Lunch Poetry Redux 1998 - Part 1

In honor of our lunch/baseball outing today, I think it's time to share another chapter in Lunch Poetry history. In previous posts I recounted how this tradition started, and shared many examples from its inception in 1996 through the end of 1997. It was a difficult time for many of us as the IRS, especially the Collection Division within which many of us worked, had sort of lost its philosophical way. Our mission seemed to change on a regular basis, sending top leaders into frequent tailspins and the rest of us scrambling to figure out what to do to keep the ship afloat. Times where tense, and the weekly lunch outing provided a few moments of sanity in an otherwise unpleasant situation.

Today, we'll move on with a look into 1998. According to my day planner records, 1998 was a banner year for the Lunch Bunch, with 28 outings. That's a bit too many to cover at once, even in one of my (lengthy) posts. So here are some highlights from the first part of the year.

As noted in my last lunch poetry post, by the end of 1997 the Lunch Bunch had emerged from a nomadic period of searching for a decent lunch spot and had settled on the Mexican Town restaurant in the Mexican Town neighborhood of western Detroit, about a mile from the office. This distance also gave rise to the practice of traveling to lunch in the Burk family van, one of the many important jobs our vans performed over a 20+ year span. As a result, the vans in service during the Lunch Bunch era had a way of showing up in the rhymes (for more on the history of our vans, see Vans Part 1 - The Tiara Years and the two followup posts).  

Our first lunch invitation in 1998 was on January 21st, dead of winter, cold and snowy. Resuming our Lunch Bunch outings to lift spirits in the typical post-holiday funk was quite welcome, as I remember. The poem is set to the tune of the Mamas and Papas' Monday, Monday. It's called Wednesday, Wednesday (our traditional lunch day). And a tip. For full enjoyment of the song parodies, I recommend reading them while listening to the source music. That's the way they were written.

Wednesday, Wednesday, so good to me.
Wednesday Morning, it's when
  I hope it's you'll I see.
But Wednesday morning, Wednesday morning
  can't guarantee,
That Wednesday lunch you'll all be there
  to eat with me.

Wednesday, Wednesday, can't trust that day.
Wednesday, Wednesday, sometimes work gets
  in the way.
Oh Wednesday morning, you give me no warning
  of who'll be free
For Wednesday lunch. How could they eat
  and not take me?

Every other day, every other day,
  every other day of the week is fine, yeah.
But when Wednesday comes, but when Wednesday
  comes, you can find me smilin' out of my mind.

Wednesday, Wednesday,
Hope you'll turn out today.
Wednesday, Wednesday,
Won't go away.
Oh Wednesday, Wednesday,
It's here to stay.

In early February, one of my musical favorites, that pop queen of the 60s Petula Clark, made her lunch poetry debut. (By the way, if anyone's musical collection is short some Petula, I can probably fill the gaps, including a suite of her French recordings muled directly from Paris by an agent of my former rare-music connection, Unmitigated Me herself). This poem's called I Know a Place, to the tune of Petula's hit I know a Place. Not very original on my part, I know.

Everyday, as the pain starts to blind you, and
Your boss (what a bore) lays more work at your door,
You must get away, where those people 
  can't find you.
If you like, well, I'll tell you more.

Don't let the day get the better of you.
'Cause when lunch time comes,  
  there's some people who
Will put forth their best and wear a smile.
You better come with us awhile.

'Cause I tell you...

We need some lunch,
Where the food is so fine
  and the tab is always low.
I know a place, and we should go.

A couple of weeks later we lunched again with this short invitation set to the meter of the old English nursery rhyme Sing a Song of Sixpence. I call it Sing a Song (of Incense).

Bring along your mood (tense?)
And hock it for a smile.
More than plenty good words,
To make it worth your while.
When our lovely entrees,
The waiters finally bring,
We'll pig-out unsaintly-ish.
Can't help it, it's our thing!

February continued to be a hot month for lunch as the Bunch headed out for a third week in row to this poem, set to the tune of another Mamas and Papas' hit Do You Wanna Dance. I call it Do you Wanna Lunch?

Do you wanna lunch?
  Hungry for Mex-light?
Cheese, meat, all gooed-up
  just right.
Oh maybe, you just
  wanna lunch.

Do you wanna lunch,
  and ride my van?
Tell me, I'm your
  driver man.
Oh-oh-oh maybe, 
  you just wanna lunch.

Do you wanna lunch,
  and join our bunch?
C'mon and just maybe,
  I've got a hunch,
Hey maybe, you just 
  need a lunch.

