Mother's Watch

Mother’s Watch
The Sad Truth About Noriko in Ozu’s “Tokyo Story”

Yasujiro Ozu’s “Tokyo Story” is still considered today as the late, great Japanese master’s masterpiece. While he continued to make films after this 1953 classic, well unto his death in 1963, “Tokyo Story”, along with two other films in the so-called “Noriko Trilogy”, which includes 1949’s “Late Spring” and 1951’s “Early Summer”, are probably his best remembered films from his storied oeuvre.

What makes these three films stand out is Ozu’s collaboration with his homeland’s superstar actress of the era, Setsuko Hara, whom in these three films, portrays a character named Noriko, a typically single, “new” Japanese women that was a new archetype of an independent woman character in post-WWII Japan. While the characters are three separate beings, in all three films, the concern for Noriko to marry is a primary concern and drives the plot of the first two films.

In “Late Spring”, Noriko is the only daughter of an aging widower, who refuses to marry as she is happy in this current family situation, in spite of friends’ and family’s continual pressure to do so. It is only through the ruse of her father’s remarriage, an act Noriko finds unseemly, that she does finally bow and goes along with her family’s marriage plans. Only at the end of the film, does the father realize what he has lost.

The Noriko of “Early Summer” is a single daughter whose parents, older brother and his wife, seek a suitable marriage prospect. Noriko must also navigate the rift in her group of friends; between the married and the singles, as they begin to grow apart. In the end, in a sign of this new independence, does Noriko make her own choice of husband, upsetting her parents’ plans, most especially, her brother, by choosing to wed her childhood friend, who is also a colleague of her brother. Still, her independence inspires her sister-in-law, who has been her best supporter throughout.

Ozu’s has stated on more than one occasion that his “Tokyo Story” was to have been a lark, his foray into the genre of melodrama. Instead, he created what many critics and fans consider to be his greatest film and a great addition in general to the medium of film as “Tokyo Story” is constantly listed as one of the world’s greatest films ever made.

“Tokyo Story” is the story of an elderly couple’s trip to Tokyo to visit all of their grown children. Two of them, the oldest son Koichi and daughter Shige live in the suburbs, with the youngest son Keizo living in a middle district between the rural area of the parents and the city, while the youngest daughter Kyoko still lives at home where she is a school teacher. On this trip, the parents soon find that their children have no time to spend with them, with the oldest son being a neighborhood doctor and the oldest daughter running a beauty salon. They also discover that their children are not as successful as they had hoped leading to many discussions about generational expectation.

Eventually, the older siblings pool their resources and send the parents to a spa to relax and to generally get them out of the way. Much to their consternation, the elderly couple finds the spa overrun with young people that stay up late and party, so no relaxation is to be had. While thinking about this situation the next morning, they decide to leave the spa early and, also, that it is time to return home.

The Noriko of this story is a widowed daughter-in-law who was married to the couple’s middle child Shoji, who was lost during the war. Noriko, despite having a job with a shipping company, drops everything to visit with her in-laws and to help the couple enjoy their visit to Tokyo. She even tried to be there upon their arrival, but getting there late, she meets them at the eldest son, Koichi’s home. Next, at the urging of Shige, the eldest daughter, Noriko takes the day off from work to take the couple sightseeing and later, in her singles apartment; she hosts them with sake and dinner.

Due to their early return from the spa, the parents are promptly put out as the mother goes to stay with Noriko for the night and the next morning Noriko even gives her mother-in-law a bit of spending money, much to her mother-in-law’s dismay. Meanwhile, the father visits old colleagues from their village that have moved to Tokyo, instead of getting a place to sleep, the Father ends up getting drunk and returning to Shige’s salon for the night, much to her chagrin. The next day, Noriko and the two eldest are present to see them off at the train station. The only bright spot on this trip has been Noriko and her selflessness. While they express their happiness with the trip, we know from their talks with each other and the father’s talks with his colleagues, they are masking their disappointment.

On the trip home, tragedy strikes. While stopping to visit Keizo again, the mother falls critically ill, which has been neatly foreshadowed throughout with the mother having a dizzy spell at the spa and her constant rubbing of her left arm. Once she gets home she falls into a coma. The children are then forced to return to their home village for what could possibly be the last visit with their mother. When Noriko is told about the situation at work, she goes from happy and busy to visibly upset and brooding. This contrasts with the eldest son, who upon getting a telegram that their mother is “critically ill”, he informs his wife to tell Noriko, we see him at first looking forlorn, but then you realize he is simply looking at his flower garden, more concerned with the appearance of some of the blossoms.

Noriko stands in clear contrast to the couple’s children with the exception being the youngest daughter Kyoko. Noriko went out of her way to make the elderly couple welcomed and were helped when needed. Many viewers see Noriko’s actions as gracious and selfless in contrast to the behavior of the other siblings. They would be correct in doing so. When, after the Mother passes on, her children do not stay long with their Father, the eldest daughter Shige even suggests that their father should have died first. When Shige callously asks for her mother’s clothing Noriko stays silent.

Noriko is visibly distraught at several points in the film. The first comes when they first meet in Tokyo and they mention that it must be hard to live alone but her reaction is one of surprise, no, she is not having a hard time alone. Another time is when she hosts her in-laws at her home. They once again bring up her husband Shoji and his drunken antics that mirror those of the father’s, she again shows this distraught look when asked to remember those times, but is saved by the arrival of their food via delivery. Lastly, we see Noriko react to her mother-in-law’s pleas to remarry, to which Noriko agrees: “…if I can.” But as they bed down for the night, anger plays across Noriko’s face. Why anger? There seems to be a touch of anger beneath much of Noriko’s hidden reactions to such things.

Then after the funeral and after the older children leave, it is Noriko that stays a bit longer with Kyoko and her father. She excitedly invites Kyoko to Tokyo for a visit during a school break. Kyoko expresses sadness at not being able to see Noriko off at the train station. Kyoko then admonishes her older siblings for being selfish. Here they both take time to talk over the behavior of the older siblings with Kyoko being angry with them and feeling sorry for her mother over their demands and abrupt departures, “Strangers would have been more considerate.”

Surprisingly, Noriko defends them, Shige in particular, “A woman her age has her own concerns.” That, “Children eventually drift away from their parents.”

“Even you?” asks a surprised Kyoko.

“Yes,” responds Noriko unhesitant, “Even I may become like that despite myself.”

