From afar I saw it. At first not paying much attention, for it looked like some kind of black bird but then I saw the long legs. Umm… maybe some sort of sandpiper? No, it’s not spotted or light brown but dark. And the most prominent feature was the long, down-curved bill.
Stepping closer quietly, I saw its deep maroon, multi-coloured plumage. Magnificent, maybe even magical. I haven’t seen this bird before.
Many of you might be able to ID it, but I had to do a lot of digging into Google search to discover what I’d just seen was a GLOSSY IBIS (Plegadis falcinellus). From Wikipedia, here’s the origin of the name: The scientific name derives from Ancient Greek plegados and Latin, falcis, both meaning “sickle” and referring to the distinctive shape of the bill.
And why am I so excited about seeing it? Look at this distribution map:
And where am I? In Alberta, Canada. From the map above, the second province from the west coast of Canada. Why is this glossy ibis here? A stray? Off course during migration? Or, just needs some cooler and crisper air up here?
I just couldn’t help but moved another step closer and that was it for my short discovery. It flew away but in a circle, coming right back at me, as if saying farewell, then disappeared into the distant sky:
I sure hope it will find its way back to where it belongs… But fine too, if it feels the Pond is a safe, new home, however temporal. You’re welcome to stay!
As I look through my photos taken in the past few weeks, I find that the prominent colours are yellow and green. We don’t have bright red birds like the cardinal, so, I’ve long settled for yellow, green and blue as my summer colours.
Two goldfinches made my day, vibrant golden yellow. They seemed not to be bothered by my presence as they were too busy with their breakfast:
well except this one with attitude:
Another sort of yellow, unintended, for I was aiming at the wren. Only when I uploaded the photo did I notice the lichen on the stump:
Sometimes, an accidental shot needs not be deleted. Why, this looks like an impressionist painting to me:
This one most symbolic, for the colours yellow and blue remind me of a war-torn country with millions of her people fleeing from their homeland. May this tiny yellow warbler, always so full of life and song, be a symbol of resilience for the ravaged country of Ukraine:
Like a gentle breeze under the shade of a full, oak tree to dispel the summer heat, this little gem of a movie is a fairy tale, surely pure escapism from a harsh and scorching world. Newly released on July 15, this is a delightful watch not just for the summer.
Mrs. Ada Harris (Lesley Manville) is a cleaning lady and war widow in 1957 London, scraping by counting pennies cleaning people’s homes and offering to do invisible mending in her spare time. One day, seeing a Christian Dior dress while cleaning the home of Lady Dant (Anna Chancellor) sets off an adventure of a lifetime. Mrs. Harris wants to save enough money to go to Paris and buy one for herself. Dreams are for everyone; Mrs. Harris has the will, and she’ll find the way somehow.
Adapted from Paul Gallico’s novella, director Anthony Fabian brings to the screen a fairy tale for adult viewers, and with the cooperation of Christian Dior in Paris, turns the haute couture of fashion into a down-to-earth story of the ordinary people. Mrs. Harris is as invisible as her mending, but her heart and personality stand out to be noticed and exude her vibes in gentle persuasion.
Paul Gallico (1876-1976) was a wonderful weaver of tales. The Snow Goose was the most memorable read from my growing up years. I have not read his Mrs. Harris Goes to... series, but after watching this movie, it’s on my TBR list. Not as soul stirring as The Snow Goose or dramatic as The Poseidon Adventure (1972 movie adaptation), Mrs. Harris nonetheless reaffirms kindness, beauty and hope still exist and are much needed to dispel the harshness of our times.
Lesley Manville is the driving force in this movie. The versatile actor first caught my admiration in Mike Leigh’s Another Year (2010) playing the vulnerable and lonely character Mary, for which she was nominated and had won several acting awards. Manville can also be brutal and violent, like the powerful matriarch in Let Him Go (2020), and then turn into Princess Margaret in The Crown (S5, 2022). But to be more in line with this current film is her role in Phantom Thread (2017) playing Daniel Day-Lewis’ co-dependent sister, a role for which she received an Oscar nom.
