Earlier this week I spent a few days in Vancouver, British Columbia. The Richmond Nature Park was high on my agenda since I ‘discovered’ the place last time I visited and found it to be a haven for hummingbirds. This time, I’m not disappointed as I’ve seen many albeit it’s hard to take a good photo of them, for they are small and ultra fast.
Every hummingbird is a miracle in itself. They are the smallest of birds, most species measuring 3-5 inches (7.6 -10 cm) in length and about 0.1 oz. (3 – 4 grams) in weight. The bee hummingbird of Cuba is the smallest bird in the world, only 2 inches (5 cm) in length and weighs 0.07 oz (1.95 gram).
According to World of Hummingbird, depending on their activity, hummingbirds’ wing beats can range from 70 to 200 times per second (when diving). And they can dive! Up to 60 miles per hour. Hummingbirds are the only birds that can fly forward, backward, hover and stay still in the air, fly sideway, and even upside down.
During migration, the Rufous Hummingbird fly from the Gulf of Mexico to Alaska to breed, that’s nearly 4,000 miles. These small but powerful flyers can travel as much as 23 miles in one day. As they cross the Gulf of Mexico they may cover up to 500 miles at a time. Their average speed in direct flight is in the range of 20-30 mph (32 – 48 km/hr), and up to three times that fast during courtship dives. Interesting info. here.
There are numerous fascinating facts to be found online, but nothing beats the actual experience of watching these tiny birds flapping their wings to stay still in the air like a motorized flapping cross, or see their iridescent feathers shimmering in the morning light. They are just too fast for me to take photos, especially when darting in midair. I could only capture some while they were sipping nectar from a feeder, or perching on a branch.
When I visited Richmond Nature Park earlier this week, I only found Anna’s Hummingbirds, although the signs indicate Rufous also hang out there. From the info I’ve gathered, Anna’s Hummingbirds now don’t migrate but settle in the Pacific Coast of North America, from California to B.C. in Canada. So there I was, encountering these beautiful, small miracles that morning.
Here’s a male Anna’s Hummingbird staying still:
the female or immature ones are mostly green without the fuchsia red on their head and neck, but their iridescent plumage and the colourful spots on the head are a sight to behold:
“… I have always known you are present in the… wings of birds.” –– Mary Oliver, from the poem ‘Six Recognitions of the Lord’
As two of my highly anticipated movies (see my list here) coming out in the fall will be on Netflix: Maestro and NYAD, I just can’t resist anymore. Three days ago I decided to subscribe to Netflix. While waiting for these two movies to show up, I’ve got plenty of others to watch. These past few days, I’ve finished a few. Yes… daily life has been a bit diverted. My capsule reviews in the following. All three TV series are worth watching and the doc on Joan Didion, a must-see.
BEEF –– A road rage incident pushes two lives down the abyss of rage and revenge which ultimately torpedoes into an explosive meltdown. The fight between Amy Lau (Ali Wong), an entrepreneur, wife and mother living in an upper middle class neighborhood and her adversary Danny Cho (Steven Yeun), a handyman striving to make ends meet as a dutiful son and watchful older brother is not only a satire of the disparity between the rich and the poor, but a realistic depiction of the existential angsts shared by all regardless of social and economic status, or, as the series has effectively shown, racial background. Highly addictive, cleverly written and first-rate acting. 13 Primetime Emmy Awards nominations.
The Diplomat –– Kate Wyler (Keri Russell) is appointed by the POTUS (Michael McKean) as the new ambassador to the United Kingdom, a post she reluctantly takes up. With her previous experience in war-torn countries and Afghanistan which she expects to return, her new post in London is a major cultural clash, hence resulting in some mismatched decorum and humorous moments. Adding to her maladjustment and complicating matters when dealing with volatile, international crises is her husband Hal (Rufus Sewell), himself the former ambassador to the UK. The once political influencer now has to take up the role as a diplomat’s wife in a precarious marriage. Interesting play on gender politics, marital/power relationships, on top of intense, political chess play. Russell is nominated for Outstanding Lead Actress in a Drama Series in the upcoming Emmy Awards, deservedly. Interesting to note some of the language used here is quite similar to the rage-filled one in BEEF.