To which Kyoko concludes “Isn’t life disappointing.”

Noriko agrees it is. There seems to be something beneath her answers. They exchange farewells and Kyoko leaves for school while Noriko tidies up. Here, the father comes in and Noriko informs him that she will be leaving on the afternoon train. Then, father thanks her for staying so long and she demurs, saying she really did nothing to which he disagrees. He then tells her about how mother told him how nice it was when she stayed with Noriko. Noriko then states that she did not have much to offer as a deflection, as if that mattered. She was there when they needed her.

Father goes on to say that mother said it was her happiest time in Tokyo and thanks her again. Noriko nods but you can see the remark has made her distraught, visibly uncomfortable with this. Father, maybe realizes this and after a short moment of uncomfortable silence, he changes the subject to the dead son Shoji and Noriko possibly getting remarried. He tells to get married again and “don’t worry about me.”

He tells he to forget Shoji, that it hurts him to see her carry on like she is. He mentioned the picture of Shoji they saw at her apartment and its almost shrine like positioning. Noriko insists that that is not the situation at all; that Noriko holds Shoji in such high esteem that she almost refuses to remarry. That is what it may look like to her parents-in-law but it may be deeper than that. Then, when father tells her then that mother thought her to be the nicest woman, Noriko’s reaction almost seems horrified, that no one should think of Noriko as “nice”. Noriko says that to be thought of in such a way is overestimating, and embarrassing. Why would she think that?

“I am not the nice woman she thought I was,” she says, and then insists that she is quite selfish, which seems a deflection of the praise. She goes on about Shoji and how she does not think of him as often as they thought she did, despite father’s insistence that he would be “happy if you forget him.” In this vulnerability she does admit to loneliness and uncertainty if she continues on as she is. Yet, this never sat right with me as an explanation of her selfishness and unworthiness of such gratitude and therefore felt more deflective. Then, this exchange follows:

“I’m selfish”, states Noriko, matter-of-factly.

“No, you’re not,” replies Father.

“Yes, I am,” she states, “I could not tell this to mother.”

Father replies, “That’s all right. You are truly a good woman. An honest woman.”

This statement seems almost an absolution of sorts, one that Noriko clearly feels she does not deserve.

“Not at all,” she declares before turning her face away from him. This statement clearly hurts Noriko. Why?

 Father then gets up to retrieve a watch mother had used and then gives it to Noriko as a gift of gratitude for taking care of them on their trip to Tokyo and helping during the funeral and mourning. At first Noriko rejects the watch but father impresses on her to accept it “for her (mother’s) sake.” She quietly thanks him. This gesture makes Noriko cry, tears begin to well in her beautiful eyes.

What makes Ozu’s film particularly “Ozu” is that he loved to examine Japanese societal norms in his films. How the post-WWII Japanese people deal with the westernization of their culture and customs. In particular, how the newfound need for western independence affected cultural tropes like arranged marriage, which is a common theme among all of Ozu’s film. In many of his films, the elder generation is always trying to force marriage on the lone, single Japanese woman who is at odds with the custom, either by wanting to remain single or choosing her own fiancée. In any case, the cultural custom is usually brought to bear and in the end, the woman bends to and marries.

Another custom is subtler but no less important in the context of this scene and surprisingly no other viewer or critic has picked up on it. Ozu places in many of his films the custom of gift giving. It is done so nonchalantly that we immediately dismiss it as a typical day-to-day thing, like hanging up your coat. Every time a person arrives for a visit in Ozu’s films, they bring a wrapped box. The box is never opened and the gift is usually put aside immediately. Film historians will remark that the custom is meaningless, which it probably is, that it is just another trope of “polite society”; empty gestures politely accepted due to Japanese social norms. Put into this context, mother’s watch takes on a deeper meaning than a token of appreciation from a grateful father-in-law. What it means I will explain in the closing paragraphs.

Father tells her then that he wants her to be happy, that he means for her to be happy. This remark causes Noriko to sob into her hands. While she sobs, he remarks on how helpful she has been despite not being a blood relative. No, she has just been doing what is expected of her by social norms. The reason they see Noriko as selfless is because they have been the recipients of her kindness.

He then thanks her one more time.

This time, there is no consoling Noriko. She continues to cry into her hands, never lifting her face to look at her father-in-law again, her hands hiding her face and shame. We hold on Noriko crying into her hands until we cut to Kyoko’s closing thread at the school.

Many critics and viewers think she is holding herself up to an absurdly high standard when she speaks with her father-in-law at the end, when she calls herself 'selfish' and 'embarrassed' when spoken of as an honest woman. Which makes her the model of the New Independent Japanese Woman. That is how the audience sees her as well. Because we too, as an audience have been the recipients of her kindness and beauty. Since the beginning of her partnership with Yasujiro Ozu, Setsuko Hara has been mythologized into a beacon of new Japanese femininity. The majority Western audiences (including your humble author) buy into both Noriko’s film and Setsuko’s public images. Hara herself has been the subject of long admiration for her image, at one point being labeled Japan’s Eternal Virgin. We attribute Noriko’s qualities to Hara and our love for both deepens.

Yet, realities are never what we wish them to be as Hara quit the film business at the age of 46, shortly after Ozu’s death. You can read about the relationship of Ozu and Hara in this excellent essay on the Criterion website. It states in better terms of why she chose to leave. Setsuko Hara is more than Setsuko Hara, as we learn in that essay. But we as fans of hers refuse to see it that way. We would rather selfishly hold on to the golden image of her culled from her roles as Noriko than to realize that Hara is indeed a flawed person. (As some of her detractors would point out her early propagandic roles.) This is the case of Noriko in “Tokyo Story”, she is more than the selfless daughter-in-law totally devoted to her husband and who holds herself to such a high standard of self-judgment. We do not want to see Noriko as a flawed person because we love the image of her beauty and the idea of her devotion.

But, we as an audience are forgetting something important about the story: that Noriko herself has her own birth parents. They are never mentioned once and they are never spoken of in the sense of whether or not they are alive. But imagine they are both still alive, and here we find Noriko going way out of her way to please the in-law parents of her long-dead husband, because that is what Japanese women of the time were expected to do. Then, her comments with Kyoko take on more poignancy, "Children eventually drift way from their parents… …Yes, even me."