Supporting cast is strong. Isabelle Huppert (Things to Come, 2016; Gabrielle, 2005) plays the manager and gatekeeper of the Dior fashion house, Mrs. Colbert, a character that reminds me of Meryl Streep in The Devil Wears Prada (2006). In a scene towards the end of the movie, we see a different Mrs. Colbert in her humble home, stripped down, ordinary and vulnerable. A poignant moment. Other supporting roles are also effective, like Mrs. Harris’ loyal friend Vi (Ellen Thomas), the gentle and caring Archie (Jason Isaacs), and the young pair of fresh faces, Alba Baptista playing Natasha, the model with a deeper aspiration and her secret admirer André (Lucas Bravo, Emily in Paris).
What caught my attention from the start was the original soundtrack composed by Rael Jones (Suite Française, 2014). The music corresponds perfectly with the lighthearted mood, flowing by smoothly like a whimsical character. At the end as the credits roll, there’s a piece with a waltz styling. I noticed as the audience exited, what looked like a mother and her adult daughter dancing to the tune, the first time I saw such a spontaneous ripple effect in a movie theatre.
There are some down period in the middle of the film, however, the cast and the camera make up for such moments. Overall, a delightful two-hour respite from the summer heat, or any season.
~ ~ ~ Ripples
Paris in July is a good opportunity to explore French films. I’ve watched a few in the past weeks. Here’s one that I’d like to write about, Gabrielle (2005). I found it on Kanopy, free streaming if you have a library card.
Language here makes an interesting transference. The film Gabrielle is an adaptation of a Joseph Conrad novella entitled The Return. Polish-born Conrad wrote it in English (available online here.) The end credits of the film note that the script is based on the French version Le Retour, translated by Georges Jean-Aubry. Screenplay co=written by director Patrice Chéreau and Anne-Louise Trividic. The title is changed to Gabrielle. Lastly, the literary is transposed into the visual form.
Isabelle Huppert (Things to Come, 2016)) and Pascal Greggory (La Vie en Rose, 2007) bring to the screen expert performance of a marriage in dissolution. Knotted ten years in a loveless marital relationship, the high society couple Gabrielle (Huppert) and Jean (Greggory) Hervey, a self-assured businessman and newspaper financier, keep up appearances by throwing lavish dinner parties in 1912 Paris.
They entertain no less than fifty of their friends and acquaintances every week in their mansion served by numerous maids. Interestingly, no butler or footmen. The film won Best Production Design and Best Costume Design César Awards in 2006. A visually gorgeous setting, especially at the dinner table with guests.
In ironic contrast to the aesthetic beauty and richness of interior design, Jean and Gabrielle are impoverished in their passion for each other. Ten years ago, Jean claimed a trophy wife. In his voiceover narrative, Gabrielle is “well bred and intelligent… no ordinary woman. I love her as a collector does his most prized item.”
Camera work is captivating. Director Patrice Chéreau uses mirrors around the house to capture his characters in psychological reflections. Stylistically, he adopts two visual modes on screen, interchanging colour with black and white to juxtapose present reality with memory or imaginary scenario. Interesting is that in a film with the title of the female character, the wife, the voiceover narrator and point of view is the husband’s, conveying subliminally who holds the control of the relationship. Throughout, a film exudes with realism and at times, a touch of Hitchcockian suspense. Occasionally, large written words are flashed on screen like silent movies, a whimsical stroke that well serves as comic relief.
The tipping point crashes down when Jean comes home one day to find a note left by Gabrielle saying she has left him with another man. The short note is like a bombshell to Jean, for he hasn’t noticed any issue with their marriage. His immediate concern is how this will look in front of his servants and in society? And there’s a Thursday dinner party coming up.
His devastation is short however, for in just a few hours, Gabrielle returns. On the surface, her return seems to bring back the status quo, but it only rings in the death knell of a dissipating marriage. Huppert and Greggory bring out their characters’ boiling psychological turmoil and relational conflicts to the surface expertly; the intense emotional transactions in their dialogues are rare in today’s movies. These lines follow Jean’s questioning of his wife:
Gabrielle: When I decided to go to him, I wrote the note.
Jean: So you saw a lot of him? Then this letter is not the worst of it?
Gabrielle: The worst is my coming back.
Jean, the smug and successful businessman assures himself that ‘the law is on my side.’ It’s only Gabrielle who suffers the more damage if she chooses to leave. But of course, Gabrielle cares more for finding true love than fame or fortune. Anna Karenina comes to mind. As well, the power imbalance in their relationship reminds me of the tragic heroine Isabel Archer in Henry James’s The Portrait of a Lady.