The Lincoln Lawyer –– I pick up from the current Season 3. While I like Michael Connelly’s character, former LAPD detective Harry Bosch, more than his Mickey Haller, a lawyer who works out of a Lincoln dealing with seedy clients, I’ve enjoyed the TV adaptation. Haller, aptly played by Manuel Garcia-Rulfo, is a pleasing yet complex character, resourceful, smart, an upholder of the law but has his blind spots. As a recovering addict, vulnerability coexists with his assets. Other characters are also well cast, jumping out of Connelly’s novels to become well fleshed-out and likable human beings (we just might be using this term more now to distinguish between the real and the fake), making up a lively supporting cast. Interesting to note that in the 10 episodes of S3, despite dealing with crimes and criminals, the language used is relatively free of foul play.
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Joan Didion: The Center Will Not Hold
Directed by Griffin Dunne, actor/director and Joan Didion’s nephew, this brief, biographical documentary of Didion follows her career and life during some of America’s tumultuous decades. Dunne’s interviews with her aunt elicit some intimate conversation and poignant memories from Didion, by now frail and with apparent impediment. An astute observer of society, Didion had given us some monumental commentaries of her times with her writings. Listening to the narration in the documentary and seeing the iconic photos and footage of significant turns of history, Didion’s analyses just as well could have applied to our world today, just as she has quoted in her Slouching Towards Bethlehem the line in Yeats’s poem: “Things fall apart; the centre cannot hold.”
The latter part of the documentary is about Didion’s own personal tragedy, chronicling the sudden death of her husband John Gregory Dunne and just months later, her daughter Quintana, her grief poured out in The Year of Magical Thinking and Blue Nights. English playwright David Hare had been her anchor in transforming mourning and loss into artistic expression on stage, giving her some sort of a closure. Hare directs the Broadway play adaptation of The Year of Magical Thinking with Vanessa Redgrave as the sole performer. Redgrave shared a similar experience as her daughter Natasha Richardson died suddenly after a ski accident. The documentary has kept a short clip from the play and presented personal recollections from Hare and those close to her life, friends and colleagues. A poignant and moving feature.
It may still be summer, but most of the migratory birds have started their winter journey south. My favourite avian friends seem to have departed without saying goodbye. So, I train my eyes to look at all the beauties that I haven’t noticed before when I was only focused on birding. Even the dandelions look good when contrasted with the clear, blue river, or the small butterfly, or is it a moth?
I’ve discovered a brand new interest. What are these red flying objects in front of my eyes, so many of them darting around. Red dragonflies… I haven’t noticed them before. My curiosity sent me to Google and yes, I’m sure they are dragonflies and not damselflies. The main difference is that dragonflies’ wings spread out like this when they’re at rest:
while damselflies fold up their wings at rest like this:
I’ve seen blue dragonflies before, lots of them here, but this time it’s the red dragonflies that are so abundant. I haven’t noticed them before. They are beautiful and easier to capture in photos than birds:
some intimate moments:
Of course I’ll miss my avian friends for another long absence until next spring, but there are other beauties to behold. It’s small things like these that sometimes make me jump out of bed with excitement. No, they won’t be around come winter, but I’m sure there are other blessings to explore then.
While Barbenheimer is dominating the box office, a phenomenon that coins a new word in our vernacular thanks to the simultaneous release of the two movies Barbie and Oppenheimer, my attention, however, is drawn to the lineups in the film festivals beginning the end of August with Venice and then the Toronto International Film Festival in September. All others follow in the fall.
I won’t be heading to TIFF this year but I do have a To Be Watched list after browsing through their lineups if any of these films ever show up in my city or for streaming. Do watch for these titles, as I’m sure you’d find some that pique your interest… and might show up in the Awards Seasons later this year. Here’s my list:
NYAD International Premiere. True story of Diana Nyad, at age 64, became the first person to swim 110 miles from Cuba to Florida without a shark cage. Starring Jodie Foster and Annette Bening, directed by the Oscar winning husband and wife adventure team Jimmy Chin and Elizabeth Chai Vasarhelyi (Free Solo, 2019). Now, you might ask … who’s playing the swimmer Nyad?
Anatomy of a Fall Winner of the Palme d’Or at Cannes this year, a French film directed by Justine Triet and starring German actress Sandra Hüller. A man is found dead and his wife is put on trial for his murder while their visually impaired son faces a moral dilemma as the sole witness. Sounds most intriguing. Other than Cannes, the film has also won the Audience Award at the Sydney Film Festival.