When viewed again through the new lens of the existence of Noriko’s own birth parents and possible siblings, we see the nuanced performance of Setsuko Hara and the complete and utter sadness of the woman Noriko caught at the crossroads of a changing Japan. There is a deeper sadness to Noriko that we really do not think about in the presentation of her selflessness. We begin to see her as a deeper construct than that of this mythical eternal virgin, as someone as deeply flawed as the Hariyama children. A woman who made a choice of serving the family she married into and possibly neglecting the one she was born to.

The last time we see Noriko in the film, she is seated on the train back to Tokyo. From afar, Kyoko sees her off from the window of the school, which foreshadows the new, more distant relationship with Noriko and the Hariyama’s. Noriko takes the watch out once again and holds it in her hands. Happiness does not come to her face, maybe a slight trepidation of the future as she has been given permission to move on and remarry, but also one of acceptance. She did not want mother’s watch at all for what it represented to Noriko, the failure of her duty to her own family, but gift giving custom and her father-in-law’s insistence forces her to accept it quietly, as a reward for faithful service to her husband’s family.

Then, her mother’s watch comes to have a double meaning for Noriko of “Tokyo Story” it is a reward for her kindness and selfless devotion to her in-laws, but at the same time a reminder of her possibly neglect of her own family, the sacrifice made to conform to the social norms of Japanese society of the times….

2015 ERNEST M WHITEMAN III

PEOPLE, THEY LOVE BLOOD: The Best of 2014

People, they love blood.

They love action. Not this talky, depressing, philosophical bullshit.
The Top Ten (More or Less) Best of Stuff Lists

By Ernest M Whiteman III

The allotted span of three hundred and sixty-five days entitled "2014" has passed. As we started working through the next allotted portion, I take a look back at what I think were the best things of the year, because that is way much more important than say, world peace, what the best movies were. Very important.

But, as I usually do, I hold that for last as I plunge into more than simple movies. I typically include books and music. So, here they are, loosely defined as the "Best of 2014" for your reading pleasure and my ego's satisfaction:

BOOKS of 2014

I have not bought many books this last year as in previous years, nor did I check uch out from the library. I could not find any new books that intrigued me enough to read or buy new books. Son, once again the top spot goes to the Moss Roberts translation of “Three Kingdoms” which I read four times last year:

5. The Three Kingdoms (Tuttle Publishing) - This is a brand new translation by Tuttle Publishing, which is famous for bringing Eastern, primarily Asian, texts to the West. This is a new, high-gloss print that once I saw in the B&N, I knew I had to pick up and own. I am always on the lookout for new translations of "Three Kingdoms" so I was pretty pleased to see this. But the first strike against it came when I read the description on the back:

"…a guide to success in life and business…” Why is it that anglo-Western audiences always have to turn Eastern philosophies into horse shit about “business”? Strike two also comes from the description:

"…will appeal to modern readers who find the twists and turns of ‘Game of Thrones’ so compelling." Believe me, the story of the Three Kingdoms, owes nothing to the TV series Game of Thrones. Then I began reading it.

I am sorry to say that the story has been subtly westernized, which is shitty. They call "Heaven" or "The Heavens", which typically means the sky, stars, and weather, sometimes, providence, God. Yes. Then, they call Buddhists monks or Confucian Mystics, Saints. I get it. China and Asia in general have a growing Christian population, but you don't re-write your histories, (Yes, these are based on historical events) to suit modern tastes. I guess these were re-translated to appeal to western audiences. So, I am slogging through less detailed text than I am used to with the Roberts' translations, even the footnotes are paltry as if they did not want to engage the reader's brain and actually try to make it like "Game of Thrones", which is stupid as "Three Kingdoms" is ten times better than that series.

I typically breeze through 2 -3 chapters while reading the other translations in my free time. But I have found myself just barely making three pages at a time with this one. I still love the story and characters but this has been a tough read from the beginning. Still, I would recommend this as an ease-in to the longer, unabridged editions, read this before you read the #2 pick on this list.

4. Deathmatch v.1-3 (BOOM! Press) A long-finished miniseries about kidnapped superheroes who must fight their archenemies and each other in order to save the universe in a series of death matches. The catch is they do not know why they are doing it until they enter the fighting arena and then their memories are erased afterwards. This is a good miniseries with a lot of intrigue and mythologies. Very good. I recommend.

3. Ms. Marvel #1-8 (Marvel Comics) As soon as I read that Marvel was making Ms. Marvel a Muslim teenager, I knew I had to start reading this. It is bad enough that many typically portray people of Islam badly and I thought it was pretty brave for Marvel to switch many of their main characters to people of color, i.e.: Ultimate Spider-man became a African-Mexican teenager and Captain America became an African-American man, and hell, even Thor became a woman, much to the chagrin of their audiences. I never cared about who Ms. Marvel was or how she fit into the overall Marvel Universe, but the title is fun, funny, adventurous, and comes from a point of view not regularly seen in comics and from which it draws its humor and adventure from: being a teenaged girl. Kudos Marvel, you got me buying comic books again. The trade paperback of the first six issues is out now. Get it. The two-part Wolverine appearance is awesome!

2. Three Kingdoms - Moss Roberts, Single Volume Abridged UC Press Edition

1. Three Kingdoms - Moss Roberts, Four-volume, FLP Edition

No surprises here. What can I say about these books that I am in continual reading of that I have not writ before? I still not have found a book or book series that draws my attention away from “Three Kingdoms”. Even while reading “A Song of Ice and Fire”, I was still reading “Three Kingdoms” on the side.

On to music:

MY MUSIC of 2014

I know a lot of you do not really care about my taste in music. You never will. You all like the grungy-punk-electro-rap so-I-can-mention-MIDI-in-my conversations tip that makes you cool. Well, I never subscribed to being “cool”, no one ever thought I was cool, and I really do not care to be cool. “Cool” is fleeting. Good music is subjective and if you cannot comprehend that, I cannot convince you what makes “good music”. I just know what I like and what appeals to me. This list reflects what appealed to me but probably would not be “good music” to you:

5. The National - The Boxer

Now, in the long absence of U2 on the music scene, my friend Dave introduced me to an up-and-coming band called The National. I was skeptical at first, until I heard this track from them. Then, I was firmly on board. “The Boxer” is their third album and the first one I could find in the library to check out and listen to. “Fake Empire” is a masterful song about self-illusion. The album is full of great tunes overall and the lead singer is a baritone instead of a tenor which makes the music that much more interesting. This is a very good album.