The very literary rendition of the film makes quotable quotes out of many verbal exchanges and the voiceover narrative throughout the film. Why is appearance the main concern for Jean to start with? Because the society people coming to their home every week are “men and women who fear emotion and failure more than fire, war, or fatal disease.”
The twist at the final scene see a change come to Jean when Gabrielle, with a passive-aggressive undercurrent, offers her physical body unreservedly to Jean only to let him see intimacy doesn’t mean love, and without which, all is meaningless. He breaks away from her suddenly, staggers down the stairs and stumbles out of the house like a man gone mad. At the risk of leaving any spoilers, for this is after all a classic written in the late 19th century, I’m sure this can be excused: the last words flashed on the screen are the exact three words that end Conrad’s story.
~ ~ ~ Ripples
Other French films reviewed on Ripple Effects:
In 2008, Ann Mah, food writer and Francophile wife of an American diplomat, had her deepest desire realized when her husband Calvin was appointed a post in Paris. Having moved to three different cities in the previous five years: New York, Beijing, Washington, D.C., a three-year sojourn in Paris was beyond her wildest dream.
Then came the rub. Soon after they arrived in the City of Light, Calvin was called away to another diplomatic mission: in Baghdad, Iraq, by himself for one year. Just months arriving in Paris, Ann had a taste of fate in the most ironic form: to live in her dream City, alone. She knew that would probably be the hardest year of her life.
To fight off the loneliness and isolation she was experiencing, Mah began to look to another diplomat’s wife in Paris sixty years earlier for inspiration and channel her pioneering gusto: Julia Child.
The title is a giveaway. Mastering the Art of French Eating––instead of ‘Cooking’ as Child’s book––is a humble homage to the food journalist’s heroine. While she didn’t follow Child to the prestigious culinary school Le Cordon Bleu in Paris, in her year of living in France all by herself, Mah charted her own culinary journey to various regions in the country to taste and research on the cuisine of the land. The subtitle is also enticingly delicious: Lessons in food and love from a year in Paris.
In ten chapters, Mah presents the ten places she had visited, from Paris bistros to farmhouse kitchen, haute cuisine to communal cooking, she records her experience in the specific locales and their signature dish along with historical perspective. And at the end of each chapter, the recipe:
Paris / Steak Frites
Troyes / Andouillette
Brittany / Crêpes
Lyon / Salade Lyonnaise
Provence / Soupe au Pistou
Toulouse, Castelnaudary, Carcassonne / Cassoulet
Savoie & Haute-Savoie / Fondue
Burgundy / Boeuf Bourguignon
Aveyron / Aligot
From her last name, you might also be curious about her own background. Yes, within this little food memoir are sprinkled with stories of Mah growing up Chinese American in California. While her love of France brewed very early in her life following her family tour there as a child, she wasn’t given the chance to learn the language that she loved, French, but had to go to Chinese school on Saturdays as stipulated by some sort of a ‘tiger mom’. Within these chapters, then, embeds the quest for identity and personhood. Here’s a quote that more or less sums it up:
“Diplomacy has been called the world’s second-oldest profession, and ever since the sixteenth century––and maybe even before––other wives of diplomats have endured similar existential crises, fading into obscurity while their husbands’ achievements were recorded in history. Perhaps, then, that is why I turned to Julia [Child] for inspiration… not just because she loved food, and had also lived in China, and was also a trailing spouse, just like me––but because I was looking for proof that professional success and marriage to a diplomat were not mutually exclusive.” –– P. 218
A delightful read for Paris in July and actually, anytime.
I listened to the audiobook first then read the hardcopy: Mastering the Art of French Eating: Lessons in Food and Love by Ann Mah, Viking Penguin Books, 2013. 273 pages. The audiobook is narrated by the actress Mozhan Marnò (The Blacklist, House of Cards), ideal for learning the pronunciation of the French words. Hardcopy is good for getting the recipes, and makes the narratives and anecdotes more memorable.
A few days ago, I happened to catch sight of a jolly yellow warbler bathing (or playing) in the water. He plunged right into the shallow stream, splashed around, after that flew up on a branch preening, singing, then splashed right back into the water and do it all over again just for the fun of it.
