Doris Day and Edith Head, and oh yeah, Alred Hitchcock and Jimmie Stewart

These principals all came together in The Man Who Knew Too Much.

They created movie magic at its finest.  Time travel back to 1956. American surgeon, Dr. McKenna (Jimmie Stewart) takes his wife (Doris Day) and young son to visit Morocco, for he had been there, serving in North Africa during WWII.  They literally stumble into all kinds of espionage and trouble in Marrakesh, and their son is kidnapped in the process.

Alfred Hitchcock directed this classic film and Edith Head made this sketch of a beautiful suit for Doris Day to wear in the critical parts of the movie.

 

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The suit seen above, without the stole, was realized in gray silk and Miss Day wears the suit throughout the second half of the film, during which she is seen in Albert Hall in London, as well as in the Embassy of some unspecified but critical country.  Her kidnapped son had been taken to London and she and Mr. Stewart are there to find him.

I loved the movie and highly recommend it.  Here are the lead actors and the director:

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And here is the poster advertising the film.

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Call me by your name, and I’ll call you by mine.

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Catching up on movies during the holidays, I loved this one.  Maybe it is because it is set in Italy, maybe because it is set during my own youth and coming of age, maybe its because I have a beautiful son like the one in the film, maybe because I have spent my life searching out and writing about art like the father in the film, maybe it is because I was in breath-taking Sirmione last summer on Lake Garda where the ancient sculpture is dredged up from, maybe it is because I liked the affectionate relationship between the mother/son, maybe because I’ve met charismatic men who can do anything like the protagonist, or maybe for the collective wisdom of the parents; for whatever combination of reasons, this movie moved me.  Catch it if you can.

A good pencil is hard to find

I am betting this is a topic you have never thought about.  Why would you?

But, I have become an expert on the topic, and I have news for you: you cannot find a decent pencil in Italy.

Now I am guessing that if you go to an art supply store, or an engineering store (are there such things?), you could buy a fancy pencil that would put my favorite ones from the US of A to shame.

But, I am talking about being a student here, in a language school for foreigners, and trying to take notes. Not an artist or a engineer.

I typically write with ink, because it flows so much better than pencils and I like a fine point.  But, I had to take such fast notes and so many notes in language school, and so often made so many mistakes as I wrote Italian, that my ink written notes look like a scratch pad.  More lines through words than just plain words.  A mess.

So, I looked high and low for erasable ink pens.  I found a bunch.  They were all worthless.  The points were too thick, the erasers were not good.  I ended up tearing the paper. So, I went back to pencils.  My notes had looked (and functioned) worse in the erasable ink than in plain ink crossed out.  At least then my paper didn’t have rips in it.

Another issue is that when you think you have located a decent wooden #2 pencil here, it will not have an eraser on the end.  Or, it will have an eraser that is made out of something like marshmallow fluff.  It looks like an eraser, so you buy the pencil(s, since you might stock up when you think you’ve finally spotted a winner).

So, you take out your new pencil, which you must also carry a sharpener for as well.  Because you will break the lead, many times.  The lead isn’t that great.  And, if you are like me and want a sharp point, well…you will need that sharpener.  And you will need to empty it pretty often.  And, in all likelihood, your lead will break many times while you are manually sharpening it, and before long your new pencil will be a stub, and worse, still not that useful.

And, by that point, you will have missed the entire discussion (in Italian) of the subjunctive tense. And so, now, how will you ever be able to talk about wishes, or hopes, or things like that?

You won’t.

Anyway, you finally get your pencil stub sharpened and you start writing furiously, maybe even trying to look at your neighbor’s notes (which will be in Korean or Japanese or German), while trying to find your sea legs in the subjunctive. And damn, before you know it, you have made another mistake but you feel a bit smug, since you have a new pencil, albeit a stub, with an eraser!!

You flip that sucker over and start to erase and the entire eraser breaks off at the line where the pencil meets the eraser.

So, the next day, in desperation, when you are walking to your yoga class in the Piazza della Republicca, you pass a tourist souvenir kiosk and you notice that they sell pretty Florentine paper wrapped pencils and they have erasers.  Never in your lifetime did you think you could be so excited about the prospect of a new pencil.

You don’t have time to buy the pencil because you are already late for yoga, but visions of that pencil dances in your head in every down dog you do. You cannot wait to be done with yoga and back in the loggia by the Post Office to buy that pencil.  You are obsessed.  Plus, it’s pretty to boot and, hello, if you read my blog, you know beauty is at the top of my list, all my lists!

You buy the pencil and take it home and admire it and hope it will be the one.  You sharpen it when you get home and try it out.  You discover that the pretty Florentine paper is the only thing that makes this pencil different from the ones you’ve already tried.

So, when you go back to the USA to renew your Visa at the Italian Consulate in Chicago, you take a shopping list with you.  And no one can believe it, but at the top of your list are #2 Pencils, with erasers at the end. And you feel very safe and secure, ready to go back and try the subjunctive again.

