Nelson Algren amusing his new friend, Marilyn Monroe

Art Shay - "Nelson Algren amuses a new friend"

    In Nelson Algren’s Chicago: City on the Make, he writes that the city’s heart lies “in the nobodies nobody knows.”  With that said, it is no surprise that the subjects of Algren’s photographer friend Art Shay were often the nobodies that he met underneath the “L” tracks.  Shay’s “Nelson Algren amuses a new friend,” in particular, captures the essence of the nobodies both he and Algren loved as well as the city of Chicago.
    In “Nelson Algren amuses a new friend,” Shay frames his friend with a girl on his arm next to a man who clearly isn’t having as wonderful a day.  Taken in 1949, the black and white lets the people speak for themselves.  Rather than distract the viewer with all of the colors of the neon signs in the background, the focus is drawn toward Algren looking to his new friend.  From there, the focus then shifts toward the man on the ground.  Not exactly the most beautiful group of Chicagoans; but that is what makes the photograph so alive.  What Shay excels at is capturing life as it is while creating his own exciting view to what might actually have been a dull day.  Had the photograph been framed a little more to the right, the picture would lose the extra touch of humanity.
    What is really special about Art Shay’s work is that while he glamorizes Chicagoans so naturally, he is not originally from the city.  Born in the Bronx, he worked for Life as a staff reporter before moving into photojournalism.  In addition to that, there is a great story behind the photograph.  One would first take from the picture that Algren and his new friend might have spent the day walking around having casually met in some diner on the South Side.  Instead, Algren’s new friend was really a prostitute whom he had paid to keep him company for the day.  They never did anything: they only  walked around the city while Shay took pictures of them.  
    The Chicago accent is easily noticeable: any use of deez, dem, and dose will often indicate a fellow Chicagoan.  In the foreword for Shay’s exhibit “Art Shay: Chicago Accent,” David Mamet writes “Art Shay’s writing, and his photos, have the Chicago accent.”  Art Shay knew his subjects, “dose” people who lived on the streets and had more character than any corrupt politician.




Seward Johnson - "Forever Marilyn"

    Marilyn Monroe was born in Los Angeles in 1926.  After modeling for the first few years of her career, she slowly moved into features.  In 1953, she rose to fame after starring in Howard Hawks’ Gentlemen Prefer Blondes as well as gracing the very first cover of Playboy magazine.  She became a sex symbol after her scene over a subway grate in Billy Wilder’s The Seven Year Itch, cementing herself in the concrete outside of Grauman’s Chinese Theater as a pop culture icon.  The image of Monroe’s dress blowing up above the steaming ground has become so iconic that it has gone up as a 26 foot tall statue in Pioneer Court titled “Forever Marilyn.”  So then, why exactly does Chicago need a giant statue of Marilyn Monroe? 
    Seward Johnson, an 80 year old New Jersey based sculptor, installed the statue in mid July of this year.  It is the third time Johnson has taken residency in Pioneer Court, after his “American Gothic” inspired “God Bless America” statue as well as 2008’s “King Lear.”  With “Forever Marilyn,” Johnson has made a clean cut representation the late movie star, but it is just that.  There is nothing new nor original to the piece.  It is as if someone decided a life-size wax sculpture of Monroe’s dress up in the air wasn’t enough, so they built a 26 foot tall version which towers over tourists.  “Forever Marilyn” is nowhere as detailed as “God Bless America,” nor is it as interesting and creative as the metallic “King Lear.”   Instead, it is just a tourist attraction that is on the way to Navy Pier from the Water Taxi. 
    So why Marilyn Monroe?  Aside from the fact that Some Like It Hot was set in Chicago for the opening scene, she really has no connection to the city or, most importantly, the people of Chicago.  Why her, and not a statue of John Belushi or The Staple Singers?  Paul Zeller, who owns Zeller Realty Group and is in charge of installing public art in Pioneer Court, chose Johnson’s work because he “is committed to providing art to the general public," even if it's controversial.  But there is nothing controversial about “Forever Marilyn.”  Had the sculpture been installed about 60 years ago with an actual purpose, it might be different.  Today though, Johnson’s statue is irrelevant with no connection to the city of Chicago and only creates a larger crowd to navigate through.

"Black Dogs"