We closed February out with this takeoff on our national anthem. I call it The Star Spangled Burrito.

Oh say, won't you please,
  Help us do lunch up right?
We'll so loudly inhale
  (With our wide smiles fast beaming)
Those broad chips and hot sauce. 
  I could eat them all night.
And the nachos are tops,
  Heaped with melted cheese steaming.

Our eye sockets will flare, 
  Peppers hot as we dare.
Need proof? Well all right.
  There'll be sauce in your hair.
So, hey where's tha-at heart-angled
  vanner-er ye-et wai-ait?
By the curb, oh yes he'll be!
  So please come, and don't be late.

Our February momentum rolled full-bore into March, with this dandy inspired by Jay and the Americans.  I call it Come and Get a Bit Closer. The term "The Border" is from earlier Taco Bell commercials in which they referred to themselves as such. Our reference, of course, is to the Lunch Bunch's Taco Bell origins.

There's a little cafe (though it's not
  quite so nice as "The Border".) 
We will sit in there drooling while
  waiting to place a big order.
Then when "Jose" saunters our way,
  we'll belong to badness, hooray!
Yes we'll choose, things that ooze,
  then we'll schmooze,
And at last we'll be gay-ay-ay.

Come and get a bit closer,
We'll take the green van,
  so big and so long.
Come and get a bit closer,
You're not alone, and it's nice
  to belong.

As you start on your lunch, the sauce,
  it looks so inviting.
And you cannot resist, dipping one
  little chip, so exciting.
Then you scream, "It's the hot!"
  with dismay.
We say, "Chill, Jose's on his way."
Yes he knew, ice water'd do,
  just for you,
And again you'll be gay-ay-ay.

Come and get a bit closer.
We'll make the lunch grand,
  it won't take so long.
Come and get a lot closer.
You'll feel at home, and it helps
  us be strong.

Our second March lunch invitation was inspired by the title song from the musical Oklahoma. I call it McNamara, after the Federal building in which most of us worked at the time.

Maaaaaac - Na-mar-a,
Where the work comes quick
  and quite insane.
And the ravin' meet,
To get complete,
And to try and leave behind the pain.

Maaaaaac - Na-mar-a,
It's a sight, not funny, man, no lie.
There's a lot of talk,
But not much "walk", 
Makes us crazy, mirthless, you and I.

We need to be strong as we can,
So today, we belong in the van!

So when you hear,
  "It's time to go, hooray!"
You know we're saying,
"You need some time out of there-a,
McNamara, go 'way!"
 
Our third and final lunch invitation in March was set to Simon & Garfunkel's I am a Rock. I call it I am a Wreck.

A winter's day?
I'm asleep, and can't remember.
Am I still at home?
Gazing at my in-box, two more piles to go.
I have strangely fallen silent. Now I know!
I am a wreck, I am in "why?" land.

I see halls, a fortress cheap and blighty,
That none dare to update.
I have such need of friendship, friendship eases pain.
It's laughter and it's lunching I must gain.
I am a wreck, I need my van.

I need some food, and my poetry to correct me.
I'll be healed, in my ardor.
Smiling as I swoon, sated just like you-un.
It's so much fun, to go and lunch with thee.
I am a wreck, but I'll be fine again.

And we'll rock, feel no pain.
Come in my van, just your size.

Let me wrap up this first look at 1998 lunch poetry with these two invitations from April. The first came just after a family trip to Disney World, where I ran into - you guessed it - Estelle of the Bell (the lady of the night that has been the subject of many previous Lunch Bunch limericks). She was up to her old tricks, of course, this time with the world's most well-known corporate logo. I call it Ears, Too (Yah) (and please forgive the mild ribaldry, as a true limerick must have some form of it).

While in line to see Goofy I stood,
I heard someone moan, "Ooh that's good!"
So I turned to see who
Had uttered that "ooh".
What I saw I'd forget if I could.

She was stroking those world famous ears.
He was blissful, and nearly in tears.
Estelle and the Mouse?
Right here in Walt's house!
For passion, Estelle has no peers.

This final offering from late April is set to the tune of the rock and roll classic Proud Mary, and is entitled Proud (But Wary).

Workin' my job in the city,
Humpin' for the tax man night and day,
But I'm lost in thought, every now and then,
Dreamin' 'bout the way things should'a been.

"Big wheels" keep on worryin',
Proud (but wary) we be scurryin',
Mopin', hopin', to Mex we'll be delivered.

