My 2010 Predictions post is up, including standings, playoffs, MVPhe/Cy winners, and a top 3 for each RoY award. There’s also a straggler post from Arizona on Fabio Martinez and two other Angel prospects, and I did a chat on Friday afternoon.
I’m scheduled to be on the Herd on Monday morning, but the weekly ESPNEWS hit is off next week.
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James Michener won the 1948 Pulitzer Prize for fiction with his short story collection Tales of the South Pacific
*I actually had no idea that “I’m Gonna Wash That Man Right Outta My Hair” was from South Pacific until I sat down to write this post. I figured it wasn’t originally from that hair-coloring commercial, but I couldn’t have even guessed what musical contained the track.
Some scattered thoughts from this book:
* This had to be an inspiration for Joseph Heller’s Catch-22 in multiple ways. I could imagine Heller writing his novel as a sarcastic, almost angry response to Michener’s somewhat antiseptic take on a brutal war – but at the same time, Michener mined subtle humor from incompetent officers, and the character Tony, who flies all over the Pacific trading one good for another in pursuit of liquor, seems like a precursor to Heller’s Milo.
* Tales of the South Pacific would never win the Pulitzer Prize for Fiction today. The first 30-odd years of the award largely rewarded novels told stories highly illustrative of some aspect of the American experience. If you look at recent winners, particularly the last ten years, the emphasis has been on edgier fare – Oscar Wao, Middlesex, The Road, even the blacks-who-owned-slaves backdrop of The Known World – with the occasional exception for an old-school winner like Empire Falls (which handled several major and very modern themes) or Gilead (I imagine the gorgeous prose and raw emotion won out). Michener’s novel today is almost more like a smart beach read, enjoyable, set in a serious time, but not a novel for the ages.
* The mere title of this novel reminds me of the best musical that never existed, found in an episode of the TV series Amazing Stories called “Gershwin’s Trunk,” in which a songwriter with writer’s block uses a psychic to contact the ghost of George Gershwin, who provides him with (among others) a song called “I Discovered You,” leading with the couplet: “Balboa thought it was terrific/When he discovered the Pacific.” Twenty-five years I have had that song in the back of my brain. It’s a hell of an episode.
Next up: A book written by a reader! Richard Dansky’s first novel, the ghost story Firefly Rain
DVD for my daughter for Christmas – not among my favorite movies, but she loves all the songs the kids sing, and I have to admit that the bonus feature with all seven child actors reunited for the 40th anniversary of the film is awesome – but that spurred me to post a list I’ve meant to throw out there for a while: My own ten favorite musicals.
(not enough of a musical), Brigadoon (good movie but the songs didn’t grab me), and Yankee Doodle Dandy (too long by half). One movie I have not seen that makes all of these lists is Cabaret. You’ll also notice that fatherhood has influenced this list quite a bit.
. Probably my daughter’s all-time favorite movie, to the point where she heard a Julie Andrews song from the soundtrack of Camelot and shouted, “That sounds like Mary Poppins!” There’s enough humor for adults here and some strong visual effects, as well as a few songs that you still know by heart whether or not you want to, plus a performance from Arthur Treacher as the Constable, which makes me laugh just because of the fast-food chain that still bears his name. Best song: When my daughter was smaller, I’d swing her all around to “Let’s Go Fly a Kite.”
. It still amazes me that the huge success of this movie didn’t spur a new run of musicals from Hollywood, but apparently only Baz Luhrmann has the balls – or the good sense – to capitalize on the market for musical films. I thought the movie was incredibly creative in its reworking of pop songs into key plot elements, with lots of silliness and some very good performances by Ewan Macgregor, Nicole Kidman, and several of the supporting players. Best song: “Your Song.”
. A sentimental favorite, since I’ve been singing “You’re Easy to Dance With” to my daughter since she was a few days old. The plot is silly – it’s an excuse to sing a bunch of holiday-themed songs, and it features perhaps the worst business model ever depicted in any movie: a hotel that only opens on holidays. There’s also an unfortunate blackface scene that’s woven into the plot, so if you watch the movie without it, a thin story gets thinner and a few lines won’t make sense, but watching the original version will have you cringing. Fred Astaire’s July 4th number is one of his best dances in any film. Best song: “You’re Easy to Dance With.”
. Two iconic dance scenes make this movie: Fred Astaire dancing with a hatstand, and Astaire dancing on the ceiling. He had surprising chemistry with Jane Powell, a new partner for him who turned out to be perfect for some of the slapsticky numbers in the Astaire’s love interest is played by Sarah Churchill, daughter of Winston, although I found the idea that Astaire’s character would be smitten with her a little tough to swallow. Best song: “How Could You Believe Me When I Said I Love You When You Know I’ve Been A Liar All My Life,” a rare comic-dance number for Astaire, and later a 
. A little more story and better music than Holiday Inn, and the film avoids any racist undertones by sticking to an all-white cast. (Lest anyone get the wrong idea, that’s sarcasm.) Danny Kaye doesn’t have Fred Astaire’s dancing chops but is better with physical comedy, and Vera-Ellen was a much better dancer than either of the female leads in Holiday Inn. The film’s climax, while just as absurd as everything that leads up to it, has a lot of heart. Best song: “White Christmas.”
. A cult favorite that should have been a bigger hit, made on a shoestring budget with a plot that fit on the back of a napkin, it’s carried by two great performances and a heavy emphasis on realistic dialogue. It’s magical without magic other than the magic of music. Best song: “Falling Slowly.”
. I’ve certainly made enough references to this movie in chats and on Twitter, but I have to admit I thought it was dumb the first time I saw it; it took a second viewing for me to realize how witty the movie is and the way it straddles the line between admiration and parody of the small-town Iowa culture of writer Meredith Wilson’s upbringing. The film’s vernacular is unique and comical – “You watch your phraseology!” – and the use of a barbershop quartet as actual characters in the film (they play the school board) instead of just props who sing was another nice touch. The only negative for me is that Shirley Jones gets stuck with three dud ballads, making her character boring next to all the fun that Robert Preston’s Harold Hill gets to have. Best song: “Wells Fargo Wagon,” although I imagine the most popular pick would be “Seventy-Six Trombones.”
. Take a great play (Pygmalion) by a great playwright (Shaw) and add the most beautiful actress in the history of motion pictures (Audrey Hepburn) and a handful of memorable songs and you have the shortest three-hour movie ever made. Stanley Holloway, as Eliza Doolittle’s ne’er-do-well father, is a scene-stealer and gets the two funniest songs in the film. A remake is supposedly in the works, which strikes me as a brazen money-grab and a terrible idea, as movies like this should never, ever be subject to the indignity of a remake. Best song: “With a Little Bit of Luck.”
. The granddaddy of musicals, including no end of outstanding dance numbers – the title track, “Moses Supposes,” and “Good Morning” – a great comedy number from Donald O’Connor in “Make ‘Em Laugh,” and an actual plot aside from the standard-issue romance. The silent film era comes to an abrupt end and the characters, mostly silent-film stars, have to adapt to life in the talkies, which proves very difficult for Jean Hagen’s Lina Lamont, whose voice is like nails on a chalkboard and who mistakenly believes that the film studio’s marketing angle about a romance between her and Gene Kelly’s character has some basis in fact. Kelly, a raging perfectionist as a dancer, was at his peak here, and while he reportedly drove costar Debbie Reynolds to tears, the “Good Morning” number still amazes me every time I watch it. Best song: “Singin’ in the Rain.”
, and I can’t recommend it enough.