Author / Edward Champion

Posts by Edward Champion

Edward Champion is the Managing Editor of Reluctant Habits.
by Edward Champion

Cultural Name Dropping in Stephen King’s Under the Dome

For the purposes of this list, some of the more oblique cultural references have not been included, nor have references to networks (CBS or CNN), newspapers (The New York Times), institutions (King’s fictitious Shawshank State Prison is frequently referenced), brand names (Slurpees), or the Bible. I have also done my best not to reveal character names, except when absolutely explicit (Ploughshares, for example) or references in relation to plot reveals.

underthedomeAlas, Babylon: “Yep, see you that and raise you Alas, Babylon.” (155)

American Family Physician: “thumb through the latest issue of American Family Physician.” (285)

America’s Most Wanted: “I saw that on America’s Most Wanted.” (619)

Bernstein, Leonard: “He was halfway through the third daddy and still conducting like Leonard Bernstein….” (790)

Blitzer, Wolf: “Wolf Blitzer took Anderson Cooper’s place,” “she called him ‘my Wolfie,'” and various lines from Blitzer. (89) “expected either Anderson Cooper or her beloved Wolfie” (760) “Better be Wolfie from CNN, that’s all I can say.” (763) “Lookin good, Wolfie! You can eat crackers in my bed anytime you want.” (765) “Reynolds Wolf (no relation to Rose Twitchell’s Wolfie)” (801) Also p. 961.

Blunt, James: “He struck the barrier at fifteen miles an hour, while listening to James Blunt’s ‘You’re Beautiful.'” (34) (This is my personal favorite.)

Bradbury, Ray: “That’s from Ray Bradbury. You ever read Ray Bradbury?” (671)

Braver, Rita: Appears on p. 766.

Brown, Sandra: “‘Nora Roberts? Sandra Brown? Stephenie Meyer? You read this stuff? Don’t you know Harry Potter rules?'” (282)

Bush, George W.: “His hair looked as if it had last been cut while Bush II was riding high in the polls.” (187) “Big Dubya’s fuck-a-monkey show.” (340)

Car and Driver: “was deep in an issue of Car and Driver, reading a comparison of the 2012 BMW H-car and the 2011 Ford Vesper R/T.” (706)

The Cat in the Hat: “The hat was like the one the cat wore in the Dr. Seuss story.” (733)

Clark Sisters: “This town needs some Mavis Staples. Also some Clark Sisters.” (798)

Clinton, Hillary: “remembered getting drunk the night Hillary Clinton cried in New Hampshire” (893)

Como, Perry: “playing ‘Good Night, Sweet Jesus’ as interpreted by that noted soul singer Perry Como.” (315) “Perry Como had given way to something instrumental.” (316)

Cooper, Anderson: “Wolf Blitzer took Anderson Cooper’s place.” (89) “Anderson Cooper, almost life-sized, looked like he was doing his standup on Castle Rock’s Main Street.” (316) “expected either Anderson Cooper or her beloved Wolfie” (760) (He is also the CNN anchor whose reporting is halted by the military.)

Creedence Clearwater Revival: “I fucked her until she sang ‘Hail to the Chief’ and ‘Bad Moon Rising.'” (875)

Dancing with the Stars: “sometimes watching shows like The Hunted Ones (a clever sequel to Lost) and Dancing with the Stars” (694)

The Dead Milkmen: “bearing the logos of long-gone punk bands like Stalag 17 and the Dead Milkmen.” (836)

Die Hard: “Yippee-ki-yi-yay, motherfucker.” (306)

Earnhardt, Dale: “And although the autographs people noticed when they were invited into his home study were inevitably those of Tiger Woods, Dale Earnhardt, and Bill ‘Spaceman’ Lee…” (445)

50 Cent: “one was a stocky young fellow wearing baggy shorts and a faded 50 Cent tee-shirt.” (328)

Ford, John: “against the smudged skyline like Indians in a John Ford Western.” (961)

G.I. Joe: “Almighty GI Joe” (501)

Girls Gone Wild: “most of em probably watching Girls Gone Wild on pay-per-view.” (432)

“Hansel and Gretel”: “Hansel and Gretel minus the happy ending.” (309)

Harry Potter: “‘Nora Roberts? Sandra Brown? Stephenie Meyer? You read this stuff? Don’t you know Harry Potter rules?'” (282) “she had settled for Harry Potter’s chum, Hermione.” (858)