In Restless Dreams: The Music of Paul Simon World Premiere. Documentary following America’s music icon Paul Simon into the studio making his new album Seven Psalms while looking back on his six-decade career from Sounds of Silence to Graceland.
North Star World Premiere. Directorial debut of veteran British star Kristin Scott Thomas (The English Patient, 1996) A family drama about three sisters returning home for the third wedding of their twice-widowed mother. The past and the future converge as mother and daughters reunite with some unexpected guests. Could be autobiographical.
The Critic World Premiere. Adaptation of the 2015 novel Curtain Call by Anthony Quinn. A mystery thriller storyline driven by ambitions and deceits in the theatre world. Directed by Anand Tucker (Girl with a Pearl Earring, 2003) with a wonderful UK cast including Lesley Manville, Gemma Arterton, Mark Strong, Ben Barnes, Romola Garai, and Ian McKellen.
Monster The North American Premiere of acclaimed Japanese auteur Hirokazu Koreeda, who is a master of family drama such as Shoplifters (2018), Our Little Sister (2015), and Like Father, Like Son (2013) From TIFF’s webpage, Monster is “a delicate story of love and humanity, a moral tale about school bullying, scored by the late Ryuichi Sakamoto.”
Wildcat Ethan Hawkes explores the life and art of writer Flannery O’Connor and featuring his daughter Maya Hawks as the titular character. Laura Linney in supporting role.
The Zone of Interest Adaptation of Martin Amis’s 2015 Walter Scott Prize winning novel directed by Jonathan Glazer. Premiered at Cannes in May, garnering the Grand Prix and the FIPRESCI Prize. The story is a macabre juxtaposition of horror and a love affair between a Nazi officer the wife of the commandant of the Auschwitz concentration camp.
Maestro I placed it last on this list because it’s not at TIFF but in Venice, just a week before TIFF kicks off. The Maestro refers to the American legendary composer and conductor Leonard Bernstein, played by Bradley Cooper. The story explores his complex relationship with his wife Felicia, played by Carey Mulligan. High on my anticipation list. Bradley Cooper directs his second musician-based feature after A Star is Born (2018)
Many gems in this treasure trove of poetry from Mary Oliver’s Devotions. For a birder, these simple words particularly resonate. Sharing a few here:
THIS MORNING
This morning the redbirds’ eggs have hatched and already the chicks are chirping for food. They don’t know where it’s coming from, they just keep shouting, “More! More!” As to anything else, they haven’t had a single thought. Their eyes haven’t yet opened, they know nothing about the sky that’s waiting. Or the thousands, the millions of trees. They don’t even know they have wings.
And just like that, like a simple neighborhood event, a miracle is taking place.
I WAKE CLOSE TO MORNING
Why do people keep asking to see God’s identity papers when the darkness opening into morning is more than enough? Certainly any god might turn away in disgust. Think of Sheba approaching the kingdom of Solomon. Do you think she had to ask, “Is this the place?”
ON MEDITATING, SORT OF
Meditation, so I’ve heard, is best accomplished if you entertain a certain strict posture. Frankly, I prefer just to lounge under a tree. So why should I think I could ever be successful?
Some days I fall asleep, or land in that even better place—half asleep—where the world, spring, summer, autumn, winter— flies through my mind in its hardy ascent and its uncompromising descent.
So I just lie like that, while distance and time reveal their true attitudes: they never heard of me, and never will, or ever need to.
Of course I wake up finally thinking, how wonderful to be who I am, made out of earth and water, my own thoughts, my own fingerprints— all that glorious, temporary stuff.
THE WORLD I LIVE IN
I have refused to live locked in the orderly house of reasons and proofs. The world I live in and believe in is wider than that. And anyway, what’s wrong with Maybe?
You wouldn’t believe what once or twice I have seen. I’ll just tell you this: only if there are angels in your head will you ever, possibly, see one.
watching a good movie. It’s not easy to come upon, therefore, most gratifying.
I’m partial to yellow birds: Warblers, Goldfinches, Vireos… and a more orangey hue, the Baltimore Oriole. These are all that I’ve seen around here in the hinterland above the 49th parallel, unlike many of you in the warm and welcoming south having the chance to see more colourful varieties.
The woods by the Pond is a haven of warblers this year, but to capture one with the camera is highly challenging. They never stay still on a branch for more than a couple of seconds, let alone finding them clear from leaves. I can see them, small, yellow flying creatures in the air darting from tree to tree and hear them calling, as if teasing me, “catch me if you can.”