4. REM - Collapse into Now

It had been a while since I tuned into anything REM had been doing, since “Monster” at least. When I first heard “Oh My Heart” on the p.a. at the coffee shop in 2012, I immediately looked it up and found that it was on their at-the-time, next album “Collapse into Now” which I promised myself to check out. Later, listening to tracks via the Internet, I was pleased that it had a fresh, yet-familiar sound to it. Then, I read this would be their last album. I have been a REM fan since I was in high school. They were the other band I enjoyed outside of U2 and the BoDeans. Hearing about their end was saddening but I understood their stance on it.

“Collapse into Now” was a recent purchase, an ever pushed-back promise to get, ever since I heard it in that coffee shop that time. Once I got it put it on and was happy with the result. Strong songs from beginning to end in that familiar REM jang and tumble, with that outstanding single “Oh My Heart” being, coincidentally, the heart to this, their final release. I know that I will be enjoying it years from now, much like I do, “Document”, “Green”, “Out of Time” and “Automatic for the People”. “Collapse into Now” is what final records should be and are not.

3. The National - Trouble will Find Me 
2. The National - High Violet

So, after listening to “The Boxer” straight on for a month, (Thank you for the new 15 online renewal system at CPL) I immediately sought out their latest stuff. Low and behold, B&N held a Buy 2, Get 1 Free sale and so I grabbed “Trouble will Find Me”, “High Violet” and “The Boxer” in one trip.

While I admit this output is more radio-friendly than their early work, I have not heard them too much on the radio to make that determination that their early works are any better. Still, these are strong albums with a rich, complex and different sound than the usual radio fare. Most people I talk to about them call them “Depression Music”, but this means they are not listening to the lyrics or hearing the messages beneath.

I really enjoy both albums but prefer “High Violet” over “Trouble will Find Me”. But the tune “I Should Live in Salt” has become one of my favorite all-time songs for the message it bears and how it connects me to my family back home on the reservation.

“High Violet” is filled with so many good tracks, but the two that shine the most for me are “Runaway” and “England”, two in-the-car-alone-sing-along songs that pack musical and emotional wallops for me. If you have to or want to check out only one “The National” album, if recommend “High Violet.”

1. U2 - Songs of Innocence

For me, U2 is always as good as their latest album. Much like the James Bond Series, who ever is the current Bond is the favorite. I have enjoyed every single one of there albums. It has been about five years since their last album, the much-ignored “No Line on the Horizon” was released and in the meantime, U2 has slipped beneath the radar of relevance. So much so, that when they released “Songs of Innocence” for free on iTunes, my niece downloaded it and thought they were an “Old School” Styled NEW band! (“They use drums and guitars!”) Because of this, “Songs of Innocence” has had an uphill struggle to gain an audience. This is probably the first time, since their inception that U2 has been in this situation. I find “Songs of Innocence” to be a really great album. Placed side-by-side with their other works, this stands out.

The album starts strong with “The Miracle (of Joey Ramone)” a loud, shouty crowd-rouser of an opener that I can easily see as the opening of their recently announced tour. It is a tribute to a moment in time when the singer first heard The Ramones. There are many strong tracks on this one; “Every Breaking Wave” of which this studio version sounds better than the rough sketch they played on their last tour, “Iris” a song about Bono’s mother. This album is full of songs about ‘first times’, like falling in love or hearing a noise. But I also like the rockers like “Raised by Wolves” and “Volcano” which gives their rhythm section a chance to shine. “Cedarwood Road” is another rocker about the street Bono grew up on. My favorite off the whole album is “A Song for Someone” which is sweet and tender and aching. This is a good album.

I have been a fan since I first heard their “War” album. My brother Allen introduced them to me via “The Unforgettable Fire” of which he had the LP. Then a couple of missionaries showed up at the school and played “Sunday Bloody Sunday” and “40” to a group of Indian kids. I was the only one in the class who had heard of them. When “The Joshua Tree’ came out I practically stole Allen’s copy and geeked out over them. In high school, I wanted to be the Edge. I even loved “Rattle and Hum” which all fans tend to overlook now. I saw the movie, loved it and because of them and that movie, I decided to be a filmmaker. (A short story but long explanation.) Of course, they will never sound like they did during “The Joshua Tree” Era, nor should they. They have earned that right to try to make music that they are proud of and not what an audience wants. Which is also why I respect them. They stick to their principles in music if nothing else.

I always found it strange, that as good a band U2 is, their personal and business shenanigans notwithstanding, fans always seem to be stuck on how they do not sound like U2 anymore and make constant referrals to their “early work”, as if that was when the band was most creative. That is because we cannot admit that we are aging and that our f*cking-A awesome musical tastes are themselves slipping into the sea of irrelevance and make no impact to the earbud wearers of today. Which is why we crank on about: “In my day, we listened to REAL music! That phony, East-Europey, techno-hip-hop, sample-laden, Skrillex horseshit that I listened to when my age was what was being sold to the most, was REAL, it was real music. Made by pushing a button that played a sample of someone else’s beats and chords, but I rearranged them into something that is ART!”

“Songs of Innocence” is a great album, a much better entry to what is currently out there right now and a better alternative than what is on the radio, and is the best album I bought last year.

PS: If you are still going on about their free album release on iTunes, you have no clue about how cloud space works, about civil rights, and the legalese of user end agreements that you blindly agree to.

My DVDs of 2014

I am so happy that places like Disc Replay, Reckless Records, and Half Price Books exist, because I find that, if I am patient enough, I can find my favorite movies on DVD for a steal. That is how I got my library of movies. I know, Blu-ray, but I am still happy with DVD’s for now and do not think I will ever convert to online viewing. First and foremost, I prefer seeing movies in the theater. That is the exhibition forms all movies are made for. Seeing a great film on the big screen is what makes the experience of a movie “true” to me. Yes, this includes the loud whisperers, punk kids, and the ever-annoying I-Think-I’m-So-Clever Riffers, as they are a part of the world of the theater-going experience. If a movie can rise above that, and hold everyone’s attention then that adds to the luster of being a great film. Well, for me, anyway.

