Flavor #12 - Eat an Extravagant Meal



Indulge Yourself in a Wildly Extravagant Meal - Philip Zinn, Western Colorado CO



The door closed behind us and we were left staring into an eerily lit hallway. Feeling slightly like Charlie in Willy Wonka's factory, I timidly ventured down the increasingly narrow space, Joy and Heather following close behind. As I approached the lilac glow, I realized that the depth was an illusion created by the angular panels and that there was nowhere left to go. Just as I glanced back questioningly, the door to the left slid open like a special effect on Star Trek.

"Welcome to Alinea."

It was as though we had stepped out of a limousine, and they were waiting just for us. The hostess asked for my name while the others removed our coats; then, they guided us past a winding staircase into a slightly small, yet very elegant room.


We were seated at the center table. A young man approached, sporting a skinny suit, black rimmed glasses, and purposely long, shellacked hair. His name was Andrew and he would be our host for the evening. Steady and slightly severe, he verified that we would be encountering the 12 course Tasting Menu and then turned our attention to the center piece for the evening which was 3 flags constructed out of what looked to be rice paper infused with tiny flowers. After covering housekeeping items like drinks and food allergies, responding "Perfect," to every answer we gave, he was off and we were left to anticipate the first arrival.

Amused and slightly nervous, I settled into my rounded back chair, resting my elbows in the half moon cutouts. The decor was very simple, yet thoughtful. The interior of my chair matched the muted yellow wall, selectively filled with unframed, dramatic art. This contrasted beautifully against the dark, rich tables and plush bench to our right. The bench stretched the width of the room, facing inward toward several smaller tables and their accompanying chairs. Above it, equally as wide, was a large window, its ledge enhanced with large, cylinder vases, frosted and filled with very striking and exotic floral arrangements. Everything was very clean and exact from the lighting down to the way our napkins were folded. Nothing here was done by mistake.

Andrew and two others entered with the first course and laid it down on what looked to be some sort of preparatory desk on the opposite side of the room. After a couple minutes, they emerged with little pillows that they placed in front of us, along with a single spoon. After this almost choreographed movement, they returned to the desk and back into what mildly reminded me of a football huddle. This ritual would continue for the rest of the evening.

I looked across at my friends, and gave them an encouraging and maybe even apologetic, smile. I knew Joy and Heather from work. When I asked them to share in this dining experience, I had teased that they were the only friends I had that could afford it. The truly amusing irony is that they had two of the most finicky stomachs of anyone I knew. Both were such troopers to even attempt what we had in store.

Andrew must have signaled, "Break!" because they were moving into position. They carefully and deliberately laid course #1 in front of each of us. Silently my mind whispered, "Here we go."


#1 Steelhead Roe, plaintain, ginger, papaya

In the center of a slanted bowl there was what looked to be a miniature glass sculpture. Andrew in very careful and exact words explained that it was hand-harvested roe with papaya and cilantro, encased in a nutmeg cocoon; the white and yellow dollops on the side were mango and plantain reductions. As instructed, I lightly tapped the cocoon and the walls shattered down into this colorful medley. Curiously, I scooped a bit of each element onto my spoon, and took a bite. The flavor was spicy, sweet and salty all at once. I was pleased with the combination of roe and papaya, but wasn't sure about the crunchy bits of sugar. I glanced at my brave coworkers. Luckily Joy, who is NOT a fan of fish eggs, was still on board.

#2 Distillation of Thai flavors
Next they presented us with a single, long-stemmed, glass containing a clear liquid. It looked quite ordinary in contrast to the art we had just eaten. After he assured us that it wasn't vodka, Andrew bid us to smell the bouquet and then down the liquid like a shot. We each raised our glasses. It was nothing I had ever smelled before; the scents were one and separate at the same time. Heather took the plunge first, then Joy, and then me. The smooth solution washing down the back of my throat can only be described as "liquid flavor." The combination of lemon grass, fish sauce, and chilies was light and reviving; water seemed heavy and clunky by comparison.

#3 Pork Belly, curry, cucumber, lime
After allowing the distillation to sit in our mouths for a bit, the servers brought out a frosted rectangular platter with cucumber balls, coconut shavings, and other various tidbits. I stared at the tiny portions, silently hoping that this wasn't the actual course.