Seen a lot of waste so senseless,
Felt my little brain, out of new ideas.
But I never saw, the worst fright (wasn't pretty),
Till I hitched a ride with the "never-notes" team.

"Big wheels" keep on churnin',
Too proud, to care 'bout learnin'.
You're knowin', we're goin',
To Mex we'll be delivered.

Hope you enjoyed this trip down memory lane, especially those of you who lived it the first time. I had a great time. Talk to you soon.

Grosse Pointe Charles

He Has a System for Everything

For those of you who don't recognize that line, it's from a favorite Burk family movie My Blue Heaven. And a perfect place to start this post.

In the movie, FBI agent Barney Coopersmith (Rick Moranis) is being jilted by his wife Margaret, a physical therapist specializing in baseball players, for a twenty-something relief pitcher. The reason is that Margaret, who speaks the line serving as title to this post, finds Barney to be no fun. This is owing to his rather routinized approach to life, as she notes, even having a system for eating pancakes.

While I wouldn't equate myself to Barney Coopersmith (I'm taller), I do have a systems view of life. I've never really understood if this is due to a loss of oxygen to the brain during birth or an extra chromosome. But I've been out of denial for quite a while now and have learned to live with it. And as many of you know, inflict it on others whenever possible.

I must admit it's not a bad life despite the common aversion to this affliction, often confused with habit. However, there is a difference. A habit is a behavior pattern usually driven by convenience or personal need. Habits can be good (flossing, saying please and thank you, looking both ways before stepping off the curb) or bad (binge drinking, texting while driving, messin' with Sasquatch).

A system on the other hand is a behavior pattern designed to meet a goal. I know the "g" word can be offensive, and foster bad memories of planning, effort and requirements foisted upon us by others. But if one has goals of one's own choosing, either small in scope or more significant, systems can come in handy. I guess I've always had a lot of goals, because I can trace my need for and use of systems back even to my adolescence (3x5 index cards pasted to the back of my early vinyl sleeves with pertinent sorting information). So to understand my predeliction for systems, we need to talk about goals.

Now there are the heavy weights, like getting an education, having a career, raising a family, etc. Goal-setting for such monumental outcomes is fairly common place, and practiced even by those not encumbered by an inherent systems orientation. One of the great mysteries of life for me is why so many people who appreciate systems for securing big things utterly disregard their effectiveness in creating smaller, day-to-day, but highly desirable states of being.

One reason I theorize for this breakdown in logic is the general notion that systems must be complicated, high-maintenance and often more trouble than they're worth. If this is your impression, as my former Franklin guru Hyrum Smith would say, you have an error in your "belief window". Actually, a system must be exactly the trouble it's worth or you shouldn't use it. And if you've experienced systems more burdensome than their benefits, you've been doing it wrong. I realize these are bold claims, but I stand by them (and am available for personal consultation for those who suffer from systems phobias; I work for food).

But back to my goals. For one, I like to minimize the cost of, well, everything. I learned long ago from an unlikely source (which I will only disclose to anyone interested over a glass of my favorite libation) that it's not how much you earn that dictates your financial fortunes, it's how much you don't spend. There are of course exceptions to this principle. If you earn nothing, it doesn't matter how much you spend. You'll always be in the red. But on the whole, I've found this idea very constructive and instructive.

So how do you minimize costs? First you have a system to track expenses, to the extent that interests you (you don't need to track income; the IRS and others like banking institutions will do that for you). Second, you need to get the most out of what you do spend. This is a little trickier, as it often means keeping things a little longer, re-purposing old items for new jobs, and being able to resist having the latest and greatest of everything. It's always been my thinking that the longer you use anything, the more prudent your original investment in that item was.

So, a system for maintaining your possessions, storing them when no longer in use for possible future needs, and doing so in such a way that you can find them when you want them, can be very useful in meeting this goal. All it really takes to manage such a system is a few designated bins and the discipline to put things in their respective bins when not in use. Simple, right? Oh. Yeah. I did use the "d" word. Sorry. I know that can be a challenge for some.

Just this morning I was able to replace my failing garage cassette player at no cost. It was a favorite as it was my grandmother's. She liked to sit in her sun room and listen to gospel music on it. But it's now starting to eat tapes, so I replaced it with a little bit fancier model from my retired electronics storage bin. This one was Nancy's Mom's, and it has a dual-deck relay system - sweet. What? You don't have a garage cassette tape player?