Holt, Lester: “Lester Holt from NBC shot to his feet.” (766)

Howlin’ Wolf: “He had given up on the blues music that had been so important to him in his Phil Bushey stage of life — B.B. King, Koko, and Hound Dog Taylor, Muddy and Howlin’ Wolf, even the immortal Little Walter.” (320)

Iron Butterfly: “sounded suspiciously like the organ solo from ‘In-A-Gadda-Da-Vida.” (316)

The Invisible Man: “Barbie’s fist, blurred impression was that he was about to be attacked by the Invisible Man.” (532)

Jett, Joan: “she looked like the middle-school version of Joan Jett; she wouldn’t know who he was talking about.” (329)

Jolie, Angelina: “Great mouth. Angelina lips.” (303) “with her head in the cover of a People magazine — Brad Pitt and Angelina Jolie frolicking in the surf on some horny little island where waiters brought you drinks with little paper parasols stuck in them.” (672)

The Jordanaires: “Thurston turned it on and got nothing but Elvis Presley and the Jordanaires, trudging through ‘How Great Thou Art.'” (305)

Kennedy, Bobby: “the paisley headband Thurse had worn to the candlelight memorial service for Bobby Kennedy.” (627)

Kenne Highland & The Vatican Sex Kittens: “the memorable New Year’s Eve show in 2009 featuring the Vatican Sex Kittens.” (337)

King, B.B.: “He had given up on the blues music that had been so important to him in his Phil Bushey stage of life — B.B. King, Koko, and Hound Dog Taylor, Muddy and Howlin’ Wolf, even the immortal Little Walter.” (320)

LCD Soundsystem: “LCD Soundsystem was playing — ‘North American Scum’ — and Jack was singing along when a small voice spoke his name from behind him.” (35)

Led Zeppelin: “He was wearing filthy chinos, a Led Zeppelin tee-shirt, and old slippers with busted backs.” (187)

Lee, Bill: “And although the autographs people noticed when they were invited into his home study were inevitably those of Tiger Woods, Dale Earnhardt, and Bill ‘Spaceman’ Lee…” (445)

The Little Mermaid: “so it could hold an entire town prisoner as well as broadcast The Little Mermaid to your television via Wi-Fi and in HD.” (734) “hadn’t been able to persuade Jackie with an Ariel mask” (857)

Little Walter: “He had given up on the blues music that had been so important to him in his Phil Bushey stage of life — B.B. King, Koko, and Hound Dog Taylor, Muddy and Howlin’ Wolf, even the immortal Little Walter.” (320) (There is also a character named Little Walter.)

The Lord of the Rings: “What was it Gollum had said of Bilbo Baggins?” (890)

Lost: “What did the Scottish guy say on Lost? ‘Don’t mistake coincidence for fate?’ Maybe that had been it. Maybe it had. But Lost had been a long time ago. The Scottish guy could have said Don’t mistake fate for coincidence.” (285) “sometimes watching shows like The Hunted Ones (a clever sequel to Lost) and Dancing with the Stars” (694)

Lovecraft, H.P.: “the pony in this case was not terrorists, invaders from space, or Great Cthulhu” (179)

Lynyrd Skynyrd: The song “Sweet Home Alabama” factors into the plot.

Mantovani: “He could hear the swooping violins of Mantovani coming through” (780)

Masters of the Universe: “also known as King of the Geeks and Skeletor” (177)

McGruff the Crime Dog: “Big Jim listened to McGruff the Crime Dog for a while.” (512)

McKinley: “He might not know that there was a president as well as a mountain named McKinley…” (909)

McMurtry, James: Epigraph. “It was from an old James McMurtry song…” (93) “What he remembered most clearly about last summer was the James McMurtry song that seemed to be playing everywhere — ‘Talkin’ at the Texaco,’ it was called.” (242) “it was probably why the James McMurtry song had been so popular.” (543)

Mellencamp, John Cougar: “Accompanying the idea came the title of Phil’s old record albums: Nothing Matters and What If It Did.” (35)

Meyer, Stephenie: “‘Nora Roberts? Sandra Brown? Stephenie Meyer? You read this stuff? Don’t you know Harry Potter rules?'” (282)

Mighty Clouds of Joy: “He turned on the radio, got the MIghty Clouds of Joy on WCIK…” (729)