Thanks to cut-rate, resell shops, super sales, and a whole lot of patience, I was able to, on my (very) meager income to really stock up my home DVD library this year with more careful choices and old favorites. Take a look at what I got (in order of most recent purchase) with added commentary:

The Godfather Trilogy: The Coppola Restoration (brand new, on sale): this is a trilogy that is probably in every guy’s collection (or should be). I tell my girls that if you want to understand guys, watch “The Godfather”. Though, recently a lady friend of mine said that, that the Standard Guy Movie has become “Fight Club”, which is kind of disappointing. Still, this is a restored edition. I have another copy of this trilogy already, but this one is a Director-approved color restoration and I could not pass up the sell price. I am not opposed to owning more than one copy of a film as something’s, depending on the video distributor, there are differing special features and commentary tracks on them.

Cosmos Season One (resell): I bought this sight-unseen as I do not have satellite, cable or antennae for television. I do not subscribe for TV shows, (“shows are free, man!”) so I am pretty ignorant of what is popular now on the big, colorful, flashing box that rules us all. I am a firm follower of reason and logic so this series appealed to me right away and watching it, I learned so much about this great big, so little thing we call the Universe and the people that tried to teach us about it. I recommend this series for everyone. Everyone!

Infernal Affairs (sale @ B&N): This is film that Scorsese’s “The Departed” was remade from. It stars the great Tony Leung and Andy Lau as an uncover cop and crook, respectively and how close they both come to being discovered while trying to find one another, and is much more tense and complex than the watered-down American version. Yeah! I said that. Check it out before you ever watch “The Departed” and you see what I mean. If you have seen “The Departed” first, well, I recommend staying away from “Infernal Affairs” because it just will not be for you. It has no Matt Damon in it. Sorry. “Infernal Affairs” is an excellent and the superior film.

Apocalypse Now: The Complete Dossier (resell): I had been interested in the changes of the “Redux Edition” for sometime but never really found a copy anywhere that would be worth the price. So, as I stated before, with a lot of patience, I found “The Complete Dossier” edition that contained both the original cut and the new Redux cut of Coppola’s crazy Vietnam War Odyssey based on Joe Conrad’s “Heart of Darkness”. This is another “Guy Film” for some reason. Most people are caught up in the “Ride of the Valkyries” Assault and all the projected male-machismo that the message of a sane nation going insane in a wrong-headed war is lost on many people. Still, glad I got this because I have decided the additional scenes of the Redux, really add nothing to nor take anything from this message.

The Passion of Jon of Arc – Criterion (resell): I knew of Carl Dryer’s work since film school and what intrigued me the most was his “The Passion of Joan of Arc” which has seen several different cuts since its first screenings. The people at Criterion have found the most completed cut and released it. I checked it out from the library a few times and enjoyed the extras feature that discusses the actual changes to the film with version-to-version comparisons. This is something I wish more DVDs had done. But the film itself is beautiful in its scope and detail and the story compelling in its performances and shot selections. It is truly one of the great films of the medium and I would recommend it heartily.

On the Ice (online order): When I first saw this at the Siskel Center in early 2012, I knew I was seeing something special. A Native film that did not rely on the stereotypical cultural images, and used the contemporary stereotypes to shift the gaze of Native peoples and have it focus on this taut thriller. It took me some time to get the DVD and regularly use it for my class on “Native Americans in Media” for which it has garnered nothing but accolades. I am happy to own and promote this as the new Native voice in cinema. One of my Number One films from 2012.

The Road Home (eBay): This is one of the few films that makes me cry like a sap. Touching love story set in rural China as directed by one of the greats, Zhang Yimou (Hero, House of Flying Daggers, Red Sorghum, Ju Dou, Raise the Red Lantern, etc.). I had looked for this on DVD for some time and finally was able to secure it. Played it non-stop for the first three days.

Tokyo Story - Criterion 
Early Summer – Criterion (eBay): I won these two in an auctioned two-pack as I already owned “Late Spring” the first of Ozu’s “Noriko Trilogy” with Setsuko Hara. I am just enamored of these three films and am crushing bad on Hara. Touching family dramas about parents and children, life, death, marriage, and social expectations. While “Tokyo Story” gets the label of ‘Masterpiece’, I find that I enjoyed the lesser-known “Early Summer” more. Ozu had a real sensual way of photographing the typical “modern” Japanese woman. (I don’t mean sexualizing them, because he never did that.) In “Early Summer” Noriko’s family is worried about her marriage prospects and work to arrange one for her, but she undermines them by selecting her own fiancée, much to their astonishment. It is scathing in its critique of changing Japanese social norms. “Tokyo Story” finds another Noriko, this time a widowed daughter-in-law, being the only one caring for an elderly coupe as they travel to busy Tokyo to visit their own too-busy children. When the mother takes ill, the tables are turned, as the children must travel home. Both, all three in the “Noriko Trilogy” are excellent, well-shot and scripted films. I really recommend all three if you can find them.

Brazil – Criterion Super Edition (resell): Another one bought sight-unseen. Had heard a lot about Gilliam’s sci-fi epic. This one has both versions of the film. Watched the Director’s Cut and was not overly impressed with it. I understand that at the time it was whiz-bang. So, what do I know?

Throne of Blood – Criterion (resell): Have always wanted to own the Criterion version of this. See re-screen notes below.

Blue Ruin (sale @ BB): One of my favorite movies last year. Got it as soon as it was available.

Late Spring – Criterion (50% @ B&N): The first of the “Noriko” Trilogy. I developed my movie crush on Setsuko Hara with this tender and funny story about a widowed father and his unmarried daughter named “Noriko”, and the family’s efforts to see her married.

Beasts of the Southern Wild (deep discount @ B&N): One of my Number One films from 2012. It is such a great little film that never fails to evoke an emotion response from me.

Three Outlaw Samurai – Criterion (50% @ B&N): Another Criterion bought sight-unseen and worth it.

Purple Noon – Criterion (50% @ B&N): Another Criterion bought sight-unseen and worth it. Based on “The Talented Mr. Ripley” but with Alan Delon instead of Matt Damon.

Medium Cool – Criterion (50% @ B&N): Another Criterion bought sight-unseen and worth it. Haskell Wexler’s film is a commentary on the manipulation of media, which was made back in the late 1960’s. About creating “reality” from reality and has one of the truest, fake “Real” moments as he filmed during the Chicago riots during the Democratic Convention of ‘68. Check it out, as it is still relevant today!

Firefly – Series Boxed Set (resell): I am a fan of the series so I finally got a super beat up boxed set for really cheap. Now, they are all over for cheap in their neat, shiny slim cases.

Doctor Who – Series One (2004) (eBay): Been a fan of the Ninth Version of the Doctor since I saw “The End of the World” in 2005, which is probably my most favorite episode of the new era. Took me a while to find a cheap boxed set, but I did.