During my good day of birding a couple weeks ago I was able to get some of these tiny yellow warblers in my camera:
Serendipity is what makes good birding. Just as I was pleased with myself for taking some photos of yellow warblers, I found a warbler’s nest. A bonus! Trying my best to be as unobtrusive as possible, I took these pictures:
and look at this one carefully, you can see the tiny beak of a baby warbler sticking out:
I called it a good birding day and started to head back to my car when I saw an orangey thingy in a small tree at a distance. The Baltimore Oriole! I’ve heard from other birders that they’d seen one recently and everybody was looking for it. You who live in Baltimore or almost anywhere south of the 49th might have a good laugh at how excited we are in spotting a Baltimore Oriole. It’s not rare, but still a very special sighting for us. I took these from afar:
That’s a wrap of a good day birding. What more, I don’t need to write a review!
Hae Sung (Teo Yoo) visits Nora (Greta Lee) in New York, a scene from “Past Lives”. Photo courtesy of Elevation Pictures
“Past Lives” is a meticulously crafted feature that is autobiographical in nature, naturalistic in style, and far-reaching in its resonance. The directorial debut of Korean-Canadian playwright Celine Song who is now based in the US, it premiered at Sundance early this year and subsequently was nominated for a Golden Berlin Bear at the 73rd Berlinale. Most recently on July 2, its accolades continued at the Hollywood Critics Association Midseason Awards winning Best Indie Film, Best Actress for Greta Lee and Best Screenplay for Song.
Nora (Greta Lee), immigrated to Canada from South Korea when she was twelve, following her parents’ decision. As a child, she has always been Na Young (Moon Seung-ah), now given a new name, Nora, by her father as they prepare to leave. Her departure severs a close tie with her childhood sweetheart Hae Sung (Seung Min Yim).
Twelve years later, Nora makes a move to New York City from Canada in pursuit of a career in writing, a decision this time of her own choosing. While there, she happens to come into contact with Hae Sung (Teo Too) online. The two meet again via texts and Skype but that connection is short-lived as Nora initiates a termination, for she wants to focus on her writing career and setting roots in her newly adopted home. Fast forward some more years, Hae Sung comes to New York in person to seek her out. Nora’s past thus re-emerges.
In a writer’s retreat, Nora meets Arthur (John Magaro) and they soon fall in love. When Hae Sung comes to New York, Nora has been married to Arthur for seven years. Despite being in a secure and loving marriage, Nora feels the conflicts of navigating between two men from the present and the past, as well as choosing a path for the future. ‘Yet knowing how way leads on to way’ as the poet Robert Frost poignantly utters, she laments the loss that comes with only one path to tread, one road to take.
While it may sound like a typical immigrant story–the ambivalence of losing and gaining as one makes decisions about leaving one’s homeland to start a new life in a foreign country–Nora’s narrative ripples out beyond the immigrant experience. We are all constrained by time and space. Somewhere in our life, we are bound to have left behind a part of ourselves, our childhood, our roots as we move forward to another stage of life.
In the opening bar scene where Nora sits in between her husband and her childhood sweetheart, she is the interpreter of two languages, navigating between cultures, and juggling two identities of self. Nora finds herself acting as an intermediary between two men who love her but in different ways and as a different persona, Nora and Na Young. This is a real-life scenario Song had once found herself in and which became the initial spark of the making of “Past Lives.”
Arthur is in an awkward situation. In one of the pivotal scenes, an intimate husband and wife conversation in bed, he tells Nora that she speaks Korean in her dreams, “there’s a part in you that I won’t be able to know.” That part is the first twelve years of Nora’s life where Arthur was absent and which Hae Sung longs to recapture. Arthur admits, “I can’t compete.” However, instead of handling the conflict as a clichéd love triangle, Song has turned it into a cinematic pondering of life choices, what one leaves behind and what one gains in a new chapter of life.
Magaro delivers a superb portrayal of the ambivalence in Arthur’s predicament. His screen presence and dialogues with Nora offer much clarity. As well, his is a character that has the power to elicit deep empathy from viewers, on top of adding some subtly humorous moments. I wish there is more of such screen time for this admirable role. Arthur’s mature love for Nora overrides any jealousy or traces of inferiority complex when Nora casually compares the two men, effectively shifting viewers’ attention from the reunion of childhood sweethearts to this third party, the loving and silent husband stepping aside to let his wife dwell on her past.