    “The car was a piece of shit, but thanks to Keith the stereo sounded fucking great” recalls Patrick, the main character in Jason Buhrmester’s 2009 novel Black Dogs.   The same could be said about the book: while the plot is overtly formulaic and the characters seem to go nowhere other than a Led Zeppelin concert, its clever use of music makes their journey sound a lot more fun. 
    The plot may sound intriguing, but don’t get your hopes it.  Black Dogs follows Patrick and his friends Frenchy, Keith, and Alex as they scheme to rob Led Zeppelin after their famous three night stand at Madison Square Garden.  Patrick returns home on the day that his best friend Alex is released from jail.  Alex blames him for being in jail, so Alex must convince him as well as Keith and Frenchy to help him pull of his master plan.  In the midst of all this, they sit around drinking beer and smoking pot while they spin Black Sabbath’s Paranoid and hook up with girls. 
    But the good life can’t last forever.  Patrick’s plan to rob Led Zeppelin involves first stealing a rare 1958 Les Paul to sell to Jimmy Page so that they have a way to get into their hotel.  Patrick says his plan is simple, but of course someone screws it up.  Alex’s uncle Danny foils the plan after stealing a safe that belongs to a Christian biker named Backwoods Billy.  Billy uses religion as a cover for his motorcycle gang, “finding” it prison while getting his G.E.D., to push pills and guns.  Danny then sells the safe to Boogie, a member of the funk band The New York Giants who’s crafty with safes. 
    After meeting these characters is when the story takes off.  Danny, Backwoods Billy, and Boogie are far more interesting than anyone in this stoner Rat Pack.  One would expect much more tension after meeting a friend after he gets out of prison for something you put him there for.  But when Patrick talks to Alex at his “welcome home” party, it’s only awkward for a minute before Patrick explains his plan.  When these kleptos aren’t stealing car stereos or breaking into their girlfriends houses, they argue about episodes of “Hawaii Five-O” and whether or not The Doors were on “Soul Train.”
    The pop-culture banter is amusing for a while.  You feel as though you might of hung out with these guys in high school, but after a while you realize they aren’t going anywhere or doing anything really significant.  Sure, their lives may become more interesting after stealing from a Christian motorcycle gang who clobbers them at a carnival, but in the end they are the same as they were on page one.  The protagonists recall those on “That 70’s Show” if they decided to be badasses but alwasy failed trying.
    The story is obviously influence by aspects of Jason Buhrmester’s life.  Surely he never was a thief, but he probably smoked a lot of pot and listened to Black Sabbath with his friends.  At times though, Buhrmester becomes too focused on trying to relive these years of his life.  With constant lines like “Led Zeppelin tore into “Black Dog...” and “‘Electric Funeral’ erupted from the stereo,” it begins to sound like a school report on rock and roll.  Everybody asks Patrick if he listens to anything other than Black Sabbath, always replying no.
    Though there isn’t much variety, the best part about Black Dogs is the music.  At times the use of certain songs are clever and thoughtfully placed.  When Backwoods Billy tells Patrick that rock and roll is the devil’s music, he replies “I don’t listen to rock, I like Johnny Cash.”  Billy then lets him go, but when Patrick turns on his car the most satanic Black Sabbath verses blare from the 8-track player.  Later on, Patrick uses John Osbourne as an alias: John Osbourne is Ozzy’s real name.  Patrick may not listen to a lot of different music, but he sure knows a lot about it.  Yet it always seems to get him in as well as out of trouble. 
    Jason Buhrmester’s Black Dogs sounds like Elmore Leonard decided to turn Detroit Rock City into a novel when he was 15 years old.  Much of the book sounds amateurish, using many of the same descriptions and devices over and over.  What’s best about Black Dogs are the fringes of the story.  The secondary characters liven up a story fueled by one chugging riff. 

"Bridesmaids"

    Finally, a break from the bromance: I thought I was going to go crazy if I saw another five million takes of ad-libbing from Paul Rudd.  Paul Feig’s Bridesmaids may follow the same “wacky two thirds followed by a hard turn to sap third act” of a Judd Apatow film, but it’s fresh because we get to see someone else having the fun for once. 
    Bridesmaids is a nice change of pace for the Apatow gang.  Kristen Wiig (who co-wrote the film with Annie Mumolo) plays Annie, a down on her luck baker whose best friend Lillian (Maya Rudolph) is getting married.  But Wiig’s made of honor position is jeopardized by Helen (Rose Byrne) whose high class parties and lavish life make Annie look like a lesser choice for the position.  Helen begins to take charge in the wedding plans, always trying to stay one step ahead of Annie.  What follows is a dress fitting gone wrong as well as a drug/alcohol fueled plane ride to Las Vegas where Wiig shines as a bright comedy star. 
    Along for the ride is the rest of the bridal party, including the newlywed (Ellie Kemper), the tired wife (Wendi McLendon-Covey), and the groom’s party animal sister (Melissa McCarthy, who gets the most laughs in the film).  Director Paul Feig, well known as the creator of "Freaks & Geeks," knows how to handle comedy while retaining strong emotional reactions as well.  He can also direct a large cast of misfits as seen in his work on some of the best episodes of "The Office" and "Arrested Development." 
    Here though, Feig loses focus on half the bridal party during the second act until McCarthy’s Megan comes in to get Annie’s life back together after a meltdown.  Half of the time we see Kemper and McLendon-Covey’s characters they talk about their relationships with their husband which don’t see much of.  Instead, Bridesmaids focuses on Wiig’s disheveled life and her inability to grow up.  She sleeps with a jerk (Jon Hamm) and can’t open herself up to a sweet cop (Chris O’Dowd).  Unfortunately, the film follows the Apatow rule that a comedy can be fun only until the third act, where it quickly has to get a message across and feels out of place with the rest of the film.  
    The best thing about Bridesmaids though is that Kristen Wiig finally gets her moment in the sun.  Having been one of the funniest cast members for the last few years on SNL, she has also had the best parts in Adventureland and Whip It.  The scene on the airplane shows Wiig at the top of her game with some of the best physical comedy in years.  It’s nice to finally see her in the spotlight.  Also, it is much more enjoyable to watch something where the creators actually had fun working together.  So many romantic comedies these days feel like an easy paycheck: Bridesmaids was actually thought out and handled with care.