Another tip I would offer here is that keeping old things in storage has one drawback. Things, especially things that plug in, liked to be used. They endure much better in service than they do sitting and waiting. So I suggest every so often just pulling them out, dusting them off and firing them up for a time. A far better idea is to give each of these lasting treasures a job, even if it's a small one, while it's waiting for return to full-time employment (we all like to have purpose).

I have done this with a number of my old toys. Like the 20" Sony Trinitron that I bought with my first management cash award in 1980. Long since pushed aside by modern flat screen HDTVs, this gem now sits on my furnace room workbench and gets occasional use during fix-it projects or those beloved moments on the treadmill.

Another example is my old PDA. Having been replaced as a pocket organizer by today's smart phones (synced with my day planner, of course), it now serves as a portable home for my book and movie listings. This device comes in handy when I'm browsing used movie and book store stacks, looking for treasure (which in the past had upon occasion resulted in purchase of treasure I already owned but didn't remember).

But let's move on. Another goal I have is to fit as much fun into life as possible (one could argue the moral and ethical merits of such a goal, but save your breath; not interested in overcoming this character flaw). A planning system or two to inventory options, schedule events, secure facilities and complete preparations is a necessity here.

My personal choice for planning since 1989 has been the Franklin system appropriately modified to suit my idiosyncrasies. But there are several other subsystems that support my quest for max fun. Among these are the Disney Vacation Club point tracking system (of my own design, of course), the extended family calendar, my loading and packing protocols, and since the mid-90s a little group we call the Burk/Dyle Vacation Club. I could wax at length on the virtues of long-term thinking and planning systems, but their magic is succinctly summed up by my good friend Dave Dyle with the words "if it's in the planner, it happens". QED

I have many other areas of activity that benefit from simple but useful systems. There are my book and movie listings (noted above) and music collection index that keep track of those respective items, what I have, where they are, what's yet to be read, viewed or digitized. I maintain these lists during late evening lab viewings of old movies or live sporting events, in between the good parts. There are my hobby cubbies where I keep all supplies needed to support music and photo projects (card stock, blank CDs, jewel boxes, labels, etc.) And there is my daily fitness system that monitors sleep, exercise, diet and stress management investments (and their occasional shortcomings).

Another essential system we have nurtured in the family for as long as we've been a family is our internal communication. More elaborate in the past (see previous post Family Meetings), our weekly reviews of events and discussions of items of interest have over the years helped us all succeed in our various pursuits and served to strengthen relationships. Now, in retirement, the system is reduced to a Monday (or for the well-informed "Second Sunday") morning review of issues and/or chores we need to address, and desired joint movie or golf outings for the week. More importantly, this regular check-in helps us avoid taking just being together (which we almost always are) for actually doing things together. 

There are still other important systems in my life that I would like to talk about - those that support activities like the Spinner Invitational (my former bowling team's annual golf outing) and my relentless quest to track down and own as many cheesy sci-fi movies as my allowance will permit. But I'll save discussion of these close-to-my-heart matters for future posts.

Suffice it to say that, like Barney Coopersmith, I guess I really do have a system for everything (or almost everything; I haven't mastered the pancake thing yet). But it's only because I see the world as an endless set of integrated systems within which we all live. So we each have a choice. We can cruise through life accepting (and often complaining about) the limitations set for us by the systems of nature or other people (which as the Hawaiians believe are really just a peculiar part of nature). Or, we can do our best to sort out the systems that affect our lives, understand them, and try to manage them to our advantage by intervening in just the right way at just the right time. I've always felt the latter was worth the effort.

As always, comments welcome.

Grosse Pointe Charles

Romantic Comedies

I began the series of posts on my favorite movies a little over a year ago with Westerns. I followed that up with a post on Love Stories. In this third edition of the series I'd like to touch on romance and comedy.

Now from my perspective, there are two closely related but fundamentally different sub-genres of films with romance and comedy. The first I call romantic comedies. These are films whose primary story line is a romance, or at least the pursuit of romance (sometimes the guy/girl doesn't get the girl/guy) and delivers its story primarily through comedic or lighthearted scenes. It is this sub-genre that will be the focus of this post.

The second variety of film is comedies that have romance in them but not as the primary story line. I will discuss this type of film in a follow-up post. I know the distinction is subtle, and many films are hard to classify. But making life a little more complicated is one of my best things, so let's get to it.

As with previous movie posts, my intent is not to propose the best romantic comedies ever. I'll leave that to others. My aim is to share my favorites and to explain why I like them so much. So here is my A-list.