I’d like to tell you it was a bright, sunny day, inviting a cooling summer splash. But I can’t because it wasn’t. The day was grey, overcast, chilly even and with a thunder storm in the forecast.
This tiny warbler’s joie de vivre defies the gloominess of the day or any imminent storm… a mighty hard lesson to learn from a three inch creature.
The trailer for this second Downton movie may give one the impression of entering a patisserie filled with colourful macaroons with its delicious decor and the pastel colour of a French villa in the Riviera, with matching costume too. In that short clip, the stylish zeitgiest of the Jazz Age could spark one’s imagination of Gatsby-esque frivolity. I’m glad to find these notions misleading, for the movie is not a gratuitous show of glamour or a fancy facade.
Reprising the success of the original TV series, Julian Fellowes focuses on the characters and their stories; the setting is exactly as it is, a beautiful backdrop, which is always a plus. All the details of story development are the very essence of the movie, tiny bits of delicious morsels for fans of Downton to savour. Indeed, I’m afraid this is a movie for those who are familiar with the characters as Fellowes continues with their life at Downton, the twists and turns. Clever dialogues and funny scenes, all gratifying to watch.
Downton Abbey: A New Era reminds me why the original TV series back in 2011 could sustain six seasons and a feature movie three years after it wrapped, and now three years further, another one. Why, it’s all about the characters and their stories. We want to follow them and find out what’s going on in their lives as time goes by and how they would act given different scenarios… and in this newest offering, see them grow old in real time. Not just for the adults, the kids too; George and Sybbie are the same child actors now much taller.
In A New Era directed by Simon Curtis (My Week with Marilyn, 2011), two storylines intertwine seamlessly. First off, the Dowager Violet Crawley (Maggie Smith) once had a short but juicy liaison d’amour in the south of France when she was young. Now decades later she learns that she has inherited a villa in the French Riviera as her one time beau had apparently took the love affair much more seriously than she did. Now she in turn bequeaths the property to Sybbie, Tom Branson’s (Allen Leech) daughter, a most kind and generous act. So, some of the Crawleys are going there to check it out and face up to a disgruntled widow.
Staying behind is Mary Crawley (Michelle Dockery) who has now taken over the helm of the property management at Downton. The year is 1928 heading towards 1929, while they can’t foresee the coming economic woes, Mary can see the leaky roof of Downton badly needing repairs. Lord Grantham (Hugh Bonneville) has never been up in the attic for years, but now looking at the buckets catching the dripping water, he agrees reluctantly to allow a film crew to shoot on location at Downton, all for the financial benefits that comes with it.
Both storylines are interesting subjects. While the expedition to the French villa is gorgeous visually—attracting an Architectural Digest article on the property––the filmmaking at Downton is no simple matter. At that time, silent movies are coming to the end replacing by the talkies. Fellowes has written not just an interesting scenario but informed viewers of the complexity of movie making at that time. No spoilers here, but the servants from downstairs have contributed effectively to this movie within a movie.
The storytelling is clear and enjoyable, kudos to some smooth editing and aptly paced scenes, some take longer to draw out the underlying significance of the dialogues, some faster just to pinpoint without dragging.
The smart opening is a succinct re-introducing of all the characters in one setting, at the church wedding of Tom and Lucy (Tuppence Middleton). Just about everyone is there. The camera follows the newlyweds as they walk down the aisle, greeted by all the Downton characters and related figures. Absent are Henry Talbot, who’s somewhere else in the world, ominous future for Mary. How I miss Matthew. And no mention of Rose.
New faces are the filmmakers at Downton, Hugh Dancy as director Jack Barber, Laura Haddock as the rude and insecure silent film star Myrna Dalgleish, and Dominic West (Prince Charles in The Crown S5) as co-star Guy Dexter. Three Downton figures play an important role in this segment, Mary, Molesley (Kevin Doyle), and surprisingly, Daisy (Sophie McShera).
Listening to the Downton theme music in the dark theatre––my first post-Covid movie viewing outside the home––via its state of the art sound system is a heart-stirring experience. What a difference it makes watching Highclere Castle on the big screen and hearing the theme music emerge. A New Era is a better movie than the first one three years ago. A must-see for Downton fans, and a fantastic prompt for those who have never watched the TV series… never too late to get on the ride.
