Li’l Abner on the debt ceiling panic

Patterned after GM president Charlie Wilson, who said: what's good for General Motors is good for AmericaWhen the satiric cartoon Li’l Abner was made a musical on Broadway, robber baron General Bullmoose sang Bring back the good old days, lamenting the regulation of capitalism, pondering:
“How can you break the market?
            How?
The SEC will not allow
            …one little panic.”

Today with graft unregulated and un-policed, the American public is made to panic for every swindle, to extort from them bank bailouts, tax breaks for the rich, and now cuts to “entitlements” such as poverty class pensions and medical care.

The Li’l Abner strip may not have had the legacy of Pogo, or longevity of Gasoline Alley, but it was the Doonesbury of the 30s and up to the 70s. In the introduction to From Dogpatch to Slobbovia, a little compendium of Abner scenarios, cartoonist Al Capp said this about his artistic intentions:

“to create suspicion of, and disrespect for, the perfection of all established institutions. That’s what I think education is. Anybody who gets out of college having had his confidence in the perfection of existing institutions affirmed has not been educated. Just suffocated.”

Avid fans included Queen Elizabeth, Charlie Chaplin and John Steinbeck who wrote:

Capp is probably the greatest contemporary writer and my suggestion is that if the Nobel Prize committee is at all alert, they should seriously consider him.”

As a side note, the Broadway cast of Li’l Abner included the character Stupefyin’ Jones, played by Julie Newmar aka Catwoman, and Appassionata Von Climax, played by Tina Louise, Ginger of Gilligan’s Island –if you always wondered how the character Ginger could not have failed to be a real “movie star.” Tina Louise began her career on Broadway in the 50s and was age thirty-something when the TV series aired. Imagine green-lighting an actress of that age today to play a sex symbol, yet Louise became as yet TV’s most enduring sex symbol.

Top 10 Westerns, if you ask the French

rio bravo directed by Howard Hawks
 
Are you a fan of the American Western? How do you think your taste might match a survey of French film critics? Though we mock their high regard for Jerry Lewis, let’s allow that France has a film history that predates ours, and a legacy of critical journals beyond the reach of our Hollywood shills. Besides which, the golden age of the movie western lies well between the brothers Lumiére and the Nouvelle Vague. Perusing John Cawelti’s The Six-Gun Mystique published in 1976, I found a list of the TOP TEN GREATEST WESTERNS. Think any of your favorites made the list?

Your odds improve because ties were listed as individual ranks, so the entire top ten comprises almost 100 titles. The survey excludes works made after the early seventies obviously.

Joan Crawford stars in Johnny GuitarTOP TEN WESTERNS

1. Johnny Guitar — Nicholas Ray

2. Rio Bravo — Howard Hawks

3. The Big Sky — Howard Hawks, w. AB Guthrie

4. (tie)
The Naked Spur — Anthony Mann
Rancho Notorious — Fritz Lang
Man Without a Star — King Vidor

5. (tie)
My Darling Clementine — John Ford
The Left-Handed Gun — Arthur Penn, w. Gore Vidal
The Searchers –John Ford
Ride the High County — Sam Peckenpah

6. (tie)
Silver Lode — Allan Dwan
Red River — Howard Hawks
Duel in the Sun — King Vidor
The Hanging Tree — Delmer Daves
Run of the Arrow — Sam Fuller
Seven Men From Now — Budd Boetticher

7. (tie)
The Last Hunt — Richard Brooks
The Far Country — Anthony Mann
Colorado Territory — Raoul Walsh
Wagonmaster –John Ford
The Unforgiven — John Huston
Man of the West — Anthony Mann
Heller in Pink Tights — George Cukor, w. Louis L’Amour

8. (tie)
Man From Laramie — Anthony Mann
The Plainsman — Cecil B. DeMille
Western Union — Fritz Lang
Winchester 73 — Anthony Mann
Warlock — Edward Dmytryk
They Died with their Boots On — Raoul Walsh
The Last Frontier — Anthony Mann
The Last Wagon — Delmer Daves
River of No Return — Otto Preminger

9. (tie)
Stagecoach — John Ford, w. Ernest Haycock
The Outlaw — Howard Hughes, w. Ben Hecht
Billy the Kid — King Vidor
Comanche Station — Budd Boetticher
The Wonderful Country — Robert Parrish, w. Tom Lea
Wichita — Jacques Tourneur
3:10 to Yuma — Delmer Daves, w. Elmore Leonard
The Magnificent Seven — John Sturges, w. Akira Kurosawa
Gunfight at the OK Corral — John Sturges, w. Leon Uris
Tennessee’s Partner — Allan Dwan, w. Bret Harte