And Nora appreciates Arthur’s love, albeit it doesn’t eliminate the lament she feels about the loss of a former self. Having transplanted in New York City, she has gained a new cultural identity as a ‘Korean-American.’ After meeting Hae Sung again, she finds him firmly rooted as a ‘Korean-Korean.’ Song’s dialogues are astute. Lee’s screen presence is affable and nuanced, a pleasant character with whom viewers can readily empathize. Hae Sung seems to subscribe firmly in In-Yun, the Korean concept of predestined fate.
Young Hae Sung (Seung Min Yim) and young Nora (Moon Seung-ah) part ways. Photo courtesy of Elevation Pictures
There is a recurring shot which speaks volume. A fork in the alley where young Hae Sung and Na Young walk home after school in Seoul. Two roads diverge. On the left is the boy continuing his way, on the right is his sweetheart, walking up the steps, two separate paths, two life trajectories. It’s not about taking the road less travelled as Frost would tell with a sigh, but the road not taken that keeps the traveller thinking what could have been. While such is a typical existential pondering of the immigrant experience as one leaves one’s homeland to start another life, it is also a universal question as we concede our limitation as humans, feeling the loss of opportunities or the what if’s with the road not taken. Song’s feature is like a visual depiction of Frost’s poem, illustrating a real life scenario.
Song excels here in elliptical storytelling. Some sequences are almost dreamlike with blocked-out dialogues, or a still camera pointing at Hae Sung and Nora gazing at each other in silence; viewers are free to imagine what’s going through their minds.
However, with the short 105 minutes film duration, I feel more time could have been spent on a deeper characterization of Hae Sung in Korea. What kind of a man has he grown into other than merely the soju drinking young man or later just the outward changes in appearance; and how he still clings to a childhood image of Na Young now that they are adults. If Hae Sung can be developed into a more solid, three-dimensional character instead of like a ghost of Nora Past, the conflicts could have a more powerful impact.
Surely, this is Nora’s story, and Lee has delivered effectively with pathos and realism. Further, Song has proven herself to be a filmmaker to watch in the future.
~ ~ ~ Ripples
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I thank Asian American Press for the permission to repost my review here in full.
Towles’ 2016 novel is currently filming and will likely come out at the end of 2023 or early 2024. Ewan McGregor plays Count Alexander Rostov who, in the aftermath of the Bolshevik Revolution, is kept under house arrest in at the Metropol Hotel across the street from the Kremlin, a sentence laid down by a Bolshevik tribunal. The book is developed into an 8-episode TV series on Amazon. Quite an original story idea and the dramatization will likely liven up the seemingly mundane life of the aristocrat banished to the servants quarter of a luxury hotel.
Caste: The Origin of our Discontent by Isabel Wilkerson
Oscar-nominated Ava DuVernay is producing, directing and writing the screen adaptation of Pulitzer Prize winner Isabel Wilkerson’s critically acclaimed non-fiction work, using a multiple story structure to investigate the ‘unspoken system that has shaped America and chronicles how lives today are defined by a hierarchy of human divisions dating back generations.’ DuVernay has been a powerful filmmaker and spokesperson probing systemic inequality, the nation’s discriminatory past and present. Her works include Selma (2014), 13th (2016), and When They See Us (2019). Caste will be a Netflix movie.
Crying in H Mart by Michelle Zauner
The memoir of the lead musician of the indie pop band Japanese Breakfast is Goodreads Choice Awards for Memoir in 2022. Zauner movingly describes how she comes to terms with her identity as a Korean-American when she goes back to her root in Oregon to care for her mother suffering from terminal cancer. Music and food strengthen their bond. The actor in The White Lotus and director of The Electrical Life of Louis Wain Will Sharpe will direct. A casting call went out on Twitter to play Zauner on screen. Just a thought… Zauner could be a prime candidate to play herself.
Killers of the Flower Moon: The Osage Murders and the Birth of the FBI by David Grann
Where there’s oil, there will be blood. One of the most-touted movies of 2023 is this adaptation of the non-fiction book by Grann, winner of the 2018 Edgar Award. Grann chronicles the discovery of oil in the Osage County in Oklahoma where several of the natives there were murdered. The Osage Murders is the newly created FBI’s first big case, with its young director J. Edgar Hoover rising to the challenge. Premiered at Cannes in May and under the helm of Martin Scorsese, with a superb cast with Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Brandon Fraser, Jesse Plemon, John Lithgow, and Tantoo Cardinal, herself a highly decorated Canadian aboriginal actress, the movie will be nothing short of epic.