Gratefully, Andrew had us remove the frosted platter, revealing a brown board with two metal pieces bordering a carved out center.



We removed the metal pieces and hooked them together to form a cradle. Then, Andrew and the other two servers took our flag center pieces and delicately laid the rice paper over the metal frame, creating a basket for the pork belly,(chicken for Heather), filling.

From there, we chose items from the platter to complete the dish. I added some garlic chips, lime, red onions, herbs and the basil seeds. We all cinched up the sides of the rice paper and approached it from the side, much like a taco. The rice paper was very tender and gave way easily, allowing the warm, creamy, pork belly to topple into my mouth. I think that all three of us agreed this course was the best so far.

A side note about Heather's chicken: I was very impressed with Alinea's willingness to work with our diet restrictions. They were catering to a nut allergy, pork allergy and lactose intolerance, and yet they handled all of this without so much as a flinch.

#4 Lobster parfait, salad, soup
You know the wonderful foam that you get when you use a lot of bubble bath? Well, that's what appeared to be coming out of our next course. The dish was a dome with a divot on top, and in the divot was a combination of lobster crackers, lobster parsnip pudding, grapefruit, pistachio ice cream, and poppy seed foam. The poppy seed foam was like eating air: virtually tasteless. But where the foam lacked in flavor, the pudding made up for it. The pudding was quite salty and while the ice cream worked to diffuse some of that intensity as well as connect it to the sour grapefruit, I’m not sure if any of us fully embraced the concept.
After we finished the parfait, our waiters removed the outer shell to reveal an inner bowl holding a colorful salad. They poured steaming hot lobster soup into the dish, and it drained through five slits, awakening the Chi nestled below. As I nibbled on the lobster, eggplant and mung bean sprouts, the vapors from the bottom of the bowl escaped, surrounding me with a rich aroma. The lobster was very tender, like little wrapped bursts of flavor and I have to say the mung bean was a meaty surprise.

For the last stage of course #4, they revealed the bottom layer, and strained the marinating brew into a glass. The Chi gave the the salty cream a Christmassy touch and I quite enjoyed the way the rich broth curved up around the back of my tongue and lingered there.
#5 Sturgeon, potato, leek, smoke
A cascade of edible ribbons unraveled down the platter of course #5; one strand was made of celery and the other two were completely beyond my imagination. Andrew informed us that the aerated and crispy ribbon, defying gravity, was a glorified potato chip, and the pink, almost translucent ribbons were smoked apple skins. Hiding beneath this spiraling caravan, were little cubes of sturgeon and apple, garnished with crouton crumbles and radish slices. I stacked my fork with a variety of combinations, each wrapped in the tangy ribbon. A little sweet for my taste, but it was definitely interesting.
#6 Shad Roe, shallot, mustard, bay aroma
A very small, yet heavy disk was set in front of each of us. We looked at each other, wondering what kind of a course could fit on something a little larger than a silver dollar. In minutes our question was answered with the arrival of a metal stand holding a leafy branch sprouting from a tempura bulb. The base of the stand, which was actually a beheaded wire whisk, latched on magnetically to the silver disk. With the fragrant bay branch teasing my nostrils, I consumed the fried morsel in one bite. It was like a bacon flavored marshmallow, crunchy tempura dissolving into an explosion of bacon-wrapped chad roe, with subtle hints of spicy mustard and pickled shallots. The smiles around the table verified this was definitely our favorite so far.

