder before it became a roach. That may have been their most admirable social quality. Intellectually, they knew Castro was in Cuba, Che was bleeding somewhere, Ho had something to do with Vietnam, and Mao was good on Sandwiches. These sorts of persons were par for the course in leftist, youth, culture and riots. No one else in their right mind would suck in that much tear gas and pepper fog emissions.

For good reason the book lacks discussion of a theoretical basis for the bombing. Instead it presents a robotic quality of the trio. These people did not read, ponder, conceptualize, intellectualize theory and discuss it. They heard a cliché and but it into action. These bombers were incapable of doing otherwise. Many Leftists like to supply the theoretical basis which never existed. No one could ever explain why it was reasonable to get the little people, ants, greasers, women and stooges to act.

On a personal note the book returned me to attitudes I once had. Exchange glances with someone, and have a gut reaction: Do I trust that person? NO. I would not trust any of this trio, and certainly none of the leaders who preached hatred, violence and death.

There are reactions to facts in the book. Page 101, “police provocateurs” in Chicago were dressed in “Al Capone suits.” Page 239, meal of “vegetables and brown rice.” In Berkeley add bean sprouts and wonder why more of the boomer generation did not die of arsenic poisoning (the rice) and salmonella poisoning (bean sprouts). Page 220, First Earth Day in Berkeley was set [and upset] on April 22(23?) 1970, not April 18, 1970.

Page 138, Fred Hampton, Black Panther killed in Chicago, December 1969, “denounced the Weathermen as ‘anti-people.'” Hampton agreed with SI Hiwakawa who said, “I can talk to the Black militants; they want to get something done.” It was the white radicals were wanted to destroy everything.

Page 131. “Affinity groups.” In a riot five to seven people would move and act as a unit; they would care and look out for one another. Later in Rads the cops began using “anti-affinity” groups.

My first year at Berkeley I was surrounded by 30 days of street rioting. Occasionally I participated, but usually I was just passing through – going to and from class or appointments. I saw friends and acquaintances in the action. Carrying a book meant I was a non-participant. I have never heard of an “affinity group” until reading Rads.

Page 407. “The visitors reminded [Tom] Hayden of his previous support for Karl [one of the bombers], and for a moment he weakened. “Don’t worry, in public I’ll back Karl to the hilt. I can’t let Jane say anything though.” The “Hanoi Jane” label had become a drag on them both.”

This realization was known to Jane Fonda in the autumn of 1973. Six months before, [Spring 1973] she was in her pride and glory, being quoted about North Vietnamese treatment of American prisoners of war: “Walking through the streets of Hanoi with their heads bowed in front of a woman with a bayonet might be torture.” Daily Californian, April 12, 1973, p. 1; Berkeley Barb, April 10, 1973 for more Jane Fonda statements on the torture of American POWs. See also Holzer, Henry, Mark and Erica, Aid and Comfort: Jane Fonda in North Vietnam, McFarland & Co; Hayden, Reunion, p. 455, “Either Tom Hayden or Jane Fonda said about the time of the 1973 Peace Treaty, ‘the POWS were liars, hypocrites and pawns in Nixon’s efforts to rewrite history.'”
Continue reading

ANNOYED

ELIHU ROOT – Philip C. Jessup, Dodd Meade, 1938

This biography (two volumes; 1050 pages) should not have been published. Elihu Root was an eminent New York City lawyer, an excellent Secretary of War, a fabulous Secretary of State (under Theodore Roosevelt) and a Senator from New York.

The writer did not know how to write this story; the organization is sloppy. When Root was appointed Secretary of War (President McKinley), the author spends ten (10) pages on the appointment and wraps up with paragraphs about people who did not want Root to accept the appointment. Note there is no background or telling of the affect on Root: What was the effect on his law practice? Just get up and go and leave clients to their own devices? What was the effect on his family – what did they think? What was the effect on local government government matters he was working on when Root went to Washington? None of these questions are explained.

For his personal life and his law business [which Root loved, liked or had grown tired of], the book provides insignificant background: By example a local matter describes competing transit companies in New York City, but did does not explain the transit market, competitive forces and the personalities being affected by the sage lawyer.

There is more to writing a biography than stringing together quotes from letters, some of which cover a page and a few go a few pages. This biography puts Root in the middle of a crisis or a situation, and based upon that placement of Root the reader is supposed to understand the crisis or the situation. When the Spanish left Cuba (1898), there was no sanitation, an illiterate population (96 percent), no institutions, no education, no law enforcement and no economy. There was the church. Note as Secretary of War Root was in charge of Cuba reconstruction because the U.S. Army was the agency capable of performing. According to this biographer the Cuba situation, circumstances and crisis were handled by exchanges of letters, actions and decisions made by Root, Theodore Roosevelt in Washington D.C. and Leonard Wood in Cuba.