Mrs. March by Virginia Feito
Reads like a Patricia Highsmith psychological novel with a touch of mystery… in particular, Edith’s Diary. Suspense novels nowadays often feature an unreliable narrator stringing out a sequence of events and perceptions that blur the line between reality and the delusionary. Emmy winner Elisabeth Moss’s new production company is developing the movie and Moss will play the title character. I’ve listened to the audiobook and look forward to seeing how Moss portrays the internal multiverse of Mrs. March. The old classic The Three Faces of Eve (1957) comes to mind. Feito is writing the screenplay.
Idaho by Emily Ruskovich
Ruskovich is an O. Henry Prize winner and this her debut novel has garnered praises on its originality, masterful language and imagery. A family spending a hot August day in an Idaho mountain collecting birch wood faces a fateful turn in their lives. A psychological thriller exploring dementia and its ripple effects. The New Yorker review has this powerful statement: ‘The book is also an affecting portrait of how love can endure when memory fails.’ This one is high on my TBR list. Another title Elizabeth Moss’s new production company is developing.
Tomorrow, and Tomorrow, and Tomorrow by Gabrielle Zevin
2022 Goodreads Choice Awards for Best Fiction. Here’s another example of some outstanding Asian American writers and artists not known for their mixed racial roots and identity but have approached the subject in their novels nonetheless. Zevin, whose mother is Korean and father Jewish, touches on such an issue from an original and fresh perspective: two young people meet in the real world of video game creation. I’ve listened to the audiobook and found it to be one of the most unique and interesting reads I’ve come across in recent years. Zevin’s other book The Storied Life of A. J. Fikry is now streaming on various platforms.
The Zone of Interest by Martin Amis
British writer Martin Amis’s 2015 Walter Scott Prize winning novel is turned into a film directed by Jonathan Glazer. Premiered at this year’s Cannes Film Festival and garnering the Grand Prix and the FIPRESCI Prize. The story is a macabre juxtaposition of horror and a love affair. The commandant of the Auschwitz concentration camp, Rudolf Höss, and his wife strive to build an idyllic family home situated right next to the death camp. To add to the horrific irony and complexity, a Nazi official has an affair with the commandant’s wife. Critics have cited Amis’s book as a very different Holocaust novel, and the movie has now become a notable in the 2023 international awards circuit.
Emily Henry’s Books to Screen
For beach read fans, summer reading has to include Emily Henry’s novels. If you’re a fan of hers and like to see her works on screen, here’s the good news: all three of Henry’s popular books are in development into rom-coms:
People We Meet on Vacation The 2021 Goodreads Choice Awards for Romance Novel is to be directed by Brett Haley. Screenwriter Yulin Kuang’s adapted script has already received endorsement and high praise from Henry herself.
Book Lovers Two years in a row, Henry won the 2022 Goodreads Choice Awards for Romance with Book Lovers, perhaps a contemporary queen of the genre? Sarah Heyward is set to write the script, movie will be produced by Tango (Aftersun, 2022)
Beach Read Just announced is that the Emmy nominated writer director Yulin Kuang, screenwriter for People We Meet on Vacation, is taking the helm to write and direct Beach Read, Henry’s third popular fiction to be transported onto screen. Contemporary rom-com, breezy, light, and… will it re-create the wave that Nora Ephron was once so well-known for?
Another spring brings another owl baby. While I can’t tell if it’s the same owl family, it’s interesting that a Great Horned Owl family would use the same tree cavity to make their nest every spring to welcome their newborn(s), year after year.
Here it is, about a month ago, a brand new baby peeking out of the nest. Can you spot baby owl in this picture?
And now a few weeks later, baby has grown to almost the size of mommy owl, and the family has vacated their nest. So, it’s wonderful to see them out on a tree. Baby still has the downy coat on, but what impresses me is mommy owl—I like to think it’s the mother owl staying close to baby, as father owl usually goes to find food—like a sentinel watching closely, looking noble and stoic:
But of course, a mother is always a mother, and baby is always her baby, no matter how big he or she has grown. I’m glad that I was able to capture these endearing moments, albeit a little blurry since they were very far up a tree from a distance. Baby’s on the right in these pictures:
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(Glitches while posting this. Have to repost. Previous post entitled Baby’s Day Out. Issues with the date. This post is published on Saturday May 27, 9:40 am.)