Italian coffee magic

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We know that coffee culture is supreme in Italy.  I just came across this funny take on a comparison of Italian with French coffee:

ASK HIM FOR A CAFE AU LAIT ONLY IF YOU WOKE UP WITH HIM

It’s almost impossible to find a drinkable cup of coffee in Paris: the coffee here is among the worst I’ve ever had. Before Francophiles race to chime in about how bad American coffee is, yes, I agree with you. There’s a lot of bad coffee in America. The difference is there’s the possibility of finding a good cup in the States.

Plus North Americans have an excuse: we don’t share a border with Italy, that magical kingdom of coffee, where each tiny sip is a multisensory explosion of flavor.

From the moment the barman puts that little cup under the spigot, until I polish off the last of the syrupy espresso that trickles out of the tiny cup, my mind can’t concentrate on anything but that intense dose of masterfully extracted coffee. Ah—il espresso perfetto.

In a country where there’s such an emphasis on fine dining, whose good food is celebrated not just here, but around the world, it’s stupefying why Parisian coffee is so vile that fed-up French food writer Sophie Brissard described it as “donkey piss.” The only good coffee I’ve found in Paris has been in places run by Italians. To them, serving bad coffee would be an insult to their entire culture. When I asked the woman at the Italian tourism office how she was able to live in Paris and subsist on the coffee served here, she looked as if I’d made her queasy just by mentioning it. “I will not drink coffee in France,” she responded. “I only drink tea.”

Lebovitz, David. The Sweet Life in Paris: (pp. 165-166). Crown/Archetype. Kindle Edition.

Should Michelangelo’s David be moved to an earthquake proof location?

Let’s ask the director of The Accademia, Cecilie Hollberg, where the statue stands today.  The following is an interview conducted by Helen Farrell of The Florentine:

Cecilie Hollberg | Ph. Leo Cardini


Helen Farrell
: Earlier this year, an architect from Padua made the international headlines with an idea to move the David to an earthquake-proof museum. At what stage is the Accademia in the creation of seismic protection for the world’s most famous statue?

 

Cecilie Hollberg: First of all, this architect has been publishing things in newspapers and magazines since 2008; there are plenty of experts who openly give us advice without being familiar with our site, or without having the experience or capabilities needed to understand what can be done here. Building an underground bunker in a city like Florence means moving the David, which is enough to show us they really haven’t thought this through. There’s all this chatter in a local newspaper about moving it in the front of the new opera house. Everyone’s been asking about it. This statue is fragile, and that’s why it gets everyone so agitated. Yet, at the same time, everyone’s ready to move it all over the place—it’s a very strange situation. In any case, we’ve been working on this for years. The Ministry conducted many investigations on the building, the structure itself, and the possibilities that may arise, and since I’ve been here, we’ve been closely monitoring the statue. It’s cleaned every two months, financed by the Friends of Florence, and with every cleaning we are able to monitor the statue very closely. Every weak or fragile spot is regularly scrutinized time and time again so if there were any changes we would see them immediately. This aspect is something that’s always been under control. But, and I’m going to open a parenthesis here, there are some real absurdities out there. There was someone who sustained that the heat makes marble melt: it’s absurd. Marble changes its state of aggregation at 900 degrees centigrade.

 

HF: He’ll be fine then, even with our summers…

 

CH: There are all of these things that end up in the press because these poor souls want to link their name to Michelangelo’s David, hoping to end up in newspapers. Of course, they do end up in newspapers and we have to waste our time explaining to them that, in reality, marble does not melt. In addition, we created a framework agreement with DICEA, the University of Florence Department of Civil Engineering and Environment, in which we continue the already initiated investigation on the structure of the building. The structure is what’s important in the event of any sort of {seismic} movement. The base that holds the statue and blocks it from falling is entirely useless if the ceiling comes down on it. Thus, we made this framework agreement and the inspection will follow shortly, the only thing missing before we can decide what to do. I have been in contact with many institutions; I’ve been to the U.S. to the Getty Institute where there are several earthquake experts. Yet the reality remains that no one has ever worked with a statue like the David. All of these platforms are just fine for structures from 2 to 2.5 metres, but the David weighs 5,660 kilos and stands 5.17 meters tall. No one has ever experimented on a statue of this kind. They’ve experimented with the Riace Bronzes, but they’re much smaller and bronze is an entirely different material—it’s more flexible than marble. It’s an entirely different conversation, and so we can’t adapt the research done for that kind of model and apply it to an icon of the Renaissance. We really have to think about what we’re doing. The last thing I need is this group of charlatans coming to me with advice without knowing anything about the situation.

You can read the entire interview here:

http://www.theflorentine.net/art-culture/2017/10/a-conversation-with-cecilie-hollberg/

Incidentally, this week I visited the Casa Buonarroti, where a scale model of the apparatus that was used to move the David from Michelangelo’s studio to its original placement outside the Palazzo Vecchio (the original has since been moved to the Academia) is prominently on display.  Here’s a photo of that model:

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