First, let's deal with Woody. He's sort of in a class by himself in this genre. Woody Allen has made so many romantic comedies that it's hard to keep track of them. I pretty much like them all, though the early years were special. Many of his films have a darker side, and might not quite fit in this category. This includes films like Crimes and Misdemeanors (a special favorite of mine) or Hannah and Her Sisters. But at the core of his long filmography is a body of pure romantic comedies, with Woody playing the socially awkward, neurotic characters he's made into screen legends. Here are my A-list Woodies.

My all-time favorite Woody is Broadway Danny Rose (1984). Here is Woody playing "himself" to perfection. A little more subtle and self-accepting of himself than the main characters in some earlier Woody favorites, like Play it Again Sam and Annie Hall, Danny Rose journeys through a series of misadventures as the tireless, good-hearted, ever-optimistic manager of low-brow, down-on-their-luck theatrical acts (such as a team of balloon folders, a water glass musician, a blind ventriloquist and a one-legged tap dancer). And as if representing these acts wasn't challenge enough, Danny typically finds himself abandoned in favor of more traditional management by any of his clients that seem to have a little success. But Danny doesn't wallow in his misfortunes. Rather, he follows a bit of the advice he so often gives to his needy clients and accepts such setbacks as only temporary, and then moves on. It's Danny Rose's belief that eventually everything will work out that is his most endearing quality and the trait that for me sets this version of the neurotic Woody character a little above the rest. He is able to avoid his own self pity by constantly stamping it out in others.

The movie begins with a group of (actual) comedians sitting around at lunch in a New York deli catching up with each other and reminiscing about the good old days. The name of Danny Rose comes up as the quirky talent manager about whom everybody has a funny story to tell. After a couple of memories are shared, one of the comedians claims to have the best Danny Rose story ever, warns the others to get comfortable as this will take a while, and relates the tale that is the rest of the movie. This narration style is very enjoyable as each of the key scenes in the movie is introduced and framed by the narrator, helping the viewer keep up with the convoluted plot line. 

As the movie unfolds Danny is about to hit the big time as one of his acts, an Italian has-been singer named Lou Canova (played deftly by Nick Apollo Forte), is about to score a comeback due to a nostalgia craze. Unfortunately, things get complicated when Danny finds out that Nick, already on his second wife, is hopelessly in love with a fiery ex-mob wife named Tina Vitale (Mia Farrow in an atypical but very entertaining role). Tina, a blonde queen of tacky whose husband was rubbed out by competitors, is also being courted by another mob boss who is smitten with her. Through a misguided attempt to help Lou sort things out, Danny manages to insert himself into this love triangle and finds himself fleeing - with Tina - from a couple of mob hit men (brothers of the new mob suitor) who believe he is actually her secret lover, not Lou.

The antics of Danny and Tina in trying to avoid the hit men are hilarious, and the dialogue throughout the film is snappy and smart (birthing one of my favorite Woody lines, "We have a complete definite type of situation", trying to explain his predicament to Lou). And Woody's story telling is at its finest weaving the tale of how these two individuals from extremely different worlds share experiences and grow to understand - and in their respective ways - care for each other. There are several other twists and turns in the story that I will leave for you to discover on your own, as well as just how Danny and Tina end up. But I highly recommend repeated viewings of this movie.

My second favorite Woody is Play It Again Sam (1972). I admit that my obsession with Casablanca is a strong influence here as Play It Again Sam is Woody's tribute to that classic love story and especially to Bogart. The movie starts with Woody's character Allan sitting in a theater mesmerized by the closing airport scene in Casablanca. The camera switches back and forth between the screen and Allan's facial expressions which mimic Bogart's as Allan vicariously lives the scene himself.

We then quickly learn that Allan is grossly insecure about women owing to a long string of failed relationships, including a recent divorce. Being a big fan of movies, Allan turns to an imaginary Bogart (played superbly by Jerry Lacy) to lament his woes but also to get advice. The Bogart character then returns frequently throughout the movie - complete with trench coat, fedora and cigarette - observing and urging Allan on with lines like "Dames are shimple; I never met one that didn't undershtand a shlap in the fashe or a shlug from a 45". Of course, Allan is about as far across the spectrum from Bogart as he could be, and his attempts to emulate the Bogart style are significantly beneath mediocre.

