Showing posts with label Laurel and Hardy. Show all posts
Showing posts with label Laurel and Hardy. Show all posts

Saturday, September 15, 2012

The Sick Box



A long-term illness is like living in a cardboard box. I’m looking out through a proscenium of dusty brown corrugated walls, flexible, but strong and thick enough so they can’t be torn apart, only weakened. There’s a dry mustiness about everything.

The illness filtered into me during twilight, on July 4th; a low fluctuating fever, near-constant fatigue, low energy and a strange tottering frailty. Since then, it’s been mistaken for one thing or another. I feel like I’m in an episode of House, but my much-vaunted, health-care program has been nudging the mystery down the road like a collie nosing a drop cloth. The fact that I was taking two BP meds may be a factor—I’ve slowly slowly improved since I stopped taking one of them . . . but . . . we can only shrug for now.

Not immediately fatal = low interest, for everyone except me, my long-suffering wife, and a few friends.

My mind fluttered like a tired moth on a muggy, overcast moonless night, fluttering haplessly in search of pools of light. These pools of lights are made of tangled balls of thought, both angry and muddled, that burst, and burn like an old-fashioned photographer’s flash bulb, fading with a crackling hiss.

When I announced that I was closing this page down for a while (along with my editing business), a kind and faithful reader suggested that I lower my voice instead; say, posting brief amusing comments on the Internet’s constant outpour of  “news.”

Obviously, I would be missed by some and it saddened and frustrated me to take such draconian action—especially now--but I’ve been at this long enough that I like to think many of you have come to expect a certain standard. Anything less is just that—less. (“Oh yeah. I used to like his columns and stuff. Now he’s just haranguing Obama to invade Rhode Island as soon as possible. Tch-tch. How the semi-mighty have fallen.”)

And besides, most of the balls of thought that burst and roared around my tired, often confused, mind were either excruciatingly banal or as bloody-minded and delirious as a gangland sewer, and may have resulted in my posting a year’s worth of apologies (“I’m sorry,  Mr. Romney, for declaring that you and Snooki would make an adorable couple. Oh and for posting those photos of the two of you . . . never mind.”)

Anyway with my mood so swampy, I struggled to hide from the world’s din of violence and despair. The Internet is particularly ugly and infuriating in this regard. I’ve often shoved my i-Pad aside, enraged at my compulsion to keep pushing that button like a lab rat happily conditioned to constant bonking over the head with a hammer. (“Damn it, it’s only making you sicker . . . .”)

Some might suggest I read Roger Ebert or Christopher Hitchens for perspective, but this misery doesn’t want any company. I’d rather spend all my sick hours with Laurel and Hardy than with them; with Cary Grant and Katherine Hepburn than the likes of Beckett and Bill Maher; with the Light of Hope than the caped counsels and crusaders for a cold, dead, meaningless Universe.

To keep my mind semi-greased, I’ve taken to handicapping the Saturday horse races at Golden Gate Fields, a more challenging task than it sounds. No betting and no risk of loss or embarrassment. No, there’s no meaning to it and it sounds stupid, but it keeps me from going completely stupid.

The point is to get well. How do I get well huddling around the drain as though it were a pillow? Only Nihilists find the smell of the sewer romantic, tiresomely so.

The most “socially responsible” thing I’ve done while ill was watch Bill Clinton’s speech at the DNC (this while recuperating in a hotel on the Lost Coast), but only because I figured it would entertaining. I recall none of it now—except for Clinton’s long, bony index finger--and nothing of Obama’s. I don’t feel bad about that. Just politicians talking.

Mostly, these last couple months, I’ve only sat, stared and taken breaks to nap, then woke up to sit and stare some more. Reading has been difficult, sometimes impossible. I’ve have to start over bedside books because some nights I was simply too tired to read and lost track of what was happening.

When I went outside, my eyes felt clogged and encrusted with mud. The sunlight blinded me and the blue sky startled at first, but astonishment passed. It hurt my neck and shoulders to look up for too long and a smile was heavy lifting. I shuffled along, a question mark with legs, my eyes on the concrete at my feet. Sometimes people recognize I’m sick and let me get on the bus first or offer me their seat. These are among the things—Elizabeth being the best and most important--that keep me going.

My lungs feel tight and I tire easily. I can walk downhill to Grand Avenue, but have to take the bus back up. I use to stride up these hills. How long ago was that?

It’s been two-and-a half months, but feels like four or five. Time, measured by events, has stretched, like huge, soft, heated rubber band.

But now that I’m here, I guess it means I’m getting better. Good periods are coming more often, lasting longer, sometimes a whole day, signs that the damage within, whatever it is, may be healing. I may slump again tomorrow, but be up again the next day. Elizabeth and I worry that it’ll be gone before my distracted doctors track down the cause, so we won’t know what to do to keep it from coming back, if it wants.

Copyright 2012 by Thomas Burchfield

Thomas Burchfield has recently completed his 1920s gangster thriller Butchertown. He can be friended on Facebook, followed on Twitter, and read at Goodreads. You can also join his e-mail list via tbdeluxe [at] sbcglobal [dot] net. He lives in Northern California with his wife, Elizabeth.

Sunday, October 28, 2007

The Rest is Silents


A Certain Tramp in Niles Canyon
You’ll be pleased, maybe relieved, to learn that I not only got out of the house last Saturday, but I even escaped Emeryville. The occasion was a weekend celebration of number 53 in my march through life. The destination was a place that only a few of you have probably ever heard of: Niles, California.
Not named after Frasier Crane’s brother, Niles is a pleasing, sun-baked neighborhood nestled at the foot of the golden East Bay hills, northeast of San Jose, near the south end of San Francisco Bay. It was established as part of the Washington Township in the late 1840s. Its first brush with history came when the final tracks in the Transcontinental Railroad were laid there in about 1869 (for railroad buffs, Niles also has a reputable train museum and that particular line of track through lovely Niles Canyon is still in use.). Niles joined the city of Fremont in 1956.