10. (Another 45 titles, including)
Shane — George Stevens
The Misfits — John Huston, w. Arthur Miller
Major Dundee — Sam Peckinpah
One Eyed Jacks — Marlon Brando
The Treasure of the Sierra Madre — John Huston, w. B. Traven
The Gold Rush — Charlie Chaplin
Go West — Buster Keaton
Fort Bravo — John Sturges

Machine men, with machine minds and machine hearts

Charlie-Chaplin-Great-DictatorThis weekend the kids and I watched Charlie Chaplin’s brilliant 1940 movie The Great Dictator. The film was released before the United States’ entry into World War II when our country was still at peace with Nazi Germany. Charlie Chaplin was an outspoken critic of Nazism and fascism while most Americans were either ignorant of or complacent about European goings-on. The Great Dictator is ingenious in its inexorable skewering of Hitler and Mussolini, done with complete levity and irreverance, a task made possible by Chaplin’s lack of foresight into the coming Holocaust. He admits he likely wouldn’t have made the film had he known about Hitler’s final solution.

Chaplin plays two characters in the film: Adenoid Hynkel (Adolf Hitler) and an obscure Jewish barber who resembles the great dictator. Chaplin undertook a meticulous study of Adolf Hitler’s manner of speaking in preparation for the film, and some of the most brilliant scenes are of Hynkel’s speeches, spoken in authentic German-sounding gibberish, delivered with all the wild-eyed passion, choking and spitting of Hitler himself. Hynkel is surrounded by cronies with amusing names: Goebbels is Herr Garbitsch (pronounced Garbage), Göring is Herr Herring, and leading the opposition is Benzino Napaloni — a portmanteau of Benito Mussolini and Napoleon Bonaparte.

In a plot twist near the end of the film, the Jewish barber is mistaken for Adenoid Hynkel and is called on to make a victory speech to thousands of Germans cheering the successful invasion of neighboring Osterlich (Austria). Bumbling to center stage completely unprepared, the imposter Herr Hynkel delivers this address to his buoyant followers:

I’m sorry but I don’t want to be an Emperor – that’s not my business – I don’t want to rule or conquer anyone. I should like to help everyone if possible, Jew, gentile, black man, white. We all want to help one another, human beings are like that.

We all want to live by each other’s happiness, not by each other’s misery. We don’t want to hate and despise one another. In this world there is room for everyone and the earth is rich and can provide for everyone.

The way of life can be free and beautiful.

But we have lost the way.

Greed has poisoned men’s souls – has barricaded the world with hate; has goose-stepped us into misery and bloodshed.

We have developed speed but we have shut ourselves in: machinery that gives abundance has left us in want. Our knowledge has made us cynical, our cleverness hard and unkind. We think too much and feel too little: More than machinery we need humanity; More than cleverness we need kindness and gentleness. Without these qualities, life will be violent and all will be lost.

The aeroplane and the radio have brought us closer together. The very nature of these inventions cries out for the goodness in men, cries out for universal brotherhood for the unity of us all. Even now my voice is reaching millions throughout the world, millions of despairing men, women and little children, victims of a system that makes men torture and imprison innocent people. To those who can hear me I say “Do not despair”.

The misery that is now upon us is but the passing of greed, the bitterness of men who fear the way of human progress: the hate of men will pass and dictators die and the power they took from the people, will return to the people and so long as men die [now] liberty will never perish…

Soldiers – don’t give yourselves to brutes, men who despise you and enslave you – who regiment your lives, tell you what to do, what to think and what to feel, who drill you, diet you, treat you as cattle, as cannon fodder.

Don’t give yourselves to these unnatural men, machine men, with machine minds and machine hearts. You are not machines. You are not cattle. You are men. You have the love of humanity in your hearts. You don’t hate – only the unloved hate. Only the unloved and the unnatural. Soldiers – don’t fight for slavery, fight for liberty.

In the seventeenth chapter of Saint Luke it is written ” the kingdom of God is within man ” – not one man, nor a group of men – but in all men – in you, the people.

You the people have the power, the power to create machines, the power to create happiness. You the people have the power to make life free and beautiful, to make this life a wonderful adventure. Then in the name of democracy let’s use that power – let us all unite. Let us fight for a new world, a decent world that will give men a chance to work, that will give you the future and old age and security. By the promise of these things, brutes have risen to power, but they lie. They do not fulfil their promise, they never will. Dictators free themselves but they enslave the people. Now let us fight to fulfil that promise. Let us fight to free the world, to do away with national barriers, do away with greed, with hate and intolerance. Let us fight for a world of reason, a world where science and progress will lead to all men’s happiness.

Soldiers – in the name of democracy, let us all unite!

Look up! Look up! The clouds are lifting – the sun is breaking through. We are coming out of the darkness into the light. We are coming into a new world. A kind new world where men will rise above their hate and brutality.

The soul of man has been given wings – and at last he is beginning to fly. He is flying into the rainbow – into the light of hope – into the future, that glorious future that belongs to you, to me and to all of us. Look up. Look up.