Of course, I returned to the Chicago Botanic Garden for their Night of 1,000 Jack o’Lanterns and here are a few of the masterpieces I saw.
In a blink of an eye, Cosette has blossomed into a young lady. Her friends at school are dreaming of romance and marriage and make it clear that it’s awful that her Papa has agreed that Cosette become a nun and they continue living in the convent. Evidently, Cosette hadn’t thought much about that. She’s appalled and convinces Jean Valjean that she needs to see the real world.
He takes her out to the “real world,” the world of beggars, thieves, prostitutes, urchins and scoundrels. It’s pretty frightening. Jean Valjean didn’t need to go far to expose Cosette to these realities. They were right out their cloistered doorstep.
Jean Valjean finds housing in a poor neighborhood where the same nosy concierge with the bad powdered wig, who ratted out Cosette before she left Paris to find work, works. Hugo creates such a tiny world.
Marius learns all about how his grandfather has lied to him about his father. After confronting gramps, he leaves and finds his own room adjacent to . . . the Thenardiers. Ugh. Yes, Monsieur and Madame Thenardier are just as unctuous as before, if not more so. Their oldest daughter Éponine becomes smitten with Marius, but it’s a one-sided love. Ce Marius cultivé n’est pas exactement beau dans mon livre, donc il est difficile de croire que les filles vont tomber pour lui.
Javert continues to brood over Jean Valjean. It’s amazing since he must have known and knows hundreds if not thousands of prisoners, but this makes the story work. Hugo voulait nous montrer un pharisien (Javert) comparé à un disciple du Christ (Jean Valjean).
We meet Marius’ friends. They’re young men eager for political change and more egalité in society. Peut-être que s’ils aidaient effectivement des gens pauvres eux-mêmes, ils verseraient une partie de l’égalité qu’ils désirent. These boys are a rougher bunch, in terms of bearing and language, than we saw in the musical, but they’re alright.
Valjean felt badly about shocking Cosette with the real world so he takes her to the Luxembourg Gardens, where Cosette crosses paths with Marius and they immediately fall in love. This part of the story was sped up quite a bit compared to other productions and I think that’s a shame. Jean Valjean notices this love connection and he’s not ready for his dear Cosette to grow up like that.
I was surprised by the many changes from the book in this episode. Some were long-winded explanations, that I didn’t think were needed. In fact, I think they weakened the story. One change was that Jean Valjean explains his criminal past to Cosette. This should make the later parts of the story less dramatic so I can’t see what’s gained.
The episode ended when after getting tricked by Monsieur Thenardier and fighting his way out of the ambush, Jean Valjean and Cosette narrowly escape getting captured by Javert. Each week ends with a real nail biter of a scene.
Yet, it’s impossible for me to not love Les Misérables and I haven’t had a good drama to watch on Sundays since Victoria ended in February, so I am pleased with the show as a whole. I admit I miss the songs, though.
Gather four award-winning, accomplished British actresses to gossip, reflect on their careers and to a lesser degree their private lives and you’ve got Tea with the Dames. Starring Joan Plowright, who I learned was Lawrence Olivier’s third wife, Maggie Smith, Judi Dench and Eileen Atkins, Tea with the Dames is shot in Plowright’s country home which provides an idyllic English setting for the actresses to look back on their careers and friendships. Plowright and Smith do touch on Olivier’s sharp criticism. He sure could make a cutting remark to anyone who wasn’t performing as he thought they should.
I learned how each actress got started, how dedicated they are to their profession and what they thought when they received their titles. I wasn’t that familiar with Atkin’s work and from the film, I still don’t after viewing this film. The film’s designed for people well acquainted with the actresses. If you’re not, I think you’d find it confusing.
There’s no real structure and the film meanders more than most interview programs. Still these women are captivating and I enjoyed seeing how confident and at home with themselves and with each other these women were.
In the film world Day for Night refers to shooting a night scene during the day using a filter over the camera lens. I’d read a bit about the making of this film in Truffaut’s biography.
But when I started watching this film about making a film, I wasn’t sure I’d like it. Early on I felt Day for Night was too self-aware, however I soon warmed up to Jacqueline Bissett, Jean-Pierre Léaud and François Truffaut himself as soon as their vulnerabilities became clear and the success or completion of the film was in jeopardy. Bissett plays a fragile woman who’s recently recovered from a nervous breakdown. As usual, Léaud is a n alter-ego for Truffaut. It’s not new territory, but he carries it off like no one else can.
When the film gets into the actors various relationships and the hanky-panky that takes place, I got more into the film and it won me over. It caught the 1970s well.
Also, Truffaut’s montages were creative and engaging, without overdoing it. I’d say this isn’t a must-see, but it is an entertaining film. Given Truffaut’s biography, I’d say the hanky-panky shown, it’s true to life. I felt it was a realistic view of filmmaking, which shows the art, business and relationships of a film crew.
My parents’ visit to St. John Cantius in the fall inspired me to seek out the most splendid churches in Chicago. I found a useful article to help me form a list. My first church was St. John Cantius where I attended my first Latin mass.
Figuring the Christmas decorations would still be up, today I went to St. Hedwig in the Bucktown neighborhood.
The church stuns with its beauty as you first enter. Lots of gold and gorgeous polished wood. Ceilings were painted with biblical stories just as they are in Europe.
The three Wise Men are due to appear on Epiphany, January 6th.
You can read the St. Hedwig parish history here.
Sunday masses are at:
8:00 am in English
9:30 am in Polish
11:00 am in English
1:00pm in Spanish
Each week Cee challenges bloggers to share black and white photos based on a theme. This week she’s challenging us to share black and white photos of public transportation, e.g. buses and trains, etc. The only restriction is you shouldn’t include cars or trucks, or anything privately owned.
For more black and white photos, click here.
Hurry! You’ve got one last chance to see Jane Eyre at Northwestern University’s art center this weekend. I went last Saturday and was blown away with this production. Northwestern University is famous for its theater majors including Julia Louis-Dreyfus, Charlton Heston, David Schwimmer, Shelley Long, and more. Thus its no surprise that the plays they put on are top notch.
In this story of orphan Jane’s hard life, the Northwestern students’ acting was, as usual, superb. The woman who played Jane was outstanding. Her voice was lovely. I’d list the names but the program didn’t print the names of actors’ ‘with their character’s name. every cast member was spot on.
I read the novel Jane Eyre a long time ago, but remember the general plot. This production used Polly Teal’s adaptation, which is a little confusing because at the start of the play Jane is reading to a woman who appears to be mad. She represents Jane’s wilder side, but then the same woman is Rochester’s mad wife. I think if I hadn’t known anything about the story, I’d have been thrown by that part of the plot.
The simple set design was sparse but set the right tone of 19th century elegance. For the attic where the madwoman was locked up, there was a platform with one lone chair which could be lowered and raised. This was a genius way to show the attic and how the madwoman haunted life in the mansion.
I love how easy and affordable plays at Northwestern are. Parking’s a breeze and it’s close to home. Tickets don’t cost an arm and a leg.
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