# 7 Filet De Boeuf, godard
This "Antique Concept Dish" was the only course not created by Alinea chef, Grant Achatz; he borrowed the recipe from french chef, Auguste Escoffier, who lived in the early 20th century. To fully embody the time period, the course was served on antique china with silver utensils, and paired with Burgundy wine (Sarsaparilla for me) in crystal goblets. The plate was sparsely symmetrical and slightly intimidating. After suspiciously eyeing the 6 bites for a couple minutes, I took a swig of the smokey sarsaparilla and started with 12 o'clock.
12 o'clock, Beef Bone Marrow: While this had a hardy wonderful flavor, I had issues with the meat literally dissolving in my mouth.
2 o'clock, Braised Cocks Comb: Let's be clear. Cocks Comb is the CREST on the HEAD of a ROOSTER! This little flap was slightly gelatinous, and I couldn't take more than one bite.
4 o'clock, Ox Tongue: The idea that I was eating tongue slightly unnerved me, but really, it just tasted like finely shredded beef.
6 o'clock, Veil Sweet Bread: This fancy crouton was refreshingly sweet and flaky and almost worth the guilt that I felt about eating veil.
8 o'clock, Mushroom Truffle: The busy texture had a dark, earthy flavor that somehow tasted familiar; considering how much these little dollops cost I doubt that was possible.
10 o'clock, Fluted Mushroom: This little button was packed with a deep, slightly fermented punch.
The beef tenderloin was definitely the highlight. The perfectly cooked meat, topped with thinly sliced carrots was worth all the rest....Cock's Comb and all.

#8 Hot Potato, cold potato, black truffle, butter
We left 1903 behind and jumped right back into 2010 with a very non-traditional dish. The servers brought out a bowl barely the size of my palm filled with chilled potato soup. Suspended above the bowl was a needle kabob consisting of a chilled cube of butter, Parmesan cheese, and a hot scooped potato topped with a black truffle. After careful instruction from Andrew, I pulled the needle, causing the contents to plunge into the cool liquid. I then slurped the entire thing like an oyster straight off a half-shell. My mouth was instantly conquered by the contrast of flavors and more importantly: the temperatures.

#9 Duck, morels, English peas, chamomile
The next dish was a calmer presentation. The duck was floating in chamomile bubble bath with orange and pea bath toys. Sadly, I didn't take a picture, and we had been there about 3 and 1/2 hours, so my memory is a little fuzzy.

I do, however, remember the goose liver.
Heather wouldn't even try it, and I could hardly blame her. It didn't look very appetizing, what with its translucent lumpiness and all, but I had promised myself I would try everything. As my teeth barely grazed the exterior, it dissolved like it never existed in the first place....and not in a good way. Sadly, somehow I doubt I'll need a picture to remember that.

# 10 Black Truffle explosion, romaine, Parmesan
They brought out another miniature bowl, with a hollowed center, and delicately laid a spoon balancing a single raviolo, in the middle. We were instructed to put the entire pillow in our mouths and bite down. This course required true commitment. There was no nibble to see if you liked it; it was either all or nothing. All three of us, scooped up the raviolo, pursed our lips and chomped. Instantly a flood of bitter juice exploded in my mouth, coating my tongue, teeth and throat. Looking over at Joy's face, it was evident she was NOT impressed, but sadly, all she could do was swallow.
For any of you who are wondering if this blog entry will ever end, that's how we felt at this point. We had been at Alinea for almost four hours, and had long since lost count of what course we were on. As they brought over the our smallest course yet, I think we all silently prayed it was the last one.

#11 Bacon, butterscotch, apple, thyme.
A single strip of bacon was delivered dangling on a see-saw contraption.



Joy, who couldn't have pork or dairy, was given a serving of spicy peanut butter.


Because Heather couldn't have pork, they presented her with a type of cheese on a pedestal.




My bacon tied up in butterscotch and apple ribbon, reminded me of a trapeze artist. I yanked downward to remove it from its "tightrope" and consumed the entire sweet and salty crisp in two bites.
Now, at the risk of being tacky, I feel that I must give some mention to the bathroom. The hostess opened the door, and I entered into a room bathed in soft lighting and a pleasant floral scent. Everything up until then was perfection and the bathroom was no exception from the fresh cut flowers to creased corners on the toilet paper rolls. I tossed a Kleenex into the empty wastebasket and washed my hands in the emaculate sink. As I tossed the fluffy hand towel into the towel bin, which was also empty, I thought if any bathroom was ever clean enough to eat in, it was this bathroom.

When I returned to my seat, I was given a fresh napkin and we resumed the menu. Alinea will only serve the course if the entire party is present.