The Mist: “‘Exactly like in that movie The Mist,’ one blogger wrote.” (179)

“Moon River”: “Twitch had juggled half a dozen Indian clubs while singing ‘Moon River.'” (178)

Mr. Sardonicus: “Mr. Sardonicus, a movie that had scared him as a kid.” (727)

Nightly News with Brian Williams: “Rory saw his smiling (but of course modest) face on the cover of USA Today; being interviewed on Nightly News with Brian Williams…” (208)

Night of the Living Dead: “In the Bible, people sometimes returned to life like the zombies in Night of the Living Dead.” (104)

1984: “revoked tenure, 1984, thought-police” (301)

Noriega, Manuel: “A kind of Downeast Manuel Noriega?” (613)

Oasis: “yanking her beloved Oasis poster off the wall and tearing it up.” (385)

Obama, Barack: Never named, but referenced throughout the book.

On the Beach: “‘On the Beach,’ Barbie said.” (155)

O’Reilly, Bill: “that half-bald no-spin yapper from FOX News” (762)

Penthouse Forum: “Menagerie a trois, as they said in the Penthouse Forum.” (273)

People: “with her head in the cover of a People magazine — Brad Pitt and Angelina Jolie frolicking in the surf on some horny little island where waiters brought you drinks with little paper parasols stuck in them.” (672)

Pitt, Brad: “with her head in the cover of a People magazine — Brad Pitt and Angelina Jolie frolicking in the surf on some horny little island where waiters brought you drinks with little paper parasols stuck in them.” (672)

Plath, Sylvia: “Maybe meeting a few interesting men and discussing Sylvia Plath in bed.” (850)

Ploughshares: “and guest editor for the current issue of Ploughshares” (299) “‘I edited the current issue of Ploughshares,’ he said. His voice quivered with indignation and sorrow. ‘That is a very good literary magazine, one of the best in the country.'” (366) “I edited the current issue of Ploughshares.” (409)

Pol Pot: “It’s the progression to Pol Pot I’m worried about.” (613)

Presley, Elvis: “Thurston turned it on and got nothing but Elvis Presley and the Jordanaires, trudging through ‘How Great Thou Art.'” (305)

Reader’s Digest: “although certain offshoot sects — and The Reader’s Digest, I believe — disagree.” (563)

The Road Runner: “The noise was similar to the one Roadrunner [sic] makes before speeding away from Wile E. Coyote in a cloud of dust.” (728)

Roberts, John: “unless you counted CNN’s John Roberts” (778)

Roberts, Nora: “‘Nora Roberts? Sandra Brown? Stephenie Meyer? You read this stuff? Don’t you know Harry Potter rules?'” (282) “The words kept squirming around on the page, sometimes even changing places with each other, and Nora Roberts’s prose, ordinarily crystal clear, made absolutely no sense.” (427)

Serling, Rod: “They’d hear the Rod Serling voice-over anytime now.” (305)

Sherlock Holmes: “It’s the Sherlock Rule: When you eliminate the impossible, the answer, no matter how improbable, is what remains.” (442)

Song of the South: “Did Br’er Bear maybe die of rabies too?” (720)

SpongeBob Square Pants: “long enough to plaster three SpongeBob Band-Aids along the gash.” (356)

Stalag 17: “bearing the logos of long-gone punk bands like Stalag 17 and the Dead Milkmen.” (836)

Staples, Mavis: “This town needs some Mavis Staples. Also some Clark Sisters.” (798)

The Staple Singers: “the Staples Singers [sic], kicking holy ass with ‘Get Right Church.'” (821)

Starr, Barbara: “but it was Barbara Starr, the network’s Pentagon correspondent.” (760)

Star Trek: “‘Just like on Star Trek,’ Barbie said. ‘Beam me up, Scotty.'” (152) “If I can put it in Star Trek terms, help us make it so.” (765)

Star Wars: A file containing dirt on Big Jim is named VADER. “In a galaxy far far away, Clover.” (413) “Darth Vader mask was behind the seat” (858) “in a galaxy far, far away” (898)

The Situation Room: “Rose had a crush on Blitzer and would not allow the TV to be tuned to anything but The Situation Room on weekday afternoons….” (89)

Suarez, Ray: Appears on p. 766.