Allan is joined in the story by two friends, a married couple Dick (played by Tony Roberts) and Linda (Diane Keaton in her first Woody Allen role). Dick and Linda (the story's loose counterparts to Casablanca's Victor and Ilsa) do their best to comfort Allan and introduce him to new women. Unfortunately, Allan proceeds to have one disastrous dating encounter after another, each of which he candidly shares with a sympathetic Linda. And as they spend more time together, Allan and Linda slowly come to realize that they are perfect for each other, as Linda shares a lot of Allan's interests, sensibilities and, yes, insecurities. The relationship is further fueled by Dick's preoccupation with his business affairs and resulting insensitivity to Linda's needs. Things finally boil over in a passionate tryst.

As Allan and Linda assess their situation and discuss a possible future, Linda is conflicted, realizing that despite her strong attraction to Allan, she stills loves Dick. Then, Dick confides in Allan that he suspects that Linda is having an affair and engages Allan in an effort to find out who, not suspecting Allan in the least. As things progress into deeper complexity, Allan finds himself in a position to actually live the famous Casablanca airport scene for himself, with a clever twist. Brilliant.

The film contains the usual steady diet of comedic scenes and witty banter typical of early Woody, as well as a series of fantasy scenes with Allan discussing developments with a variety of imaginary characters. All in all, an excellent way to spend a couple of hours and a must for any fan of Casablanca. 

No A-list of Woody Allen films would be complete without Annie Hall (1977), so mine isn't either. Annie Hall has all the wit and humor of the first two films I've discussed and is generally considered Woody's finest work (and most awarded - four Oscars and 20 odd other awards). The story is narrated by Woody's character Alvy Singer, a fairly well-known (and paranoid) New York screen writer and TV personality, as he reflects on his relationships with women in general but most significantly with Annie Hall, a ditzy and equally neurotic young woman and the love of Alvy's life, played by Diane Keaton. Yes, this film is considered to be very autobiographical. The story runs from the couples first meeting, a hilarious tennis date, to their last, heartfelt conversation about marraige. Tony Roberts joins the cast, once again playing Alvy's best friend and continual straight man (Rob).

The structure of the movie suits Woody's style perfectly, allowing him to tell his story in free form with numerous flashbacks and fantasy scenes, shameless hyperbole, rapier wit and a host of interesting supporting characters played by notable actors (Colleen Dewhurst, Christopher Walken, Paul Simon and Shelley Duvall to name a few). The result is a true manifesto of Woody's views on love, life, relationships and 70s society in general. A couple of my favorite lines are the now famous "lah-di-dah, lah-di-dah', uttered by Annie whenever she's lost for words, and Alvy's explanation of his draft status "I was classified 4P; in case of war I'm a hostage".

I realize there are many other Woody Allen movies we could consider here, but I need to move on to the non-Woody world. A few more A-listers and why I like them so much.

The American President (1995): Though the central theme of this movie is rooted in love, it is too lighthearted to qualify in my Love Story category (no great sacrifice or loss), but it has just enough comedy to fit here. Unlike my Woody selections, The American President is not a laugh a minute. But it is a great feel-good movie that blends humor with a bit of drama to tell the story of a President (the one many of us wish we had) and the trouble he runs into when he falls in love with a lobbyist. Andrew Shepherd (played by Michael Douglas) is a widower who meets and attempts to develop a romantic relationship with an environmental lobbyist named Sydney Ellen Wade (Annette Bening).

The movie also has several notables in supporting roles (Martin Sheen, Michael J. Fox, Richard Dreyfuss) and follows Andrew as his popularity and political influence wane due to his relationship with Sidney. The plot weaves political themes we see in the news everyday with the natural complications of love between public figures, with a focus on backroom arm twisting and political bargaining. But the main story line is how Sidney's idealism and devotion to principle bump up against Andrew's experienced-hardened sense of political reality and expediency. In the end, Andrew must make some tough choices, both personally and politically. And for the idealists among us, when Andrew finally decides what he must do he delivers one of the most enjoyable and uplifting speeches of recent film history. Every time I hear it I just want to stand up and hug someone. It's right up there with George Bailey's (Jimmy Stewart's) dressing down of old man Potter in It's a Wonderful Life.

But The true charm of this movie is how it portrays life in the White House, both in the residence and the West Wing. Written by Aaron Sorkin, The American President sort of serves as the pilot episode of his follow-on TV series The West Wing, my favorite TV of all time (even over Star Trek if you can believe that). Enhancing the link is the fact that several actors from The American President (Martin Sheen among them) also appear in The West Wing, which through its seven years was able to take both personal relationships and political issues to much deeper, realistic levels, while still keeping the positive, honorable flavor of politics so much a part of The American President. I watch this movie often, whenever I want to reset my expectations of how I would like the real world to work.