#12 Earl Grey, lemon, pine nut, caramelized white chocolate.
Finally it was time for desert! White, aroma-filled pillows were set in front of us. As we breathed in the sweet Earl Grey vapors, a glass platter, lavished with Earl Grey cookies, lemon curd, and what could have been chow mien noodles, was laid on top. The Earl Grey cookies were delightfully dense and chewy and the hint of spice mixed well with the tartness of the lemon curd. The chow mien noodles turned out to be caramelized white chocolate that dissolved almost instantly in my mouth...in a good way this time. As I lingered on every bite, the weight of the platter slowly forced the air out of the pillow, embracing me with its heavenly scent.

#13 Chocolate, coconut, menthol, hyssop
All dishes were cleared from the table and they rolled out a specialized cloth. One of the main chefs emerged from the kitchen and lined the far end of our table with
ingredients that would eventually serve as his palette. First he placed a bottomless cylinder in front of each of us and filled it about a half an inch with chocolate. He then proceeded to create a Pollack painting out of vanilla and menthol cream, chewy drops of coconut, cookie crumbles and frozen coconut milk. For some drama, he broke up a couple large hunks of freeze dried chocolate mousse, instantly covering the table in smokey vapors. To complete the painting, he removed the cylinders, revealing the now solidified chocolate disks. Even though we'd been eating for five hours, we had no trouble ravishing this edible art; however, for the most part I steered clear from the menthol. When I'm eating chocolate, I don't want to be reminded of cough drops.

#14 Bubble Gum, long pepper, hibiscus, creme fraiche
Our final course looked like what I imagined desert would look like in the future. We were presented with a test tube filled with three different layers and instructed to suck in one go. I expected it to have a fruity/jello consistency, but I was wrong. The top layer was fruity, but subtle, and the bottom layer is what bubble gum dreams of being. Afterwards we found out that the deep red top layer was hibiscus seeds; the white layer, creme fraiche; and the pink layer, tapioca flavored with bubble gum stock. Yes, you read that right: Bubble. Gum. Stock.


Well, 5 hours and 12 + courses later, Heather,
Joy and I collected our confused but satisfied stomachs and waddled out the door. I couldn't help but giggle at the fact that I had just finished eating and it was time for bed. I felt a tremendous appreciation for these ladies who would give up their time and a significant wad of cash to join me in the Alinea experience. I say experience, because Alinea was so much more than the "molecular gastronomy" we had consumed. Every stage of the dinner was filled with maticulous details, and as evident, from the embroidered logo on the lint-free napkins that we wiped our mouths on, no detail was too small.
After bidding Joy farewell, Heather and I hailed a cab. During the ride, I reflected on that embroidered logo. Andrew told us it was the top portion of the precursor symbol which is used in writing to indicate a new line of thought.
I smiled. Alinea chef Grant Achatz "new" thoughts on food, make my dinner creations look prehistoric.

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Flavor #11 - Learn to Play the Ukulele






Learn to Play the Ukulele - Me






March 18, 2010


It was my second week, and my playing wasn't much better than the week before. It had been hard trying to find time to practice, and when I actually did find the time, I could vaguely remember the tunes and the strumming patterns of the songs we had played.

There was a very big possibility that I was going to fail miserably.
I put on my best attitude, and walked through the door. As I came around the cubicle-like wall, I discovered my friend Marissa tuning her ukulele. She had made it! Flashing her a relieved smile, I sat in the open seat next to her. Marissa and I knew each other from church. One day, in passing conversation, we had discovered that we both had an interest in taking ukulele lessons at Old Town, so we decided to enroll in the same class. As I admired her golden ukulele with beautiful mother of pearl inlay, a birthday gift from her family and friends, I silently hoped she was as amateur as me.

I would be disappointed. Turns out that Marissa used to live in Milwaukee and had a group of friends who were all really into the ukulele, so you could say she had picked up a few things. Of course, it didn't really take much to be better than me. For one thing, she could actually strum; I was still having issues with the basic "down, up, down."

We started off the class reviewing "E Huli", first in the original key of C and then in the new key of F (F G7 C7). The C7 chord (1st finger, 1st fret, 1st string), was new but just as simple as its relative: C. I immediately bonded with this key because the chord progression felt very natural...on my fingers and on my voice.