Sullivan, John L.: “his fists held up like John L. Sullivan.” (244)

Taylor, Hound Dog: “He had given up on the blues music that had been so important to him in his Phil Bushey stage of life — B.B. King, Koko, and Hound Dog Taylor, Muddy and Howlin’ Wolf, even the immortal Little Walter.” (320)

Taylor, Koko: “He had given up on the blues music that had been so important to him in his Phil Bushey stage of life — B.B. King, Koko, and Hound Dog Taylor, Muddy and Howlin’ Wolf, even the immortal Little Walter.” (320)

The Twilight Zone: “The whole world had turned sideways and slipped into a Twilight Zone episode while she was asleep.” (305)

The Upper Room: “One was a devotional, The Upper Room.” (314)

Vaughan, Brian K.: “He was addicted to computers, the graphic novels of Brian K. Vaughan, and skateboarding.” (504)

Warhammer: “I still haven’t been able to beat Warhammer.” (543)

Waters, Muddy: “He had given up on the blues music that had been so important to him in his Phil Bushey stage of life — B.B. King, Koko, and Hound Dog Taylor, Muddy and Howlin’ Wolf, even the immortal Little Walter.” (320) “He went his rounds humming ‘Big Leg Woman’ very softly under his breath.” (627)

Wayne, John: “said in a passable John Wayne drawl” (977)

When Harry Met Sally: “‘Check it out, Junes,’ Frankie DeLesseps said. ‘It’s When Horny Met Slutty.” (301)

Wile E. Coyote: “The noise was similar to the one Roadrunner [sic] makes before speeding away from Wile E. Coyote in a cloud of dust.” (728)

Winslet, Kate: “Not that I’ll ever be mistaken for Kate Winslet.” (785)

The Wiz: “Dr. Ron Haskell — The Wiz…” (198)

The Wizard of Oz: “…Dr. Ron Haskell, whom Rusty often thought of as The Wonderful Wizard of Oz.” (77)

Wolf, Reynolds: “Reynolds Wolf (no relation to Rose Twitchell’s Wolfie)” (801)

Wonder Woman: “I pray to Wonder Woman.” (500)

Woods, Tiger: “And although the autographs people noticed when they were invited into his home study were inevitably those of Tiger Woods, Dale Earnhardt, and Bill ‘Spaceman’ Lee…” (445)

Zevon, Warren: “He’s wearing an old tee-shirt of mine with a Warren Zevon quote on it—” (904)

by Edward Champion

Review: Nordwand (2008)

nordwand

It’s safe to say that Nordwand (known as North Face in the States and presently hitting the film festival circuit, to be followed by a rolled out release) is a better movie than Clint Eastwood’s The Eiger Sanction. Yes, the 1975 film has a few decent mountain climbing scenes. But it also has such preposterous moments as George Kennedy convincing Eastwood to carry beer in his backpack as they climb a mountain, so that he might guzzle the cans at the top. Eastwood’s climb up the treacherous north face of the Eiger mountain is, oddly enough, not too dissimilar from the one chronicled in Nordwand, although Nordwand is based on real-life efforts. And you could look up the names. But then you’d know the ending. And that wouldn’t be very fun.

Harsh snow, wintry weather, avalanches, attempted rescue by railroad station. The perfect ingredients for mountain cinema and a regrettable reminder that you can step inside the theater in the winter, but you won’t shake yourself of the snow. So much for escapism. But Nordwand proves to be considerably more engaging than The Eiger Sanction, K2 (which featured a whiny Michael Biehn), and Vertical Limit (which featured a whiny Chris O’Donnell)– in large part because there is a race between Austrians and Germans at the heart of the storyline, thereby making this climb — at least on the German front — one of national pride (and considerable stupidity). But since the two main mountaineers we root for don’t whine, as their American counterparts do, we are all too happy to cheer them on.

The events, of course, are set during Nazi Germany. It is May 1936 — the year of Leni Rifenstahl’s Olympia and the beginning of Nazification. Rifenstahl, as we know, got her start with mountain films. And we certainly know that it’s 1936, because one German offers this mood-killing explanation for why the Germans wish to climb the North Face before a festive crowd: “The pride of facing a challenge, whether it be sports or politics.” Jews have been stripped of their civil rights, but you wouldn’t know it watching this film. The newspapermen sent to cover the spectacle are more interested in “the spirit of the German conqueror in battle with the mountain. That’s what makes a story.”