Four Weddings and a Funeral (1994): This film follows Charles, a young British single man (Hugh Grant), and his immediate circle of friends through a series of weddings and the funeral of one of their own. The story line centers on Charles' infatuation with an American woman, Carrie (Andie McDowell), whom he meets and trysts with at the first wedding in the series. Charles then meets and interacts with Carrie in a variety of manners during the subsequent weddings, one of which is hers and another of which is his. The problem is that Charles has a fear of commitment and blows repeated opportunities to secure a serious relationship with Carrie while all around him others, seemingly with less savoire-faire, succeed in love.

The fun of the movie for me is the interplay between Charles and his friends (including his deaf brother) as they look for and find love, often in unexpected places. All except Charles, of course, who seems destined to miss out on true love. Also fun are the actual wedding scenes and the receptions which are fraught with typical British (read ribald) humor and a host of hilariously awkward moments. The funeral scene is nested smoothly into the flow of events and provides a poignant reminder (in and amongst the lightheartedness) of why love is such a powerful part of life.

In the end, Charles, despite his inability to take control of his love life, finds himself with one last chance to overcome his bad karma and find happiness. Hugh Grant and Andie McDowell are charming in their respective roles, as is the impressive supporting cast (which includes Kristen-Scott Thomas, Simon Callow and John Hannah). Rowan Atkinson also makes a brief but classic appearance as a bumbling  priest who riotously butchers the vows portion of wedding ceremony number two. I find myself sitting back and enjoying a viewing of this film after each time I attend an actual wedding.    

Groundhog Day (1993): I've always seen this clever film as a modern retelling of the Beauty and the Beast story, with Bill Murray's character, an arrogant and self-important weather man named Phil Conners, stuck in time on a day and a place he didn't care for, until he could change his ways and earn the love of another. The other turns out to be his producer from the TV station, Rita (played by Andie McDowell - hmm, where have I heard that name before). Phil, much hated by his station peers, is dispatched to Punxsutawney Pennsylvania with Rita and clueless cameraman Larry (played superbly by Chris Elliott) to cover the annual emergence of Phil (get it?) the groundhog on February 2nd - Groundhog Day. The crew arrives the night before and checks into a couple of B&Bs (Phil's more upscale, of course) to await Punxsutawney Phil's arrival.

At 6:00 am the next morning, we see Phil awakened by his alarm to the dulcet tones of Sonny and Cher blasting out I've Got You, Babe on the local radio station. Phil arises, has no hot water for his shower, bumps into a few (in his view) country hicks, insults his kindly old landlady and steps off a curb into a foot deep puddle, all on his way to meet Rita and Larry for the shooting of the groundhog segment. This, of course, puts him in an even worse mood than normal, and he blows off the coverage assignment with a sarcastic snit and first-class dissing of the whole groundhog tradition and everyone associated with it. Despite Rita's protestations, he refuses to clean up his act and re-shoot the commentary, and stomps off.

Later that day as Phil, Rita and Larry try to return home, they are trapped in a blizzard (that Phil the weatherman had no idea was coming). The freeway is closed and the crew must return to Punxsutawney. They check back into their respective B&Bs and wait for the storm to pass. The rest of the day is filled with Phil, totally disgusted with the turn of events, insulting as many townspeople as possible, as well as Rita and Larry.

The next morning Phil is awakened again by Sonny and Cher. And as he arises, prepares for the day and heads out of the B&B, he runs into all the same people and events he did on the previous day, only no one else seems to recognize the pattern. He then realizes that everyone else thinks it's Groundhog Day. And it turns out, it is.

Phil then relives Groundhog Day for an unspecified period of time (some references I've seen refer to 10 years) knowing exactly what's going to happen but unable to convince anyone else of his plight. At first, he resents it, and in keeping with his egotism uses his foreknowledge of what's going to happen to make fun of and exploit others. He eventually tires of this and decides to test the limits of his new situation by taking ever-increasing risks to see if he can end it all. There is an oddly funny series of suicide attempts during this period including one in which he kidnaps the groundhog and teaches him to drive - off a cliff.

Over time, however, Phil runs out of ideas for abusing himself and others and actually starts to understand what a jerk he is. And he begins to change, now using his foreknowledge of events to help others and improve himself. A main activity during all of his repeated days is his wooing of Rita, first awkwardly in pursuit of shameless gratification, then playfully out of budding attraction, and eventually out of an honest but hopelessly frustrating love.