E Huli had 4 verses, and as we jammed, Lani encouraged each verse to get a little faster. I liked this because it pushed me to go past my own expectations. Usually when I feel out of my comfort zone, my natural urge is to step back and get a handle on the situation; however, in this environment, I was forced to try, even if I didn't feel I was ready.

Speaking of not feeling ready, Lani announced that it was time to learn "Katchi." Everyone watched curiously as she demonstrated a basic, but flattened downward strum, muting the strings with the heel of her palm. The result was a very raw and stripped sound.
Marissa threw a look my way; she had attempted Katchi before, and apparentally it was not her forte.

As it turns out, it wasn't mine either. Though my palm repeatedly tried to mute the strings, they stubbornly continued to make sound. I was still trying to figure it out, when Lani instructed us to practice on an open chord, alternating between the katchi and regular strumming. As I faked the "down, up, katchi, up" pattern with everyone else, I started to get that the strum and the palm needed to happen almost simultaneously. I was amazed at how watching and imitating my peers actually made the learning easier and faster.

Of course as soon as I got comfortable, Lani had us try our new technique on "Island Style." Let's just say that katchi by itself was hard enough, katchi and chord progressions would need a little work.

As Marissa and I shopped in the Old Town Music store for an uke carrying case, I couldn't help
but scold myself a little. There were a few moments during class where I wanted to give up and wait until I got home to figure things out on my own. This is an impulse that I've had since...forever. I don't know whether it's pride or insecurity, but it feels so much easier for me to "fail" by myself, than risk looking like a fool. The great thing about this class is that you don't really have the option of giving up. The rest of the group is jamming, so you look like a fool if you don't join in. And really, is failing so scary? You hit a wrong note, you shake it off and keep on strumming. It's the same with life; don't let the "wrong notes" keep you from composing your masterpiece!


The song is going to be played with or without you, so you better join in the jam.

March 11, 2010

Island Style:

It was my first class, and I was late. Anxiously I panted up the steps, two at a time, to the Old Town School of Folk Music. The girl at the front desk sized up the small, awkwardly-shaped, cardboard box I was towing and informed me that Ukulele 1 was next door. I breathed a quick thanks and retraced my steps, two at a time, south to a blue-washed, brick building.

The iron guitar and banjo art above the door, told me was in the right place. I entered into a mixture of tuning and jamming and followed the music trail around the corner. There were ten or so students sitting in a half circle, holding what could have been miniature guitars. They were all facing a woman with golden brown skin and thick black hair. I assumed this was the popular Lanialoha Lee, our instructor. She greeted me with a "Hello!" and a laid back smile that said, "I'm happy you're here."

I took a seat and quickly removed my vibrant, red uke from it's cardboard case. While I tuned with the others, Lani laughed about the jam session she attended the night before at the bar down the street. I was instantly intrigued by her voice; it was thick and raspy along the edges, as though she'd spent her whole life laughing.

She gave me two sheets, one with chords, the other with words; I had missed the official first day, and that made me officially behind everyone else. After a refresher on last week's highlights like the proper placement(neck angled up, body in the crook of your arm), and the various strumming patterns (1: down down; 2: down up; 3: down up down); she started playing.

The Song: La Huli
The Chords: C D7 G7

The rest of the students joined her and I had no choice but to jump in. Thankfully, I had once attempted to play the guitar, so I knew how to read chords. Now, reading chords and getting my fingers to actually play them, was a different story. Awkwardly, I tried to follow her strumming pattern with my right and the chord progressions with my left.

C was easy enough: just the 3rd finger, 3rd fret, 1st string. D7 wasn't bad either: 3rd finger stays in place, 2nd finger bars the 2nd fret. I was delighted to find that I was much more successful barring chords on the Uke than the guitar. G7 got a little tricky: 1st finger, 1st fret, 2nd string, ; 2nd finger, 2nd fret, 3rd string; 3rd finger, 3rd fret, 1st string.

By itself, G7 wasn't so bad, but switching from D7 to G7 was intimidating.

On top of all this, she actually wanted us to sing...and in Hawaiian:

E Huli, E Huli Makou
E Huli, E Huli Makou
Kou maka, kou lima, me kou kino e,
E aloha mai (Vamp D7, G7, C)

I was especially fond of the vamp after "E aloha mai" in which we inserted, "Neer, Ne-neer, Neneer-neneer, Neneer." Unfortunately, I couldn't take full advantage of this merry phrase because I was busy focusing on three chord changes in a measure and a half.