Nordwand does make a good story, in part because many of the mountaineers die and we even get to enjoy fingers freezing up and people shrieking in agony. I don’t know how much of the mountain climbing in this film is real and how much of it is fake. Frankly, I am presently too lazy to check. But it seemed convincing enough for me. One admires the spirit of the sensible and experienced Austrians, the film’s protagonists. They offer some pretty nifty side swinging moves that I can’t imagine any whiny American trying on a indoor rock wall. The Germans are determined to commit folly in the name of the Fuhrer. While this is certainly their right (as characters, that is), I was slightly disappointed that there wasn’t more nationalism drenching through clinched teeth. But my desires were somewhat placated by a rather splendid mountain cake wheeled into a banquet room.

Overall, I enjoyed Nordwand and can recommend it to those who like German mountain films, which are less whiny and more interesting than the ones that come from America.

by Edward Champion

Liu Xiaobo Indicted

Some important news. PEN America has informed me that dissident writer Liu Xiaobo has been formally indicted by the Chinese government. Here’s the press release:

Liu Xiaobo Formally Indicted
PEN American Center Denounces Move, Pledges Solidarity

New York City, December 11, 2009— PEN American Center denounced the formal indictment today in Beijing of renowned literary critic and PEN member Liu Xiaobo, calling the move “extremely troubling” and urging supporters and governments around the world to step up the pressure on Beijing to free him immediately.

Liu Xiaobo, a leading intellectual who played a critical role in the 1989 Tiananmen protests and who was one of the main architects of the Charter 08 petition last year, was formally indicted by the Beijing Municipal Procuratorate today, just three days after his case was handed over by investigators and more than a year after he was detained. Liu is charged with “inciting subversion of state power,” a provision regularly used to silence writers in China. If convicted, Liu Xiaobo could face up to 15 years in prison. The case will be heard by the Beijing No. 1 Intermediate People’s Court, reportedly within the next four to six weeks.

“We are deeply disappointed at this new development in Liu Xiaobo’s case,” said Kwame Anthony Appiah, President of PEN American Center. “We are extremely troubled that the indictment seems to follow the assertion of the Beijing Public Security Bureau that Liu committed a ‘major crime’ in drafting Charter 08 with others, and that he should be convicted of ‘inciting subversion.’ Words are not a crime, and the right to freedom of expression is guaranteed by international law and China’s own constitution. We stand in solidarity with Liu Xiaobo, and call on the Procuratorate to drop all charges and release him immediately and unconditionally.”

A past president of the Independent Chinese PEN Center, Liu Xiaobo was detained on December 8, 2008, on the eve of the release of Charter 08, a groundbreaking manifesto and petition calling for greater human rights and democracy and an end to one-party rule in China. It has been signed by more than 10,000 Chinese citizens across the country, many of whom have been questioned, harassed, or briefly detained by authorities.

Yesterday, at great personal risk, many of those who joined Liu Xiaobo in signing and promoting Charter 08 released an open letter supporting him. The letter, entitled “We Are Willing to Share Responsibility with Liu Xiaobo,” challenges authorities to release Liu or punish them all equally. As of this morning, 318 people had signed, 240 of whom live in China.

PEN American Center is the largest of the 145 centers of International PEN, the world’s oldest human rights organization and the oldest international literary organization. The Freedom to Write Program of PEN American Center, which works to protect the freedom of the written word wherever it is imperiled, has been working to end China’s imprisonment, harassment, and surveillance of writers and journalists and curtail Internet censorship and other restrictions on the freedom to write in that country. For more information, please visit www.pen.org/china.

by Edward Champion

Review: A Single Man (2009)

asingleman

Colin Firth’s swooning fan base has long accepted the unlikely heartthrob as an endearing bumbler. Firth has often played the sensitive (and quietly sensible) romantic populating both mainstream romantic fare (the Bridget Jones films and Love Actually) and projects that are considered highbrow by way of artistic association (Pride and Prejudice‘s Mr. Darcy or Girl with a Pearl Earring‘s Vermeer). Atom Egoyan was one of the few filmmakers to scrape away at Firth’s squeaky clean archetype in the underrated Where the Truth Lies, giving Firth a raw and dark character suggesting a grittier and seedier version of The Importance of Being Earnest‘s Jack Worthing.

