Showing posts with label Sean Hayes. Show all posts
Showing posts with label Sean Hayes. Show all posts

Thursday, November 26, 2020

Pieces of April, A Thanksgiving Staple

A few months ago, I watched an old movie -- and by old I mean from 2003 -- called Pieces of April.  It's about a girl, April (Katie Holmes), who invites her estranged family for Thanksgiving.  April has partly pink hair and an overall punky appearance and lives in a seedy apartment in New York City with her boyfriend Bobby (Derek Luke), who is black.  April doesn't really know how to cook, and then her oven breaks.  Also, Bobby has gone on a secret mission to borrow a suit to impress April's family, and it's not going well.  The movie shifts between April's endeavors and her family's strained conversation as they drive from Pennsylvania to see her.  We watch April bang on one apartment door after another to beg to borrow an oven, then listen as her mother (Patricia Clarkson) laments about April's awful ways even as she pukes up her guts at a rest stop.  It's from her chemo because she has cancer.  But being sick hasn't softened her, nor has the intervention of April's well-meaning father (Oliver Platt).  

Having a front-row seat to April's plight is unsettling.  It's hard to watch her put herself out there only to meet one obstacle after another, her Katie Holmes girl-next-door-appeal seeping through her tough exterior.  One of her "helpers" is played by a withering Sean Hayes; another is more kindly but disabuses her of the notion that the best cranberry sauce comes from a can. (I'm with April on this one; it's just not Thanksgiving without that JELL-O-like substance for smothering otherwise tasteless turkey.)  As April struggles to put dinner on the table, her family struggles with its reservations, at one point going so far as to throw in the dish towel and stop at a diner.  

For me, the low point is when April tears down her carefully handmade decorations.  There's something so vulnerable about them in their crepe paper homeliness, the way they expose and then shatter the optimism that April clings to despite the odds.  Because this movie takes all the tension that percolates within families during the holidays and puts them in a pressure cooker -- pun intended.  April's poverty, her mother's death sentence, and the stereotypes that April's family unfairly and inaccurately ascribes to Bobby deepen the fault lines that spread between them.  But these are also the reasons why they need to break bread together.  Pieces of April may not be Planes, Trains, and Automobiles or A Charlie Brown Thanksgiving.  But in its own offbeat and, yes, dreary way, it tells us everything we need to know about this holiday.  

That said, it shouldn't come as a huge surprise that I'm breaking my quarantine again to have Thanksgiving dinner with my parents.  It'll just be the four of us, including the husband, but it's kind of ironic that I'm busting out now that the pandemic is surging again.  As recently as just a few weeks ago, I stayed firmly put, even opting out of my sister's birthday.  Everyone, the husband included, was beginning to worry about me and my refusal to engage with the outside world, however safely.  Then fate did its thing, and my work laptop broke, forcing me to go to the office to get it fixed.  It was a nail biter of an experience.  But I got through it -- with some humor, I like to think -- and learned that I'm stronger than I know.  The truth is, being an introvert/loner/whatever who's afraid of stuff means that I depend on my family a lot, even when I think I don't need anyone.  They're more than my family; they're my friends.  So I'm extremely thankful for them, on Thanksgiving and always.  

Okay, now that the serious stuff's over, it's time to explain what's up with this pie crust.  As you know, I don't like to cook or bake.  I find it boring, tedious, and, on some level, out to get me.  So, I'm all about the pre-prepared everything, and Pillsbury pie crust is no different.  It also happens to taste great -- a little salty, a little sweet -- and, in my opinion, is even better than the homemade kind.  So, I smashed it down into my pie plates and fluted the edges and didn't balk (too much) when the KitchenAid mixer-made pumpkin goop sloshed over the sides and obscured the crust completely.  Because holidays aren't about presentation (although I do have a mask to match my dress).  They're about being together.  Laughing and talking and wearing our masks when we're not shoveling in cranberry shaped like a can.

Whatever your plans, I wish you a very happy and healthy Thanksgiving.  And all the misshapen food you can eat.                             

Monday, October 31, 2011

Movie Moment: Footloose

Oh, Footloose.  That quintessential tale of teenage rebellion.  Who could resist its conflicts between country and city, church and state, and authority and freedom?  Apparently not me because despite not being a huge fan of the original, I found myself queuing up for the remake.