When Lani sang, her voice was rich and deep, resonating comfortably where my mezzo voice barely skimmed the surface. I followed the beautiful Hawaiian words the best I could, but when I focused on singing, the other elements inevitably suffered. I couldn't help but giggle at my lack of coordination, and in reponse, Lani threw a lot of amused but encouraging smiles my way.

My technique wasn't the only thing that suffered. After an hour, my once soft and spoiled fingers were whipped and swollen. I ran my thumb over the burning tips, and silently willed the clock to read 6:50, but Lani wasn't through with us yet...

Song: Island Style
Chords: C C7 F G7

I didn't quite feel up for another song, but I trudged on. Lani led us in the chord progression, calling out the name of each chord as we played. There was an upside: we weren't learning any new chords, and the words were in english.

On the islands, we do it island style
From the mountain to ocean
from the windward to the leeward side

The song was written by John Cruz, a Hawaiian native living in the big city and longing for his homeland. The chorus speaks of the ocean dwellers, catching the fish off the warm sandy beaches, and the mountain dwellers growing the rice in the cooler more damp climates. Lani explained that everyone on the island does their share of the work so they can also share in the feasting and singing and playing, which the song refers to as, "kani ka pila." As Lani lovingly added her own memories to Cruz's, I started to sense that "Island Style" was more than lyric in a song: it was a lifestyle of people taking care of each other and enjoying life's simple joys.
As I packed up to go home, it also started to dawn on me that the ukulele is more than just a fun, toy-of-an-instrument: it's a piece of Lani's culture, one I can't wait to learn more about.

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Flavor #10 - Watch Cimarron and Gigi. Compare and contrast.




Watch both Cimarron (1931 Best Picture Winner) and Gigi (Best Picture Winner from the 31st Annual Academy Awards) - compare and contrast - Brett Shearer, Inland Empire CA


It seems my brother, Brett, and I have always had a very similar passion for movies; my interests usually lean towards the performance side of things, while his fixate on the story and direction. In high school he wrote and directed mini-movies for slew of class projects, everything from war epics to murder mysteries. I, the hopeful actress, was usually granted the sole, female role, whether it was simple bar wench or an unsuspecting Pogoball bouncer (who, unfortunately, was hacked into little pieces). Two grownups and two degrees later, his in film direction and mine in acting, we're still as passionate...and opinionated as ever.

When I asked Brett to contribute to my 31 Flavors list, he submitted several quirky suggestions ranging from, "Petition Hostess to bring back Blueberry Fruit Pies" to "Read 31 comic books." Finally I settled on: "Watch both Cimarron (1931 Best Picture Winner) and Gigi (Best Picture from the 31st Annual Academy Award) - compare and contrast." Besides loving the literal play on the "31" theme, I felt that the suggestion reflected the deeply rooted commonality between my brother and I.

Because Cimarron and Gigi are both Oscar Winners, I felt the most appropriate time to watch them was the night of the 2010 Academy Awards. So, while the rest of the movie lovers were watching Sandra Bullock win Best Actress for The Blind Side, I was holding a little Oscars of my own for two critically acclaimed classics from years past.

And the nominees are...

Best Writing (Adapted) screenplay:
Howard Estabrook (Cimarron): An epic drama about Yancey Cravat, a restless newspaper editor/lawyer and his reluctant wife, Sabre, tackling the newly settled Oklahoma territory at the end of the 19 century. A fervent cluster of land rushes, gunfights and court trials, Cimarron is a solemn struggle that covers a wide spectrum of worldly issues in its 131 minutes.


Alan Jay Lerner (Gigi):
A vibrant musical comedy about the unexpected romance between Gigi, a french courtesan-in-the-making, and Gaston, a rich bachelor who has grown weary of Parisian superficiality. Rich and snappy, this Lerner/Loewes collaboration creates a charming commentary on the thing the Parisian's "won't live without": love.