The passing of Gordon Lightfoot yesterday at the age of 84 evokes a stream of nostalgic consciousness. The following is an old post dating back to more than ten years ago. I wrote it after visiting Unionville in Ontario; the profusion of cattails by the pond stirred up memories of listening to Lightfoot’s song. As a tribute to the Canadian music legend, I’m reposting it here.
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Took a short trip to Ontario last week and came home overwhelmed with nostalgia. It all started when I visited the town of Unionville and saw these, crowds and crowds of cattails growing profusely at the pond, the fields, and by the footbridge:
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For some inexplicable reasons, I’m much fond of cattails. The first time I learned about them was from listening to the song by Gordon Lightfoot… before I’d actually seen one.
Some time in the 70’s, for many afternoons I sat in the art room of a high school somewhere in Alberta, working on some art project, but mostly doing nothing at all while listening to Gordon Lightfoot. Mr. Hannington held a laissez faire art class… we could do just about anything, or nothing. Usually, there would only be three or four of us in the room. We would just sit around, chat, daydream, and immerse in the voice of Gordon Lightfoot on the radio.
I didn’t turn out to be an artist, while one of us did. But I’ve remained partial to cattails, mesmerized by the song and the singer. Those Lightfoot afternoons in the art room emerged from the depth of hazy memories, the lyrics were the soft winds caressing naked limbs as I walked in this natural reserve in Unionville.
Pussywillows, cattails, soft winds and roses Rainpools in the woodland, water to my knees Shivering, quivering, the warm breath of spring Pussywillows, cat-tails, soft winds and roses
Catbirds and cornfields, daydreams together Riding on the roadside the dust gets in your eyes Reveling, disheveling the summer nights can bring Pussywillows, cattails, soft winds and roses
Slanted rays and colored days, stark blue horizons Naked limbs and wheat bins, hazy afternoons Voicing, rejoicing the wine cups do bring Pussywillows, cattails, soft winds and roses
Harsh nights and candlelights, woodfires a blazin’ Soft lips and fingertips resting in my soul Treasuring, remembering, the promise of spring Pussywillows, cattails, soft winds and roses
(To my artist friend CD: Keep the fire burning.)
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Some of you had left comments in that old post. If you’re interested to know what you had said, click on the link to find out.
Living is based on the Japanese auteur Akira Kurosawa’s classic Ikiru (1952, meaning of title: ‘to live’). Nobel laureate Kazuo Ishiguro adapted it to make an English version with Bill Nighy in mind when he wrote the screenplay, creating a setting in 1950’s London. Interestingly, Kurosawa himself was inspired by Leo Tolstoy’s The Death of IvanIlyich when he made Ikiru, and with his eloquent camera, transposed the Russian master’s novella into a Japanese story on screen.
With Living, the Japanese-British novelist Ishiguro has succinctly condensed Kurosawa’s 142 minute film into a shorter feature of 102 minutes, helmed by South African director Oliver Hermanus. It’s interesting to note the cross-cultural transferral, for the film is about the universal theme that we all share as a humanity, living a meaningful life in the face of death.
This is one of the less-hyped movies during the 2022 Awards Season, despite the film getting two Oscar nominations: Best Adapted Screenplay for Ishiguro, and Best Actor for Bill Nighy, his first and long due Oscar nod.
It’s timely that I finally get the chance to watch Living now in April, a month that signifies new births. Considering the change in the main character Mr. Williams (Bill Nighy), even the idea of resurrection is apt when taken metaphorically, from death to life, ironically, for a man who has just been diagnosed with terminal illness.
As the head of the public works department at County Hall for numerous years, Williams is contented with following the bureaucratic daily routine by the clock, pushing papers to other departments, or, if the file has to stay in his, stalling it till it becomes extinct.
The camera angles give us a vivid perspective. From the overhead shot above the train station, we see a mass of uniformity, men in dark suit and bowler hat heading to work. Looking down from above, they are small and insignificant. And from the slow motion of them walking, we see the wheel of work turning, ever so slowly, in mundane routine heading to the office and the same vehicle bringing them home at the end of the day.