I don’t know what the U.S. Army was doing in Cuba or why. In lieu of reading more about those Washington D.C. actions for 100 pages, I stopped reading at page 320. The remainder of the biography would get no better.

two pages.

FRIENDS WITH MONEY

Frances McDormand, Catherine Keener, Joan Cusack and Jennifer Aniston

I just saw this buddy picture, chick-flick from 2006. Everyone lives in Santa Monica, California. There is no sense of the community. None of the women do yoga. Everyone is married but Anniston, but I have no sense of anyone being married except in the most blasé way. Each marriage is like it came from a book. DAY 1. Here’s what you do. Day 2: Here’s what you do again.

Everyone wants Anniston to get a boyfriend. Scott Caen shows up, and the way he pleads for a second date (because there is nothing going on between them) suggests he need this movie role to advance his movie career. Incidentally, Caen is the most interesting character, McDormand much less so.

Anniston cleans houses for a living. She is so senseless that she takes puppy-dog Caen along to watch her work, and sometime later he helps her clean. They enter the house of an unemployed bachelor; nobody is a home. Caen says, “Let’s f%*!”  “Oh, I don’t know. I don’t think so,” Aniston whines as she wonders what to clean first. If Scott Caen devotes all this time to Aniston,  maybe he’ll get the girl. A friend asks her, “How’s the sex?” “It’s fine.” The viewer should never know it because the togetherness time for most of the movie the two are detached. Perhaps Caen and Aniston have coodies.

Conversations and concerns of all the characters never go beyond what anyone talked about in Junior High School. The viewer goes through a teenage morass as characters talk significant complaints and activities. Is the husband of McDormand gay? He meets a man who is married and strikes up a friendship anew. Sounds suspiciously gay, but the film doesn’t show much that friendship and whether the men are straight, gay, bi or trans. Perhaps the basis of the friendship is that both men consider the other gay. Scott Caen has sex (in the bed of another house-to-clean client) with Aniston. That evening Caen dates another woman. Heartbreak. An adult situation. No confrontation but Caen is a bad, mean man. (At least he has done something to get out of this movie!) Keener and hubby are writers, the most improbable writing team. They disagree, not about writing but something juvenile: Her ass is getting big; he has bad breath. They separate, an adult decision based upon insults. This movie is proof that Catherine Keener should never go west of Broadway, New York City to pursue her movie career.

Aniston finds a slovenly guy, who reveals he is rich. He doesn’t like to tell people he is wealthy because he has issues. Aniston admits she has issues. However all issues will be happily resolved because he has the money she will spend to redecorate his house.

THE COMING WAR WITH JAPAN

George Friedman and Meredith LeBard

This book came into my possession in late April at a bag sale at a library book sale. So it cost a dime or perhaps eight cents. It was new and unread. It has a naval ship on the cover that looks of World War Two vintage. I was overjoyed. A book written in the 1930s about the American War with Japan. In a red banner across the top of the cover read in white letters: The #1 Bestseller in Japan. Wow, I was truly amazed at my luck. A book about World War Two written before that war and read by both sides.

NOPE. The book was published in 1993. The Coming War between Japan and the United States will have to wait, forever. What can be said about the hackers, George Friedman and Meredith LeBard. Like Richard Nixon, they’re selling used cars. Would you buy a used War from these tricks? Don’t bother buying a used book. On Amazon there are a few hundred at a penny a piece. These authors are emblematic of the 1990s – speculative, fantasy laced makers of drug ridden nightmares, and liars: “I did not have sex with that woman…” If Monica is coming back because she needs to be paid again, bringing back The Coming War is justified.

Note the book’s comments on the back:

Tight logic, superb research, clear writing. Friedman& LeBard don’t bask in the warmth this side of the cold war; they look ahead to the chilling possibilities that can follow [including Martian invasions and galactic explosions]. Lt. General Anthony Lukeman,, Executive Director, Marine Corp Association.

“…demonstrates with surprising thoroughness why their interests with diverge more and more…the underlying analysis of why Japan and America will change from their current partnership to more and more open rivalry may well seem prescient [for people who are maxed out on drugs]. James Fallows, The New York Review of Books.

“Friedman & LeBard make a persuasive case for the startling proposition that the U.S. and Japan are on a collision course leading to war within a generation. In an exegesis all the more chilling for its understated scholarship and wide angle perspectives, they predict an honest to goodness shootout…A thoughtful and thought-provoking what-if audit of the price of domination.” Kirkus Reviews. As always Kirkus says the most and says nothing. Kirkus Reviews uses big words – exegesis. What is a “what-if” audit. What-if the Yellowstone volcano erupted? Kirkus would be toast.