Game of Thrones - Season Three (resell): As much as I like the series I could not help but feel that all the changes that are being made to the story, that maybe the hair-gelled Frat Bros are taking something from the fat nerd and saying they its theirs because they feel entitled to it.

Le Samourai - Criterion (repurchase)(eBay): Had to re-buy this one after scratching it up in a rage. Then, I found out it was out of print with Criterion, which stinks but I got a brand-new one for a great price anyway. This film is the template for lone assassin films. Check it out. It is a bit cerebral and I am sure there is not enough “pew-pew” for the manly-man gun-bros.

In the Mood for Love – Criterion (eBay): After seeing “The Grandmaster” I got interested in Wong Kar Wai’s other works and found this gem on Hulu, which is a tender love story about two jilted spouses who find that their spouses are cheating on them with each other. After watching it, it made his “2046” make sense suddenly. Bought the Criterion Edition for repeated viewing without having to sign on to anything.

Man of Steel (deep discount @ Target): Here is my review here. I am writing up a Defense of MAN OF STEEL. Well, it will not be so much a ‘defense” as it will be an explanation. So, stay tuned to this website for that.

The Grandmaster (deep discount @ Target): Still the best of the Yip Man films. Yeah, I said it. Here is my review as to why.

As you can see, I got a lot of DVDs last year. Thank goodness for sales, resell shops and a whole lot of patience. Let’s move on to movies on the big screen. But first a look back at what I was looking forward to last year:

LOOKING BACK: The Top Ten Films I WAS Looking Forward to in 2014

As you can see, last year I only listed six movies that I was looking forward to seeing. Let’s review them, shall we?:

1. Big Hero 6: This was my most anticipated film for 2014. I still have not seen it. I guess the problem arose when after seeing such great production design, was expecting a cool, semi-serious story with a unique character design. Instead, I found a “The Incredibles” repeat. I kind of lost interest after the full trailer. It looks okay, I may still see it (and love it) on DVD but I really want a great, animated superhero CGI movie.

2. Interstellar, dir. Christopher Nolan (See below)

3. The Wind Rises: Reportedly Miyazaki’s final film about one of Japan’s pioneers of aviation. I could never find a theater close enough that was playing it, so I missed out on this one due to location and my work schedule. I will look for it on DVD, much how I experienced every Miyazaki film.

4. X-Men: Days of Future Past, dir Bryan Singer (See below)

5. The LEGO Movie: The Lego video games have brought Char and me great enjoyment and we find their humor something charming in the games. As much as I enjoyed this, I could not get past the subtle message that “Put Your Faith in Made-up Bullshit and Everything will be Awesome”. It also subtly promotes a hive mind mentality with that stupid song. Still, it is fun if you overlook all that and take it for a fun, silly film. I am pretty happy that it was not nominated for Best Animated Picture. Because once you get past the whiz-bang of how it looks like “real Legos”, it is a silly chase film, with a lot of Wil Farrell mugging and referential humor, which does not a compelling story make. I hear you now, “But, but, but, it’s an “ANIMATED film”, it does not have to have an original story but look cool. They should be rewarding the animation NOT the story.” Sorry. Don’t buy it. “Dragon 2” had a better story for being a second part….

6. The Monuments Men, dir. George Clooney: “Ocean’s Eleven” set in WWII. I only saw this on DVD and was pretty disappointed by it. With this much star power and acting prowess, it should have been so much more than “Ocean’s Eleven” set in WWII.

The Maybes of 2014:

Guardians of the Galaxy (See below)

Sin City: A Dame to Kill For: Weak Sauce, that is all. It was too little, way too late.

Dawn of the Planet of the Apes (See below)

Jack Ryan: Shadow Recruit, dir. Kenneth Branagh: Yes, this was actually on the list! I really did enjoy this one. It was a great reboot to the series. Branagh’s villain made for an excellent foil to Jack Ryan. Branagh is really starting to stretch his action movie muscles. People forget that he is very capable in this regard. Look at the Battle of Agincourt in his “Henry V”.

TOP TEN RE-SCREEN & SPECIAL EVENT SCREENINGS OF 2014

From the looks of it, I saw a lot of repeat screenings and special event screenings. I really am not interested in what has been coming out. Oh well. Here is what I saw:

10. Monty Python and the Holy Grail w/ Bonnie & Char – Funny, but I knew the skits too well from YouTube. Also, Char never got into it.

9. Dr Who Season 8 Opener “Deep Breath” – For some reason people afterwards were saying “darker” but I could not see why.

8. Rope – the first movie I saw last year. This is my favorite Hitchcock film.

7. Godzilla (1954) – Stuck with the original instead of the new remake. Still have not seen the new one.

6. Rifftrax Live: Godzilla W/ Char & Bonnie – Seeing the first US Godzilla remake being riffed by the guys from MST3K with my ladies is priceless.

5. Ghostbusters w/Char & Bonnie – I went out of pure nostalgia and found that it is one of the great comedies of all-time. Plus, it reminds me of how smart Char is, as she taught me the difference between punishment and negative re-enforcement using the scene of Venkman’s psychic experiment.

4. Rifftrax Live: Santa Claus w/ Char & Bonnie – A great birthday experience. This was a trippy fun time with my ladies. “Santa Claus”, I believe, is the prequel story to the “The Man with No Name” Sergio Leone Trilogy….

3. Back to the Future w Char – Char’s favorite movie. Was so happy to bring her to see it on the big screen.

2. The Godfather w/ Char – Char was always interested in seeing this and this was the fourth time I saw it on the big screen. It works and holds my attention every time. Char also pointing out some things in the film that never caught my attention before.

1. Throne of Blood – the best film rescreened I have seen last year. Kurosawa’s take on Macbeth is considered the most unique and bold interpretation of Shakespeare on film, at least until my HAMLET comes out.

ALSO SAW:

Ramona (1928) – This film is an interesting look at how Natives were portrayed in the 1920’s Silent Era. (hint: almost humanely.)

Batman (1989) w/ Cuba – In retrospect, this is more a weak Tim Burton film than a strong Batman movie.

Expendables 3 w/ Bonnie & Char – This was more fun than expected. I hate the first two and will only tolerate this one. Gay Schwarzenegger is getting the “pew-de-pew, gun-gun, manly-mans” all mad. For that, I give it some credit.