GIGI



Best Cinematography/Sound Editing
Cimarron: The first scene opens on the Oklahoma Land Rush. An overwhelmed but eager camera tries to keep up with horses and wagons as they race across the vast, gray, territory. The rest of the film's dramatic action, large or small, is gulped down in much the same way: in wide-angle shots. And while the shots are bold, the accompanying sound crackles like an old record and the spoken dialogue barely floats above a steady stream of static.
Gigi: The story is pieced together with strong panoramic views, showing off the treasures of Paris; as well as tightened close-ups, honoring the more detailed moments. The camera respects the nature of the musical world, and does its best to capture the flavor of each song. The transition from these songs to spoken word are rather seamless despite the obvious studio recording quality.
And the Oscar goes to...
GIGI


Although Cimarron had exciting shots of cowboys on horseback, the angles seemed to run parallel to the action instead of getting in the midst of it. Sometimes a scene fell flat because the shot couldn't accurately portray the significance of the moment. In Gigi, the camera seemed to break that barrier: participating in the large, curtain-stopping scenes, and quietly observing the smaller, more intimate moments.
In addition to the camera's limitations, intimate moments in Cimarron were drowned out by so many different sounds competing for my attention. Except for the dialogue and music, Gigi was marvelously silent. And not only did it have the complexity of mixing music with dialogue, it also had the added duty of dubbing a different voice in for Leslie Caron during "Say A Prayer for Me Tonight." All of this was done with very little technical interference.
Best Costume/Makeup:
Cimarron: Yancey Cravat arrives on the scene, large in stature and in even larger makeup. His darkened eyebrows and painted lips sharply contrast his chalky skin. The other characters, though not quite as severe, all look a little out of place in this hot and dusty Midwest. Their western garb transforms over 4 decades: Yancey's ivory-handled pistols and Sabre's sturdy dresses of the 1890s, eventually simplify into the suits and shift dresses of the 1920s.

Gigi: All of the characters are polished to perfection. The men are perfectly bronzed and the women are peaches and cream. Each scene is brimming with high fashion, and the gossip scene at Maxim, stuffed with feathers and sparkles, is no exception. The men are starched and pressed, accessorized with eye pieces and canes; the women are draped in bolts of embroidered satin and frills, topped with flashy head bands and hats.
And the Oscar goes to...
MAKEUP: CIMARRON

Though Gigi's cheeks were always rosy and Gaston's tan was flawless, there wasn't much of a variance throughout the show, except maybe longer lashes for the "more womanly" Gigi. Throughout Cimarron, Sabre and Yancey age over forty years and had the limitations of black and white film working against them. I give them the Oscar for their effort. The fact that I'm a fan of Zombie Horror may have something to do with it.
COSTUME: GIGI
I'm not sure that Cimarron, a dusty western, even had a chance against elegant french fashion, but what really swayed me was Gigi's evolution from a flouncing tomboy in a striped skirt, to a graceful young woman in form-fitting eyelet. This breathtaking evolution is observed by Gaston who stubbornly compares her to a swollen grape, but then unavoidedly recalls how the exquisite dress, "...clung on one so young."
Best Original Song: Lyrics by Alan Jay Lerner, Music by Frederick Loewe
Thank Heavens for Little Girls (Gigi): Both the opening and closing song, Honore Lachaille croons about the romantic promise of youth, foreshadowing Gigi's transformation from awkward teenager to enchantress.

Lyric: Thank heaven for little girls, for little girls get bigger everyday

Gigi (Gigi): Gaston's passionate soliloquy that evolves from fitful denial to elated wonderment.

Lyric: Gigi, have I been standing up too close or back too far?
Waltz at Maxim's (She Is Not Thinking of Me) (Gigi): A deceptively merry waltz underscored by Gaston's brooding distrust of his latest birdbrained mistress.

Lyric: She's so ooh la la la la, So untrue la la la la!




'THANK HEAVEN FOR LITTLE GIRLS"





Estelle Taylor (Cimarron): As Dixie Lee, the notorious town prostitute who will dare anything to leave her rowdy past behind.


And the Oscar goes to...