While President Bush prepares his series of high-flown speeches on the new world order…his advisers are reading a more down to earth analysis on the chances for world peace…The Coming War With Japan…” Peter Stothard, The Times of London. I know that President Bush was more low-down with the Japanese. Didn’t he toss his cookies into the lap of the Japanese President?

“…one of the most thorough and systematic analyses in recent years of the diverging interests of these two Pacific Basic superpowers. Peter Wiley, San Francisco Chronicle. This may be the most intelligent sentence the Chronicle has ever printed.

In one impressively researched section, they detail the ways in which the air, sea and land forces of Japan have been shrewdly and carefully built up, exploiting ambiguities in the country’s anti-war constitution. Christopher Hitchens, Newsday. Let’s hope Christopher Hitchens is correct.

There is a new book with the ominous title, The Coming War with Japan. It’s thesis is that Japan and the United States are victims today of the same historical forces that were at work in the 1930s and that another military clash is unavoidable. Lee Iaccoca, Chairman Chrysler Corporation, Los Angeles Times. In his imperious position at Chrysler, Iaccoca ignorantly misunderstands that totalitarian Japan of the 1930s differs greatly from the democracy there in 1990, and flourishing today.

Note the appalling quality of criticism. In this country criticism – this is wrong, that is correct – is not the point of the blurbs of any book. Instead the American public is delivered highfaluting, overstuffed phrases from names who likely have not read the book. Non-fiction criticism should be direct. It is not. It suffers from the same inept, poorly read, ignorance that is frequently found in the books themselves. Write a review, attach your name. Then, the next sloppy book by that set of reviewers will be favorably reviewed.

AT MIDDLETON

One reviewer said it briefly, “Wonderful movie not to be missed.” It is more complicated, but this movie about the past catching up with two adults is a must-see. Neither adult knows one another, but each has taken a child (son, daughter) to an entrance orientation at a liberal arts college. This movie is a romance.

The adults/parents (Andy and Vera) slowly get together and have their own college tour/orientation. Along the way, they steal bicycles to ride around, are chased by the cops, venture where they shouldn’t and end up in a drama class: Hints about their lives leave crumbs until they are required to act the roles of husband and wife in the class. Vera is unhappy and alone, in her live with her real husband. He is uncontented but resolved to plough through life with no satisfaction. As part of the role playing, he asked Vera (as he might ask his own wife), “When did you stop loving me?”

That line and sentiment may seem incredibly disjointed, but in this screenplay it works. Vera makes inferences about mistakes she made in her past: Misimpressions, bad advice, taking the wrong road, regrets and sulking and how to handle life’s miseries.

An overall point of this story presents a problem of time for the writer. When young couples fall in love, the whole experience seems automatic. When older, love is hardly automatic. Those systems seem or are forgotten. This scriptwriter knows this, and works on solutions to make the story go.

It seems that Andy and Vera should fall in love, tell the kids, and divorce their spouses. NO – too Hollywood. It is suggested they will see one another but that remains appropriately unclear. The issues of the day’s orientation for the kids work out more directly. Their parents meet other students and get shit-faced. The son and daughter must must drive each parent home (in opposite directions). It was a memorable day. The son asks Andy which way should I drive: “Take the long way.”

THE FALL – First Episode

Northern Ireland BBC Production, Gillian Anderson

When I bought this worthwhile production, the clerk looked at the cover and said, “Scully.” I never got into the X-Files so I have never associated Anderson with that program. Anderson was born in Chicago, Illinois, and has made Great Britain her home.

In The Fall Anderson plays an experienced police investigator from somewhere who goes to Belfast, Northern Ireland to solve a string of murders. Everything appears authentic and quite British.

However, there are two scenes where Anderson is eating food. The first is a hamburger that looks like it came fresh from the stockyards of Chicago: Hey, I guess it’s easier to take the girl out of America rather than take America out of the girl, right Scully?

In the second scene Anderson eats a salad, the sort of condiment one finds in Beverly Hills, the Palisades, Melrose, Frisco and now in Belfast. British filmmakers are inventive. I didn’t see the full plate, so it may be a meat salad and the protein is haggis.

The remaining episodes of Part One of The Fall are engaging, but somewhat elongated. Season Two of five more episodes, not available in the United States, have been shot. To see the end one can either buy Season Two, $55.00 on Amazon for a Region 2 DVD, or preferably wait until it’s on cable, the internet or the DVDs cost $15.00.