~ ~ ~ 1/2 Ripples
The Peace of Wild Things
When despair for the world grows in me
and I wake in the night at the least sound
in fear of what my life and my children’s lives may be,
I go and lie down where the wood drake
rests in his beauty on the water, and the great heron feeds.
I come into the peace of wild things
who do not tax their lives with forethought
of grief. I come into the presence of still water.
And I feel above me the day-blind stars
waiting with their light. For a time
I rest in the grace of the world, and am free.
–– Wendell Berry
The word is in the OED, could well have gained relevance during the pandemic. Currently, two 2022 Netflix series can be described as such, bingeable. Both are adaptations from books in the genre of crime and courtroom drama. One major factor that makes them watchable is that both are created by David E. Kelly. A legal series associated with Kelly is likely to be of quality. His filmography too long to list.
THE LINCOLN LAWYER
Based on Michael Connelly’s The Brass Verdict (2008), the second book in his Mickey Haller series. The successful LA criminal defence attorney works mostly in his chauffeur-driven Lincoln Town Car, hence the namesake of the title. Unlike the book and Matthew McConaughey’s portrayal in the 2011 movie adaptation, Mickey here in the Netflix TV series (S1, 10 episodes) is more vulnerable, less self-assured, yet unrelenting in seeking the truth, and above all else, possessing genuine care for his daughter and ex-wives; in other words, a better man.
Other than the writing, a major asset is the cast. No big name A-listers, but the roles are aptly filled: Manuel Garcia-Rulfo as Mickey, Neve Campbell as ex Maggie the prosecutor, Krista Warner as their teenage daughter Hayley; and at the office, yes there’s an office other than the back of the Lincoln, Becki Newton as Lorna, another ex, Angus Sampson as Cisco. Jazz Raycole as driver Izzy whom Mickey offers the job after defending her in court. Must mention is Christopher Gorham (Auggie Anderson back in Covert Affairs 2010-14) as the high profile client Trevor Elliot accused of the double murder of wife and her lover.
The 10 episodes flow well with several storylines going at the same time, adding interest and complexity. And as author Connelly has generously sprinkled in his books, the human side of his characters is the driving force behind the stories and conflicts. Mickey needs to come back from rehab, having developed drug dependency for pain relief after a surfing accident, on top of that, to gain back the trust and love from his ex-wife and in sharing the responsibility of parenthood… and wishful thinking it might seem, pursuing a second chance in a failed marriage.
Career wise, the high-profile case of defending video game developer Trevor Elliot could catapult him back on the track of success after his hiatus. What’s intriguing is that we see Mickey and Trevor often in a cat and mouse game. Newly handed down by a judge this case as the previous defence lawyer was gun down just days before the trial, and with not much to go on, Mickey has to rely on instinct, logical thinking, gut, as well as Lorna and Cisco’s unconventional investigative techniques.
The adaptation has an updated storyline that’s different from the 2008 book, but Connelly’s mark is there, as well as Kelly’s smart screenplay and direction. The meaning of the title? Disclosed at the end, the hidden key to this bingeable series.
ANATOMY OF A SCANDAL
Across the Atlantic, we have a notable British court case dealing with a reputable Member of Parliament being charged with the rape of his staff researcher, a 6-episode adaptation of the 2018 novel by Sarah Vaughan.
Some well-known actors make up the cast of this Netflix mini-series. Rupert Friend plays MP James Whitehouse, Sienna Miller as wife Sophie, who stands by him until the truth is revealed. Prosecutor is Kate Woodcroft played by Michelle Dockery––Lady Mary Crawley of Downton––donning a wig, gown and glasses, convincing as a Queen’s Counsel. The victim is Olivia Lytton (Naomi Scott); defence barrister for James is Angela Regan (Josette Simon).
A rape case hanging on the issue of consent, both the prosecutor and defence offer persuasive arguments. Both sides contributed to some intense scenes in a sexual, criminal trial that involves, by its very nature, the need to be explicit and exact in its language and graphic in its description. Can the concept of ‘boys will be boys’, or, the misunderstanding of intent, ‘yes’ or ‘no’, be a viable defence for rape?