Fury w/ Bonnie & Char – This has a pretty good tank battle in the middle of it. Still, standard war film.

So here we are at last:

EW3'S TOP 10 MOVIES of 2014

This time I will try to keep it to first-run, brand new movies, and not include re-screenings or special event screenings. Those were cheats to fill out the lists as I find that I really do not care for a lot of new movies out there now days. But I have found that I was hard pressed to fill this list as well. Which explains the #10 listing. So here we go with what I thought were the best movies of 2014.

I know that my list is not full of the independent, smart-alecky, faux-intellectual films that I am supposed to watch. But I do not subscribe to such antics. I watch films in the theater for way different reasons than the film snobs and the average popcorn eaters do. That is what makes me so fucking awesome. You know? So, what are the Best Films of 2014 According to Yours Truly?

10. (TIE) I could not decide which one to leave off the list so I added the both of them. I enjoyed both of them thoroughly.

Dawn of the Planet of the Apes (w/Char): Liked the first and I look forward to the eventual rise of the LAWGIVER!!! (Oh, Lawgiver….)

X-Men: Days of Future Past (w/Char): I really did not to want to put “FURY” on this list at #10 because it did not meet my criteria for a good movie. But both “Apes” and “Future Past” were fun and heartfelt franchise films, proof that if you try for something a bit deeper, such as the anti-war message at the center of “Apes”, audiences respond. I rented these on DVD later and found them still enjoyable, hence, the addition of both movies on this list. Plus, if you are only filling your list with the pretentious art house fare, like that is a reflect of you, then you are only showing an unbalanced palate.

9. Dear White People (w/Char): I have noted that many white folk do not have this thought-provoking movie on their Best Of Lists. Most films about African Americans and their problems and situation are typically pushed off on African American audience so the rest of us can go on ignoring them. Look at the Taye Diggs romantic dramedies, the Oprah family productions and Tyler Perry movies. Let’s face it, the only way audiences will respond to problems in the African-American community is if there a white face saving them. (Dangerous Minds, The Blind Side, The Help, 12 Years a Slave… YEAH, I SAID THAT TOO!) But this film directly confronts the situation and it succeeds in stirring enough trouble and thought to be another touchstone film in the vein of “Do the Right Thing”, “Boyz in the ‘Hood” and others. I went and saw this with Char and had some frank talks about racism with her before and after, which is what people are avoiding when they avoid films like this one.

8. Guardians of Galaxy (w/Bonnie & Char): This movie was everything all the other Marvel movies should be. It was a self-contained story of a group of misfits and from what I hear, the series will remain self-contained, thank goodness. The Thanos stuff was the weakest though and I could not take the most vile, evil entity in the universe seriously when he is; 1) sitting in a floating Rascal chair, 2) wearing shiny clothes, and 3) speaking like Llewelyn Moss. (Quick, someone dub his lines from “No Country for Old Men” over his Thanos scenes and put them on YouTube! It’ll go viral!) Still, it was another fun film that had a completed third act, unlike every other fucking Marvel Films film! But I found the characters enjoyable, the situations they found themselves in great fun and the action to be whiz-bang. This could be the Star Wars for this generation….

7. Rhymes for Young Ghouls, dir, Jeff Barnaby: I found this to be a deep, dark and disturbing film about surviving the Canadian boarding school system in the 1980’s. It seems that Native directors can make something good without resorting to the trending, zeitgeist genre. Filled with great performances from its young actors, it deals with a young woman surviving by becoming a pot dealer with her uncle to pay off the school truant officer. When the young woman’s father is released from prison complications arise that threatens the stability of her life. It is disturbing on a visceral level in that this is what many Natives had to live with. The caper at the center of the film is a great act of revenge and the culmination of the story is logical. This is a really good movie. Again, this will not appeal to the pew-pew-bang-bang fans. But I found it to be a very satisfying film.

6. Interstellar, dir, Christopher Nolan (w/Char): This film has been hyped to death and it pays off. It is an emotional trip through space and time. Anchored with all round great performances, filled with unexpected cameos, and a story that is on the cusp of coming true, it struck the right notes in how it played out. The only weakness is that you do not go to another planet to have a fistfight, otherwise, an excellent film. I found myself intrigued by the science, dazzled by the special effect and anchored by the emotion of the story. It is probably one of Nolan’s more complete films. I will not belabor the already heaped-upon criticisms of this film as those have been covered enough. I find it funny that most people who recommend this will always throw in the widely-accepted criticisms like it is wrong to ‘like’ a Chris Nolan film because they are pretentious film snobs. I think Nolan is a very capable Hollywood filmmaker, more capable than the 90% of movie makers in Hollywood. His “The Dark Knight” and “The Prestige” are great films. Don't dislike the guy because he is not Paul Thomas Anderson. Why? Because he is Christopher Nolan. This film was better than most of the other I saw last year.

5. Locke: I was interested in the experiment – a single actor in a car for 85 minutes. I have seen a lot of single space movies that just did not work despite the advantage of being able to have the actors move around the space. Here, Tom Hardy is at the wheel of a car, his character of Locke, virtually, locked in place as he drives towards his life’s destruction. It all plays out in phone calls and Locke’s reactions, and it works on the strength of Tom Hardy’s acting skill alone. I recommend this one to all Native directors to show that you can make a film all about driving and have not just be filler scenery, and that is still compelling and powerful.

4. John Wick (w/Char): Probably the best action film I have seen in quite a number of years, since “Red Cliff” at least. It stars Keanu Reeves as a retired hit man called “The Boogey Man” because he is the one you call in to scare off the Boogey Man, and what happens when his car is stolen and the thieves kill his dog. That’s it. It also has Daniel Bernhardt as a kickass bodyguard redeeming his “Future War” offense. Go see this. I think this is better than that “The Raid” nonsense…

3. Blue Ruin (w/ Bonnie & Char): This small, independent film is probably the most tense, electrifying film of its genre, the revenge thriller. Yet, it turns the expectation on its head in the very first act. What follows is a story about love in the middle of a family feud. It is gripping, tense, and real in the aspect of performances, a great caper and better film.

1. (Tie): I had to do another tie again this year. These two films really stood out for me, inspired me and were captivating and fun and dramatic and tense to watch.