The story progresses to fairly predictable outcomes, but the beauty of the movie isn't a surprise ending. It's the surprising and consistently interesting ways Phil decides to engage and influence events he knows he can't prevent or avoid, and that he knows he will face again tomorrow. Phil's evolution from self-absorbed snob to hopeless victim to curious observer and finally to positive acceptance of his fate is great story-telling and a fun ride. I recommend annual viewing of this film on - can you guess what day?     

Let me wrap up my discussion of romantic comedies with a few additional favorites I would recommend. 

When Harry Met Sally (1989): My favorite movie about opposite gender friends and their struggle to sort out the true nature of their relationship. The film covers several years in the lives of Harry (played by Billy Crystal) and Sally (played by Meg Ryan) as they first meet to split expenses on a cross country drive to New York, keep in touch over the years as close friends and confidants through various romances with others, and finally collide as lovers unprepared for the unavoidable transformation of their feelings for each other. A fun movie with excellent performances by Billy and Meg (as well as strong supporting roles by Carrie Fisher and Bruno Kirby). The movie also portrays a number of classic scenes of typical couples' crises, not to mention the legendary Meg Ryan "restaurant" scene.

LA Story (1991): A crazy Los Angeles weatherman, Harris K. Telemacher (played by Steve Martin), is in an unsatisfying relationship with self-absorbed Trudi (Marilu Henner). He meets and falls in love with Brit Sara (Victoria Tennant) and survives mysterious (even mystical) weather events, an ex-husband, freeway shooters, the attentions of a free-love flower child (played by a very young Sarah Jessica Parker), roller-skating "performance art", juice-bars and Patrick Stewart as a snobbish French restaurant reservations interviewer (finally qualifying for the chicken) to find true love. This is Steve Martin at his whacky best, lampooning his way through one fantasy scene after another including a few conversations with the city of LA herself as personified through electronic traffic signs. Weird? Yes. But worth a look if you like Steve Martin.

Sleepless in Seattle (1993): Best known, perhaps, for its play off the Empire State Building scene from the classic An Affair to Remember, this movie tells the story of recent widower Sam (played by Tom Hanks), his son Jonah, and cross-country love interest Annie (Meg Ryan) as they journey through loss (on Sam and Jonah's part) and unfulfillment (on Annie's part) to find each other. The story is a bit schmaltzy, true. Okay. It's way schmaltzy. So what? What could be cuter than Tom Hanks and Meg Ryan falling in love at first (really second) sight at the top of the Empire State Building all because Jonah calls a love-advice radio talk show, books his own cross-country flight (with the help of another preteen) and forgets his backpack on the Empire State Building viewing platform. There is a strong supporting cast (including Bill Pullman, Rita Wilson, Rosy O'Donnell and Rob Reiner). I remember this movie as the one where Bill Pullman (Annie's overly sensitive, allergic-to-everything boyfriend) doesn't get the girl.

While You Were Sleeping (1995): I remember this movie as the one where Bill Pullman does get the girl; in this case, Sandra Bullock. Sandra plays Lucy, a pretty but shy and lonely Chicago Transit Authority toll-taker who has been fantasizing over Peter, an overtly handsome man (Peter Gallagher) who comes through her toll booth everyday. Through an act of fate, Lucy saves Peter's life when he is mugged right outside of her booth. He falls unconscious onto the tracks in front of an oncoming train. Lucy jumps down and manages to roll Peter over out of harm's way. Unfortunately, Peter stays in a coma for weeks. Through a series of misunderstandings, the family takes Lucy for Peter's new fiance, embraces her fully, and welcomes her into the family. Finding Peter's family a welcome tonic for her loneliness, Lucy can't find a way to tell them the truth. Further complicating things, Peter's brother Jack (Bill Pullman) is falling for Lucy himself - and she for him. Right when things couldn't get more troublesome, Peter comes out of his coma. What ensues is a delightful story of love, regret, family, good intentions and unexpected developments. Enriching the story is an interesting supporting cast of established character actors (Peter Boyle, Jack Warden and Glynis Johns). This movie didn't get a lot of acclaim when it was released, but I think the vulnerability and charm Sandra Bullock exhibits in this film sent her career spiraling up. It certainly spurred my interest in her future work.

Well, that's my take on romantic comedies. As usual, your thoughts and comments and any recommendations for new films are welcome.

Grosse Pointe Charles