ESTELLE TAYLOR



Best Actor in a supporting role:





Maurice Chevalier (Gigi): As Honore Lachaille, Gaston's charming uncle, and all-knowing Narrator. He opens and closes the the show with a twinkle in his eye, giving insightful commentary about the way love is done in Paris. Though forever youthful and therefore forever after youthful women, he is somewhat still affected by his attachment to Madam Alvarez.




Eugene Jackson (Cimarron): As Isaiah, the black child servant who stows away with the Cravat family to experience a better life. Extremely loyal to Yancey, he ultimately gives his life attempting to rescue the Cravat toddler from crossfire.


And the Oscar goes to...




EUGENE JACKSON





Though Maurice Chevalier might have charm in abundance, I think Eugene Jackson deserves the Oscar for enduring such a stereotypical caricature of a black servant. He added much needed humor to the film, but most likely at the expense of his pride.
Best Actress in a leading role:


Leslie Carron (Gigi): As Gigi, the precocious courtesan-in-training who, questioning the Parisian's definition of love, rebels against her predetermined fate.







Irene Dunn (Cimarron): Playing Sabre Cravat, Yancey's long suffering and at times intolerant wife, who in Yancey's absence becomes self-reliant and eventually a benevolent member of congress.



And the Oscar goes to...




LESLIE CARON

Although a huge fan of Irene Dunn, her character, who was always playing second fiddle to Yancey, wasn't given the chance to fully develop. I believe had she had better material, her performance would have been much more stimulating. In contrast, Leslie Caron's character journeyed from "that funny, awkward girl" who Gaston knew, to the "miracle" who stole his heart. Through musical treats like, "The Night they invented Champaign," Caron shows off her childlike charm, then masterfully sheds the girl to reveal the woman, confessing, "I would rather be miserable with you than without you."

Best Actor in a leading role:

Richard Dix (Cimarron): As Yancey Cravat, the newspaper editor, lawyer, gunslinger, and preacher rolled up into one. When he isn't shooting up bad guys, defending prostitutes, or giving his life to save his fellow workers, he's making long winded speeches about his ideals.



Louis Jourdan (Gigi): As Gaston LaChaille, rich playboy bored with unfaithful mistresses and Parisian politics. When he falls for the precocious courtesan-in-training, Gigi, Gaston must reevaluate his comfortable and spoiled views on love.


And the Oscar goes to...
LOUIS JOURDAN

Although Yancey demonstrates a powerful presence, necessary for a leading man, his performance seems to be better suited for the stage or the silent film era. During his flashy courtroom scene his rigorous head shaking comes off as campy. Louis Jourdan balances his humorous character moments (It's a Bore) and tender dramatic moments (Gigi) with skill. Unlike Yancey, his adventures are those of the heart, and his sacrifice for the one he loves fulfills him for the first time in his life.
Also, anyone who can pull off exclaiming "Gigi" ten times in a song, with such sweet sincerity, gets my vote.

Best Director/Picture:



Vincent Minelli (Gigi)

: Minelli's artful direction, rich script and flavorful cast creates a feast for the eyes and heart.










Wesley Ruggles (Cimarron): The tagline reads, "The World's Mightiest Show," and that's exactly what Ruggles attempted. The story is mighty, the acting is mighty, the shots are mighty, and Yancey is the mightiest of them all.



And the Oscar goes to...

GIGI


After the many gray shades of Cimarron, Gigi was like cool water on a parched throat. Everything was in full bloom: the story, the scenery, as well as the performances. While technicolor and thirty years of experience may have given it an unfair advantage, I felt the film's greatest strength was not the technical advances of the day, but the development of it's characters and their relationships with each other: two things that Cimarron lacked.
Now, no Oscar ceremony would be complete without an acceptance speech, so here we go:
I would like to thank Google for allowing me to blog on their site for free. I would also like to thank my family and friends for their love and support of my crazy 31 Flavors adventure. I would especially like to thank my brother, Brett for believing in me and casting me in his shows. If it wasn't for him, Flavor #10 wouldn't have been possible. Lastly, I'm grateful for this crazy year because it's taught me that life might not always be as sweet as a French pastry, but it is anything but a bore!

About this blog:

The Mission:
Try 31 new things before my 32nd birthday
The Deadline: June 11, 2010



32nd Birthday!

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