After Williams gets the confirmed diagnosis of cancer and that he will have just six months to live, there appears the audio motif of a clock ticking; this time, it’s not to remind him of work routine but the limited time of life remaining.
In the wake of the ominous news, Williams’ reactions change from stoically bearing the shock to actively seeking a meaningful existence, and ultimately finding a purpose that he feels can fulfill his life. Nighy’s performance is immersive, reserved, and nuanced, and at times, allowing a ray of deadpan humour to seep through. If the restrained ‘Englishness’ is what the actor naturally possesses, or one that he has fully grasped in his cultural milieu, then it has served him perfectly in this role.
In an online interview, Ishiguro explains this ‘Englishness’ as a metaphor:
A certain type of Englishness becomes a universal metaphor for something that is inside all human beings, the need to conform, perhaps a fear of emotions, the frustration of wanting to express yourself but not being able to break out of your professional role, or the role that society has given you. There were many things I thought we could talk about of the whole human condition by looking at this type of figure.
Many scenes in Living are direct parallels of Kurosawa’s Ikiru with his protagonist Kanji Watanabe (Takashi Shimura). Both men confide their terminal illness not to their son who lives with them, but to a stranger in a restaurant, sharing their last wish, that is, to live life, for a change. The sympathetic listener brings the despondent man to various places for him to ‘live it up’. In both films, we see the same places but in different cultural context, amusement parks, bars, dance hall, strip club, but what Williams and Watanabe find are but superficial, ephemeral flares.
The ultimate change in Williams is sparked by a young, female staff Margaret Harris (Aimee Lou Wood), who needs his reference as she has found a new job. Meeting her by chance on the street, Williams invites her to have a ‘simple’ lunch with him at the Fortnum, where he can write her reference letter. It’s there that we see Williams break out with a genuine smile for the first time, forty-one minutes into the movie. Harris’s youthful and vivacious spirit later inspires Williams to go back to the office as a new man after his few days of escapade, to get down to work and this time, doing something that’s meaningful and benevolent.
A crucial addition in Living, and kudos to Ishiguro, is bringing in a young, new worker, Peter Wakeling (Alex Sharp), to the public works department, first day on his job. From his fresh, untainted eyes, we see the novice civil servant being open and ready to accept whatever the bureaucratic system requires of him. His boss Williams’ new-found purpose and subsequent change at work has left him with an indelible impression. And with co-worker Miss Harris, a warm storyline of budding romance adds flavour to the film, albeit introduced a bit late towards the end.
One poignant scene in both films is the protagonist singing in a bar. For Nighy, this is probably the best cinematic moment for him to leave his mark as a soulful singer, a deep and heartfelt performance in contrast to his farcical ‘Christmas is all around’ in Love Actually (2003). The scene here in Living is when a slightly drunk Williams asks the pianist at a pub to play as he sings ‘The Rowan Tree,’ a Scottish folk song that evokes longing for the past and loved ones gone.
Later, in the remake of Kurosawa’s iconic scene from Ikiru, we see Williams sitting on a swing and hearing his moving reprise of the song, this time sober and clear of what’s waiting for him. As the final credits roll, the mesmerizing voice of Lisa Knapp stirs ripples in my heart long after the visuals end.
“Easter, which turns a terrible Friday into Good Friday. It is almost too brilliant for me to contemplate; it is like looking directly into the sun; I am burned and blinded by life.
There are times when I feel that He has withdrawn from me… but Easter is always the answer to My God, my God, why has thou forsaken me!
Easter is the most brilliant of all blessings.”
–––––– Madeleine L’Engle, The Irrational Season
Holy Sonnet 10
Death, be not proud, though some have called thee Mighty and dreadful, for thou are 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.
––––––– John Donne
“Truly, truly, I say to you, unless a grain of wheat falls into the earth and dies, it remains alone; but if it dies, it bears much fruit.”
–––––––– John 12:24
“… without a few days in hell, no resurrection is possible.”
–––––––– Mary Karr, Lit
And a lighter thought, the all brilliant Madeleine L’Engle again:
Pride is heavy. It weighs. It is a fatness of spirit, an overindulgence in self. This gluttony is earthbound, cannot be lifted up. Help me to fast, to lose this weight. Otherwise, O Light one, how can I rejoice in your Ascension?
Ripple Effects 