From its railroad days, Niles napped peacefully in the back pages of history until 1912. That was when a Chicago-based film studio, The Essanay Motion Picture Manufacturing Company, was drawn by our monotonously pleasant weather to build a West Coast studio production facility in downtown Niles.

Essanay (the name comes from the last-name initials of the company’s founders, George K. Spoor and G.M. “Bronco Billy” Anderson) produced, according to David Kiehn of the Essanay’s Silent Film Museum Essanay Chronicle, up to 2,000 movies during their ten-year history. Among these films (unless someone’s pranked the Wikipedia entry) are the first Sherlock Holmes movie, the first
A Christmas Carol adaptation and the first movie about Jesse James (in fact, Westerns seem to have been their bread-and-butter; their "Broncho Billy" western movies alone total around 376 movies.) Among their stars: Keanu Reeves, Brittany Spears, Vin Diesel—oops, sorry . . . darn that Wikipedia! Start over!

Among the Essanay stars who sparkled in the company’s firmament were cross-eyed Ben Turpin, burly Wallace Beery, Francis X. Bushman, Tom Mix, the “A” in the Essanay “Broncho Billy” Anderson (also the movies' first cowboy star), and one Really Really Famous Guy I’ll discuss down page.

Of Essanay’s 2,000 films, only about 200 seem to have survived time’s relentless wheel (or, to make it hurt even more, about 1800 Essanay films have been lost; in fact, it has been said, about 90% of all silent era films have gone to Buddha).

Elizabeth and I first visited Niles and the Essanay Film Museum, located right on Niles’ Main Street, early this year. The museum is located in the old Edison Theater, the neighborhood movie house where Anderson and company would come by to watch the films released by their competition. (The production company itself, located a block away in what’s now a vacant lot, had its own screening room.) It still has the original fire-proofed (with tin) projection booth. Their display cases contain various costume artifacts—like all glimpses of the past, they were tantalizing, frustrating, and poignant.

The staff is warm and friendly and, like all of us geeks everywhere, they rained down upon us all manner of fascinating and endearing trivia. Their enthusiastic docent marched us through their nooks and crannies. Before I could stop her, Elizabeth drew her checkbook and fired off a year’s worth of membership for the both of us. (Like many similar nonprofits, the museum is in a perpetual and cash-strapped state of restoration.) My favorite part was the large library of hardcover photoplay editions of famous novels made into films, including The Maltese Falcon. I had to sew my hands inside my pockets as we explored the gift shop.

Buster Keaton in full dress

The first program we attended was a showing of Buster Keaton’s astounding (an adjective that glues well to so much of his work)
Steamboat Bill, Jr., plus a very funny short by the Keaton’s close friend, the amazingly light-footed and tragic Fatty Arbuckle. Both movies were accompanied by an excellent live pianist and the Edison Theater, which seats around 130, was packed.

It felt not so much like a night at the movies, as a night at a community center. Not everyone knew everyone, but it felt like it did. The screenings were conducted with a pleasing informality, right down to emcees Tommy Andrew and former MPAA archivist Sam Gill. A drawing was held giving away various gift shop items. My normally icy heart was further warmed by the presence of quite a few youngsters, none of whom seemed to think their parents were trying to turn them into old people by making them watch old movies. We took home a warm glow and left a promise to come again.

Promise kept: last weekend we attended the Edison Theater’s showing of a movie by that Really Really Famous Guy, name of Charlie Chaplin.
The Adventurer (1917) was produced a couple of years after Chaplin concluded his rather unhappy five-film contract with Essanay, a period that produced his signature classic The Tramp with its iconic image of the title character walking alone through Niles Canyon. Chaplin never took to Niles’ isolation and small town ways. Worse, George K. Spoor had never heard of the world-famous Chaplin. Learning of the huge fees they were paying the Master, Spoor demanded that Broncho Billy, who hired Chaplin, get rid of him. It’s said that this disagreement alone led to Essanay’s end a short time later.

Again we were emceed by Tommy Andrew and Sam Gill (plus a woman whose name unfortunately escapes me), with vigorous piano accompaniment this time by the estimable Frederick Hodges. And, as before, a drawing was held to give away various prizes, with a special section for the kids in attendance, who again, didn’t look like they wished they were home swinging their Wiis around the living room. Attendance was announced to be 129.

Harold Lloyd in trouble
The screenings continued with Harold Lloyd’s Number Please (1922) and Buster Keaton’s Hard Luck (1921), the print of which is, unfortunately, in bad shape, though the movie is still funny and ingenious in the way only Keaton can be.

To my mind, the best was saved for last as we were paid a visit by the always welcome Mr. Laurel and Mr. Hardy in one of their classic extravaganzas of tit-for-tat destruction,
Two Tars (1928). I can think of no other performers who better leave their audiences in an affectionate glow.

Laurel and Hardy in full destructive mode
The Niles Essanay Film Museum is located at 37417 Niles Boulevard in Fremont and their website is here, though it is still under construction in spots. Program are usually held each Saturday, though this coming weekend is their international film weekend which runs Friday, November 2, through Sunday, November 4, and features such classics as Alfred Hitchcock’s The Lodger and Fritz Lang’s Spies.

Go! And if you cannot, then weep!

(
Thanks to Dorothy Bradley of the Essanay Silent Film Museum for her help.)

(re-edited 3/19/13)