This time breakout star Kenny Wormald fills Kevin Bacon's dancing shoes (sorry, I couldn't help myself) as Ren MacCormack, the city boy who moves to the small southern town of Bomont where dancing is a crime.  Armed with an attitude, Ren goes head to head with the man, who literally happens to be Minister Moore (Dennis Quaid), a key enforcer of the anti-dancing law and the father of Ariel Moore (Julianne Hough), the good girl-gone-bad with whom he's smitten.  Exploding cars compete with even more explosive dance numbers as Ren fights to free Ariel from her race car-driving redneck boyfriend and Bomont from its funk.  The highlight is Wormald's version of Bacon's iconic warehouse dance scene.  Infused with all the righteous teenage indignation of his predecessor, Ren number two busts out gymnastics moves to the rhythm of an appropriately updated iPod.  Anger never looked so good.

I'm going to go out on a limb here and say that the remake is a little edgier than the original.  There's definitely more sex, as well as a deeper exploration of death.  Still, the original retains a melancholy all its own, as well as its signature 1980s appeal.  This is why I think Kevin Bacon was smart to decline making a cameo.  Such a move would have been a little cheesy.  (And speaking of Kevin, did anyone happen to catch that old "Will & Grace" episode where Jack [Sean Hayes] stalks Kevin only to have the star invite him in and signal the Footloose theme song with the clap of his hands?  Hilarious.)

Finally, I can't very well write a post about Footloose without commenting on the dancing.  It was good.  Darned impressive.  And that comes from someone whose dance skills fall somewhere in line with those of "Seinfeld's" Elaine.             

Thursday, August 5, 2010

Promises, Promises


Yesterday, my mom and sister and I went to New York's Broadway Theatre to see "Promises, Promises," starring Sean Hayes and Kristin Chenoweth. It was a revival of a 1960s play of the same name, which was based on an earlier 1960s movie, The Apartment, starring Jack Lemon and Shirley MacLaine. In a nutshell, it was the story of a lowly office worker, C. C. "Chuck" Baxter, who gets sucked into lending his apartment to the senior executives for rendezvous with their mistresses only to discover that the girl he's in love with, Fran Kubelik, is his boss's, mistress. It's cute and campy yet underscored by the shadows of the male chauvinism that dominated the workplace of the 1960s. (One review I read aptly compared it to Mad Men.) But unlike Mad Men (SPOILER ALERT! SPOILER ALERT!), "Promises, Promises," finds a moral high ground and stakes its claim there. Ever the "good guy," Chuck saves Fran after a failed suicide attempt brought on by the news that Mr. Sheldrake is not leaving his wife. By the time Mr. Sheldrake crawls back to report that he is, after all, free and asks for Fran's hand in marriage, she's already fallen in love with Chuck, securing the classic happy ending. Snappy dance numbers, stellar singing, and period humor made "Promises, Promises," a joy to watch. Incidentally, it also inspired me to commit to buying a fedora I'd been eying in JCPenney. (Chuck sports one despite his worry that it makes him look like James Cagney. His was gray; mine is pink and black.)

As a side note, it occurred to me that the movie The Baxter was probably based on Chuck Baxter's character. The Baxter is about Elliot Sherman (Michael Showalter), a guy who lets people walk all over him. Indeed, the name Baxter becomes synonymous with anyone who's a malleable yes man, establishing the theme of the movie. Elliot's fiancé (Elizabeth Banks) is cheating on him with her high school boyfriend, and he's powerless to stop her. Meanwhile, he becomes friendly with his offbeat temp secretary (Michelle Williams), who is enmeshed in a relationship with a Baxter of her own (the inimitable and always-easy-on-the-eyes Paul Rudd). In the end, Elliot gets jilted at the alter when the high school boyfriend busts in. Elliot ends up with the secretary, who has overthrown her own boyfriend for being too "Baxterish." Poor Paul Rudd ends up with no one. Although it's a little more complicated than The Apartment and "Promises, Promises," the parallels between C. C. Baxter and Elliot are definitely there.

Now that the deepness is over and done with, it's time to share an interesting tidbit I learned after reading the "Promises, Promises" playbill. It turns out that Sean Hayes (of Will and Grace fame) is the executive producer of that new TV Land sitcom Hot in Cleveland co-starring Betty White. Small world, huh?