Pull Up a Seat Photo Challenge

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Northwestern University, Shakespeare Garden

You can see more seats, chairs, couches, thrones, ottomans and such by clicking here.

Care to join the fun?

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For this weekly challenge Xinfu Mama will make a post every Friday morning. To play along:

Create a post with a photo of places one sits or might sit, or art about sitting, and maybe a little background or story about the spot or a picture of the view.

  • Add a tag “Pull up a Seat”.
  • Add a link to your post in the Pull up a Seat comment section, either by writing a comment with your URL or by creating a pingback.

Pull Up a Seat Photo Challenge

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Northwestern University Evanston campus

You can see more seats, chairs, couches, thrones, ottomans and such by clicking here.

Care to join the fun?

pull_up-_a_seat-badge

For this weekly challenge Xinfu Mama will make a post every Friday morning. To play along:

Create a post with a photo of places one sits or might sit, or art about sitting, and maybe a little background or story about the spot or a picture of the view.

  • Add a tag “Pull up a Seat”.
  • Add a link to your post in the Pull up a Seat comment section, either by writing a comment with your URL or by creating a pingback.

 

Pull Up a Seat Photo Challenge

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Richard Dreishaus Museum, chair exhibit

You can see more seats, chairs, couches, thrones, ottomans and such by clicking here.

Care to join the fun?

pull_up-_a_seat-badge

For this weekly challenge Xinfu Mama will make a post every Friday morning. To play along:

Create a post with a photo of places one sits or might sit, or art about sitting, and maybe a little background or story about the spot or a picture of the view.

  • Add a tag “Pull up a seat”.
  • Add a link to your post in the Pull up a Seat comment section, either by writing a comment with your URL or by creating a pingback.

The Southerner

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I saw Jean Renoir’s The Southerner (1945) described so beautifully on 4 Star Film Fan,  that I had to get it. I was curious about how a French director would portray the Old West.

The Southerner begins with Sam Tucker’s old uncle dying in the cotton fields where he’s picking cotton along with Sam, his wife Nona, and Granny. The uncle’s dying words to Sam are that he should get his own land and not work for someone else. This convinces Sam to buy a plot of good land that’s been neglected for years. His boss lays out all the risks inherent in farming on your own and promises Sam, he can always return to work for him. The boss isn’t a villain; he does seem to care about Sam and his family and someone needed to give him a head’s up, because contrary to what I’d learned and seen in films farming is not a sure thing.

Sam packs up his family and belongings on an old jalopy. When they get to the land, they see that the house is a shack that’s one windstorm away from destruction. Sam admits that he should have checked out the house before buying the land, which was when I knew that the outcome for Sam sure wasn’t certain. Sam’s a nice guy and strong. Both he had his wife work hard, but Sam held some romantic notions about farming that gave me pause. He’d forgotten to check on the condition of the well.

The well wasn’t usable so Sam had to beg an ornery neighbor for water. As time goes on, the skinflint neighbor resents Sam more and more. As mean as the neighbor was, he did have a point. Sam and other pioneers should thought out their plans more.

The tensions build as bad luck and naive pelt the Tuckers throughout the film.

Hardworking and always cheerful, Nona is the perfect wife. She soon makes the shack homey and repairs what she can. She keeps the kids clean and happy and usually puts up with Granny’s constant complaints.

Sam’s friend Tim has moved on to the city where he works in a factory and makes a fortune, $7 per day. He offers Sam a job, but Sam envisions the life of a small farmer as his vocation. Often I thought Sam should take his family to the city.

A major threat in these parts is Spring Sickness. Granny’s a Cassandra always harping on about it because several of her children died of it. Caused by poor diet, lacking dairy and produce, Spring Sickness can be lethal. Just as you can’t see a gun on a set in Act One and not have it go off in Act Two, someone was bound to get Spring Sickness because the Tuckers’ diet was mainly fish, coffee and corn mush. Sure enough, Jot, the son who’s about 4, comes down with Spring Sickness and has a massive open sore on his face. The boy is lethargic and may not make it. The kindness of the doctor and a friend of Sam’s helps the Tucker’s obtain milk and veggies. The idea that one can make it on his own in the West is simply not true. It probably ain’t true anywhere. I did think that Renoir would have the boy die. I wasn’t long into the film before I expected disaster and I think sparing us the worse was a shortcoming of The Southerner (both the novel and the film).

Hard times hit repeatedly. Storms beat down the house and the fields, the final one sets the family back to square one.

One of the best lines in the film comes from Tim:

All you farmers is just the same. Gamblers! That’s what you all are, to a man. Year after year you starve yourself to death and hope that some fine day – well, I think you’re loco.

I’d never considered how true this line is. Farmers, especially in the past, were in some cases just as reckless as the people who raced to San Francisco or Australia during the Gold Rushes.

The Southerners is an earnest film that showed me a different side of Western Expansion from what I’m used to. There’s no language that would be a problem for children. There’s a scene with a “lady of easy virtue” in a saloon, but she comes across pretty tame and the banter veils the non-family friendly subject matter.

Poem of the Week

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Hanukkah Lights Tonight

by Steven Schneider
Our annual prairie Chanukah party—
latkes, kugel, cherry blintzes.
Friends arrive from nearby towns
and dance the twist to “Chanukah Lights Tonight,”
spin like a dreidel to a klezmer hit.
The candles flicker in the window.
Outside, ponderosa pines are tied in red bows.
If you squint,
the neighbors’ Christmas lights
look like the Omaha skyline.
The smell of oil is in the air.
We drift off to childhood
where we spent our gelt
on baseball cards and matinees,
cream sodas and potato knishes.
No delis in our neighborhood,
only the wind howling over the crushed corn stalks.
Inside, we try to sweep the darkness out,
waiting for the Messiah to knock,
wanting to know if he can join the party.

Sepia Saturday

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Families is the theme from Sepia Saturday so I searched for three different sorts of families from yesteryear. All these photos, like the one above, came from Flickr Commons.

Click here to get to the Sepia Saturday blog where you can get to all the other posts for the week.

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Russian Royal Family, Nicholas II, Alexandria & their children

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Farm Family, Montana, 1921

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I wouldn’t want to cross the woman on the right

Red River

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I usually don’t care for Westerns, but Red River (1948) with John Wayne is a new exception. In Red River, Wayne goes against type and plays a character who’s hard to like. Tom Dunson goes out west to seek a fortune from ranching. Early on he splits from his wagon train and leaves behind his lady love. To no avail, she pleads for him to take her with him.

Nope, she’ll be safer with the group and Tom’ll send for her. Unfortunately, Comanches attack the wagon train killing everyone but Matt, a boy who manages to escape with a cow. Tom adopts Matt and apparently sent him to school.

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Fourteen years later, after the Civil War, the 10,000 cattle, Tom’s raised are worthless since Southerners can’t afford beef. He must get his cattle to Missouri in spite of danger from Indians and terrible trail conditions. He lays down the law with the men who agree to go with him. If you start, you must finish. You’ll get $100, big money for going.

As they proceed, times are tough. They must fight Indians, put up with meagre rations and with Tom, who grows more obsessed and stubborn refusing to change his route when it’s clear that his plan is too dangerous. Men rebel and Matt’s caught in the middle against his adoptive father. Wayne plays a complex man and with most actors he’d be completely unlikeable. Clift’s Matt is natural and every move is simple, yet absorbing. According to the Criterion supplements, Clift, who’s films I hadn’t seen, was the first “Method” actor to become a star.