But none of these performances — as good as they are — has quite permitted Firth to summon up the totality of his talent. Market forces, content to give the people what they want, have consigned Firth to a curious upper middle-class ghetto. Firth’s characters often cling to a steady yet shaky authority, largely because they have occupied some station for too many years. Firth has atoned for these limitations with a smooth vocal command and an almost Mitchum-like commitment to movement, counterbalanced by a somewhat uncertain gaze. (The “I like you very much just as you are” moment in Bridget Jones’s Diary comes immediately to mind as an example of Firth doing his best to defy cliche.) But this pigeonholing hasn’t always allowed an interior glimpse. Firth has perfected the nice guy. But nice guys often have more internal demons than they’re willing to impart. It’s too bad that so many screenwriters, paid very well to adhere to formulaic conventions, fail to express this in their labor.

I have quietly hoped that some talented filmmaker would figure Firth out, or that Firth might obtain enough clout to headline some pet project, permitting those delayed demons to roil in a more complicated role. Indelible British actors often find Hollywood at some point in their careers, but this doesn’t necessarily mean that they are completely understood. (Exhibit A: Malcolm McDowell.) The people in charge are, after all, more concerned about the coffers than with human complexities. And I never would have imagined that fashion designer-turned-filmmaker Tom Ford would be the guy to push Firth to the limit.

A Single Man is one of the year’s best films. And it’s not just because Ford has given Firth a perfectly attuned role, permitting Firth to stockpile Professor George Falconer’s grief behind restrained grimaces and meticulous domestic action within a quite literal glass house. For A Single Man is also cinematically committed to George’s isolation. George’s heartbeat drowns out the soundtrack. He never quite sees a person head on. The secretary with the bobcut who gives one of George’s students his home address is filmed in slivers, and George replies, “You have such a lovely smile.”

It helps immeasurably that Ford’s working from very good source material (Christopher Isherwood’s fine novel) and that Ford is smart enough to make this his own. When George addresses his students in class, he sits before them on the desk, with three cameras cutting left, center, and right — as if George is some kind of fashion model being photographed on a platform. But to some degree, he is. His academic role is the only thing he has left after losing his partner, whose funeral he isn’t even permitted to attend (“family only”). Ford’s dramatic tactic is an eccentric yet effective perspective, reminiscent of the way that the vanilla-minded Steven Spielberg found a way to channel drug addiction through fatherhood in Minority Report

It also helps that we have been given a vision of the early 1960s that, for once, doesn’t call attention to its time period. Sam Mendes’s disgraceful adaptation of Revolutioanry Road didn’t understand that real people lived and wrestled with serious decisions. (It’s possible that Ford may have had Mendes’s American Beauty in mind with one of his other interesting visual tics. Whenever George feels something close to happiness, the gray visuals brighten up a bit. This isn’t as distracting as it sounds, and it’s more understated than Mendes’s now dated CG flowers.) The much acclaimed Mad Men understands this better, but feels the need to cram some “shocking” measure of its characters against contemporary standards. Can the characters really be defiling women like that? The more important issue is why Matthew Weiner cannot simply let these flawed characters act without the enforcement of moral judgment.

But Ford lets George live without such constructive qualms. We feel his loss. We feel his sadness. George is often kind, as we expect a Colin Firth character to be. But with grief comes a mess of forgivable solipsism in his willingness to light a man’s cigarette, bring over a bottle of liquor, or swim in the ocean to prove that youth hasn’t entirely expired. If George died right now, would he be okay? It’s a question echoing from happier days in the past, but one that the audience remains constantly aware of. The film’s commitment to George’s perspective causes us to be deeply locked within his being, but it also pulls off the difficult trick of making us sympathetic to those trying to get George back into the land of the living. This group includes a Spanish stranger and George’s best friend, Charley (Julianne Moore), who has also negotiated the line. We know this by seeing the way she lives now: aging, smoking, drinking, applying makeup, bombarding George with calls.

The film’s willingness to celebrate life, and the connective failings of single people of all stripes, propels it well beyond a one-note exercise and inures it from Weiner-style judgment. It is to Ford’s credit that he injects some humor into the morbid mix, for grief is never entirely tragic. There’s an overeager gun store owner, and some physical comedy involving a suicide and a sleeping bag. Life isn’t some “I wish I knew how to quit you” melodrama that makes us feel tolerant, liberal, and morally superior. It’s a little girl who doesn’t understand what her father means by “light in his loafers,” but who sees the possibility in a sad man sitting in a bank. A Single Man invites us to see that possibility too, both within its mise-en-scene and in the more important world before our eyes.