Similar storylines had appeared in movies such as The Riot Club (2014), very similar indeed, as the privileged boys from Oxford University, like the Libertines here, exercise freely their liberties and vulgarity. More recently, the Oscar winning Promising Young Woman (2020), written and directed by Emerald Fennell and starring Carey Mulligan, delivers a U.S. medical school version.
More than just courtroom drama. The backstory of these characters is intriguing and as the truth reveals itself, the moral complexity multiplies. Interestingly, the ‘brass verdict’ concept in The Lincoln Lawyer finds affiliation here. Cinematography is slick and editing is fast-paced. An apt transposition of Vaughan’s novel.
~ ~ ~ Ripples for both
This year, there’s only one owlet at the Great Horned Owl household. Since the coming-out party, the family’s debutante is poised to become the star of the woods. Birding paparazzi converge and they’re not disappointed.
But first, a Where’s Waldo quiz for you. Can you spot mama and owlet on this tree:
Ok, blame it on my blurry pic. Mama’s on the top of the picture, baby at the bottom. Can’t see clearly? Here are some close-ups:
Mama is always nearby… the lower right of the photo gallery.
And this little one is a natural talent for the movie screen. Here are some photos for the audition portfolio:
High Park is a natural oasis in the hustle and bustle of Toronto. Almost 400 acres, it’s the largest park entirely within the city proper. The Grenadier Pond on the western boundary of the park spans 35 acres and a key resource for the teeming variety of wildlife.
Its urban setting reminds me of Central Park in NYC which is twice as large. Unlike the entirely manmade Central Park, however, High Park is the remaining sandy soil of retreated glaciers with a long natural history dating back to 12,800 years ago.
Here’s a lookout from Grenadier Pond:
About three weeks ago I visited High Park for the first time. It was early spring. Leaves had just started budding on trees and paths were still wet from winter, but I was able to capture some of the vibes:
Can you ID them all? I’m most curious to know what kind of tree buds are those on the upper right corner above. They look velvety and utterly exquisite.
As a birder, of course I was on the lookout for avian sightings, especially those I couldn’t find here at my own small Pond. But it was the trees that stood out for me that day. First the budding willows by the south end of Grenadier Pond:
I also came by a grove of cherry trees that were yet to bloom. And as I walked to the Nature Centre in the north side, I found this glorious oak tree. Still bare without leaves, its form was magnificent… I’ve read that the predominant oak in the savannah of High Park is the black oak. I think this is one of them. Not sure if it would look better with fully bloomed foliage. Because, right now, it looks magical:
Here’s an image from the webpage The Oaks of High Park, the illustration taken from the book Who Goes to the Park by Warab´é Aska, 1984:
I can imagine this spreading oak being a character in an animated movie just from this picture… and I can see how versatile it can be.
In my end is my beginning. –– T. S. Eliot, ‘East Coker’ from The Four Quartets
In the past few months, three of our longtime friends had died, one from Covid, two from other health issues, all unexpected. What hope do three heartbroken widows have if not for that very good Friday and the magnificent Sunday shedding the hope of reunion in a glorious eternity.
The poet John Donne puts into words boldly in his 1633 sonnet.
Death, be not Proud
Death, be not proud, though some have called thee
Mighty and dreadful, for thou art not so;
For those whom thou think’st thou dost overthrow
Die not, poor Death, nor yet canst thou kill me.
From rest and sleep, which but thy pictures be,
Much pleasure; then from thee much more must flow,
And soonest our best men with thee do go,
Rest of their bones, and soul’s delivery.
Thou art slave to fate, chance, kings, and desperate men,
And dost with poison, war, and sickness dwell,
And poppy or charms can make us sleep as well
And better than thy stroke; why swell’st thou then?
One short sleep past, we wake eternally
And death shall be no more; Death, thou shalt die.
Centuries later, a Kentucky farmer has written some down-to-earth lines. Wendell Berry’s poem for Easter calls for turning the belief into action. Resurrection begins now:
A Poem on Easter
The little stream sings
in the crease of the hill.
It is the water of life. It knows
nothing of death, nothing.
And this is the morning
of Christ’s resurrection.
The tomb is empty. There is
no death. Death is our illusion,
our wish to belong only
to ourselves, which is our freedom
to kill one another.
From this sleep may we too
rise, as out of the dark grave.
He is risen.
Live out that Hope.