Jodorowsky's Dune: This is a stunning documentary by Frank Pavich about Alejandro Jodorowsky’s attempt to produce a film based on Frank Hubert’s “Dune” novel in 1973, despite the fact that he had never read it. The film follows him as he gains the creative freedom though his films “The Holy Mountain” and “El Topo” to produce whatever he wants as his next big feature and putting the greatest pre-Star Wars effects and visualization team together that included HR Giger (who would later on design for Ridley Scott’s “Alien”) and how he roped in stars like David Carradine, Mick Jagger, Salvador Dali and even Orson Welles to act, only to have the project killed before production due simply to the studios mistrust of Jodorowsky. It is a heartbreak you can tell still hurts him. His design team was then bought out by several movie studios and it is heartbreaking to see all of his great ideas used or duplicated in some of the greatest sci-fi and sci-fantasy films of all time. It broke my own heart seeing just how influential his designs were and how he stated, every studio had a copy of his design concept book, which he took around to sell the film. Why, the conceived opening shot alone would have steered film into a different direction all together. For filmmakers and cinéphiles, I wholeheartedly recommend this crazy, mad bastard of a doc.

Birdman (w/ Bonnie & Char): Michael Keaton was right to win the Golden Globe for this. This mesmerizing film by Alejandro González Iñárritu is captivating, bleak, weird, and hopeful. It tackles how an actor can create art after selling out for so long and how the “World of Art” sees his efforts. Shot to look like a single take, the performances all around are great, even from Edward Norton, whom I do not care for, taking a stab at his own perceived difficult persona. Keaton plays a faded Hollywood star famous for making superhero movies, and is now trying to reclaim his artistic soul by writing, producing, and starring in a stage play adaptation of a Raymond Carver short story. Except that everything does not go according to plan. Beautifully shot with a great soundtrack and great performances, it captured my attention and held it. It helps that Keaton brings the meta aspect to this having played Batman for two movies. I hope he thanks Batman if he wins the Academy Awards for best actor.


Yep, all 25 movies I saw last year are accounted for. So, lets take a look at the year ahead as it just gets started….

Looking Forward to in 2015: 

Since we got through all that, let's take a look at what I am looking forward to this year. Now, if 2014 has taught me anything is that the best films are not the huge blockbusters that I was looking forward to last year. I think that is a lesson I should continually be shown again and again.

1. Mad Max Fury Road - May 15: a reboot/sequel of the Mad Max franchise. TRAILER

2. The Other Side of the Wind - Orson Welles - May 6: Welles was working hard to complete this film when one of the producers was forced to drop out. MOVIE INFO

3. Minions - July 10: I like the Minions. The least annoying cute sidekicks in animated films. Sorry. TRAILER

4. Spectre - Bond 23 - Nov 6: The latest Bond film. I actually hate that they are trying to bring their more grounded Bond back to status quo as it had subtly made some real leaps forward for its women characters. But I hope they do something fresh rather than rehash the old Bond. TEASER

5. The Peanuts Movie - Nov 6: The teaser trailer retains a lot of the charm of the old TV specials. I am hopeful. TRAILER

6. Star Wars Episode VII: The Force Awakens… I guess… - Dec 18: I don’t know. Too Apple Store Shiny, but what do I know? Sigh, the TRAILER

7. Crouching Tiger, Hidden Dragon: The Green Legend - Aug 28: Based on the books, so I am hopeful they produce something pretty cool. Directed by Yuen Woo Ping and stars Michelle Yeoh and Donnie Yen. MOVIE INFO

8. Pixar's The Good Dinosaur - Nov. 25: Pixar took a year off to produce not one, but two original feature film. This has my attention for being about a dinosaur. MOVIE INFO

9. Ant-Man - July 17: Was very interested when Edgar Wright was attached. Now, not so much. I am sure they had to tie it into the large “Marvel Universe” meaning that the third act is a “The Avengers 2: Something with Ultron” commercial. TEASER TRAILER

10. Bone Tomahawk – TBA: This is a premise by Kurt Russell, I believe, about a bunch of cowboys and Indians (maybe?) running into violent cannibal cavemen. This sounds cool, like a Western “The 13^th Warrior”. No trailer or Info....

The Maybe's of 2015: 

MI5 - 12.25: I am always interested in what the next “Mission Impossible” will be. What I like about this series is that basically, every film has its own director that stamps their style on the film even though they tell the same story over and over: the MI Team is betrayed and cannot trust its superiors and must steal something to prove their innocence. But, I am kind of looking forward to this, kind of.

Mr. Holmes – TBA: Billy Condon (Gods and Monsters) takes on Sherlock Holmes, this time as the aged Ian McKellan is the famous sleuth in his 90’s reflecting on his past cases. Great premise. I hope it is as good as its premise.

The Kingsman - 2.12: Always up for a good, wacky “spy” tale. We will see.

The Visit (M. Night) - 9.11: I hope that M. Night gains his powers back. This is another horror flick on a much smaller scale. I’ll go see it. I am sorry his name has become a joke. I agree that “The Happening” and “The Last Airbender” were not good at all. I enjoyed “Lady in the Water” very much. I know some folks are pissed he cast himself in the most important role but almost every actor/director does that (e.g.: Kostner with Dances with Wolves, Mel Gibson with Braveheart, Fuckface in Argo) so why can’t a director cast himself? Hypocrisy, I think, that is tied to subtle racism. Yeah, I said that. Because I have seen a lot of directors cast themselves in the main role. She-it, I cast myself as Hamlet in HAMLET. Anyways, I will look out for this one.

The Hateful Eight dir. Quentin Tarantino – TBA: HYPOCRISY! Yes, I know. But I do always look forward to his films, each and every one of them, because unlike many other directors, he is trying something different and new. Plus, I always hope that his new film is a return to the form and maturity he showed in his first three films. HYPOCRISY #2! Yeah, I know, I am harkening back to his early works. But I do not see any growth here like I do with another group of artists, U2. Plus, music and movies: oil, water. Tarantino has stated that he is only making 10 films in his career, this will be the eighth.

Well, that will do it for this year, or, for last year. I know, I know, a lot to wade through just to get a stupid opinion and read the Riot Act about taste.

 
But, that is why you read this every year. People want their opinions repeated back at them to be validated, or they want an opposing opinion to shoot down, all for ego’s sake. Which is basically why I write this nonsense, to placate my own ego. But the list keeps me writing and it helps me sort my own opinions about what is essentially useless stuff and opinions that we give meaning to.

So, tune in again next year to see if my opinions match yours or if your are so much better in musical and movie tastes.

Until next year….

2015 Ernest M Whiteman III