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Lovescapes of Hearts

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Have you ever looked for love in the petals of a rose…. or a tulip? If the answer is yes, then this write-up is for you.

Just as in real life and in literature, opera, poetry and in lyrical music, love’s tenderness, beauty, joy and fall out has been eulogised in fantastic depictions on the silver screen. To many movie-goers, most of those vintage movie magic by renowned film personalities are like love letters, though short of handwritten in ink, but visual illustrations of romance set amidst glamour and mystery – joy and melancholy. Made to touch heart strings and to stay with the viewer long after it ends, few are nevertheless unabashedly sentimental and manipulative or even cheapo exploitation flicks.

Here below are representative posters of some renowned movies heralded in the romantic genre made in a span of 50 years during 1930s to 1970s:

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Until next time, Jo

Note:

  1. I have limited the selection of movies to those only forming part of my cinematic collection of 6,000 movies plus. The omission of many fine representations including details of the movies are simply due to lack of space.
  2. Most of the movies in the pictorial section above are available with amazon.com, amazon.co.uk and other leading dealers.
  3. Posters/DVD sleeves credits: amazon.com, en.wikipedia, imdb and from my private collection.
  4. This illustrated article is an affectionate nosegay to movies of the past. Please refer to “About” of my webpage for more details.

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Joseph Sébastine/Manningtree Archive)

Telly Savalas in the Limelight

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Part II of Mr. Telly Savalas, Back to the Limelight…., Please!

Kojak hoisted the 49 year-old Savalas to superstardom, bestowing on the Greek the status of a sex-symbol, whose trademark quip in his Graeco-Yiddish-Brooklyn accent: “Who loves ya, baby?” engaged wide attention. The title role also brought the actor with a mole on his left cheek an Emmy and two Golden Globes. (Telly revived Kojak in some TV episodes during 1985-1990.) image

As film after film came his way, his commitment to his career not only remained progressive, but Telly had also acquired a taste for wealth and the lifestyle that went with it – savouring the attention his fans bestowed on him. They fed his ego, reaffirming the appeal of Savalas the Star. Like in all aspects of his life, his self-indulgent lifestyle reflected on his stylish images, airbrushed to perfection, on the cover of glossy magazines to the licence plate of his car which flashed “Telly S”.

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He met friendly receptions wherever he went for shooting movies or not. He had a great time in southwest Africa in 1975 shooting Killer Force (aka. The Diamond Mercenaries, D: Val Guest, 1976). Likewise, the German fans were happy to see him in West Berlin for the location work of Inside Out (aka. Hitler’s Gold/The Golden Heist, D: Peter Duffell, 1975). In Berlin, the children rolled up their sleeves to have their arm autographed by him while the girls greeted him with fresh red roses and handful of lollies which he often gave away.

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Keeping up with the then trend in Hollywood for racehorses, Telly ventured into horse racing when actor Walter Matthau turned down an offer to invest in a racehorse. With producer/director Howard W. Koch taking half interest, Telly acquired the other half at $3000 in an American thoroughbred racehorse whom he named Telly’s Pop (either after the lollipops he devours or his late-father who took him to his first horse race as a boy in New York).

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Although Telly later admitted on his CBS-TV show that he does not know anything about horses, audiences who had seen The Scalphunters, Mackenna’s Gold, etc, know that he could handle a horse.

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Telly dipped his toes into championship gambling and promotion of brand products. Lifting himself into the line-up of singing stars of stage and screen such as Mae West, Ethel Merman, Noel Coward, Robert Mitchum, Jayne Mansfield, Harry Belafonte, Christopher Lee, he forayed into the music industry and had some chart success – tunes that would make Duke Ellington tap his shoes seven-feet under.

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By the age of 54, Telly had won over audiences with his nightclub act in Lake Tahoe and Las Vegas where one of the highlights was a bouzouki dance he performed with his brother Constantine. In November 1975, at the wish of Her Majesty Queen Elizabeth II, Telly sang at her Royal Command Palladium concert where celebrities like Count Basie, Charles Aznavour, etc performed in spite of the bomb scare that autumn. During that time, the media reported him playing golf with world’s top golfer Tom Weiskopf on the Ailsa golf course at Turnberry in Scotland.

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Often things in life simply don’t go according to set decisions. Telly never forgot the break he got from Burt Lancaster into movies which he reciprocated to the career of others. A 1975 newspaper reported actor Gene Hackman talking on the Douglas show about how Telly, while preparing to move from New York to start out his acting career in Hollywood, suggested to Hackman to “get his skates on” and head for the West Coast where the real action is – which resulted in Hackman’s entry into films on the Coast. Like Telly, the film Mad Dog Coll also marked the debut of Gene Hackman. Telly also played an active part in philanthropy and philhellenism. However, as always, there are different perspectives about Telly bordering on arrogance and rudeness I have also come across during my research.

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For the Greek-American icon who once said that he carried his Hellenism like a badge of merit, the opportunity to play a real Greek on Greek soil came in 1978 in the WW2 POW adventure film, Escape to Athena (D: George Pan Cosmatos, 1979) which had an all-star cast including Roger Moore, David Niven, and Claudia Cardinale.

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In his autobiography, actor Roger Moore wrote about his location days for Escape to Athena on the isle of Rhodes when he brushed up on his gambling at the tables of the local casino which were also frequented by Telly. Stuntman Vic Armstrong’s autobiography also contains interesting pieces about the location shooting of this movie – about how, in the early hours, a bored Telly would phone him to play a game of poker.

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Telly visited Greece again in early 1982 for location shoot in Laconia for My Palikari (American Playhouse, D: Charles Dubin). He turned this into a family affair and had his young son Nicholas from Los Angeles christened at the church in the village of Anogia, the birthplace of Telly’s mother.

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Meanwhile, his career progressed with movies including Capricorn One (D: Peter Hyams, 1977), Beyond the Poseidon Adventure (D: Irwin Allen, 1979), Border Cop (aka. Blood Barrier, D: Christopher Leitch, 1979), Hellinger’s Law (D: Leo Penn, 1981), Fake-Out (aka. Nevada Heat, 1982), Alice in Wonderland (D: Harry Harris, 1985), The Dirty Dozen: The Deadly Mission (D: Lee H. Katzin, 1987), The Dirty Dozen: The Fatal Mission (D: Lee H. Katzin, 1988), Mind Twister (D: Fred Olen Ray, 1994), Backfire! (D: Dean Bell, 1995), etc.

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Augmenting his taste for the international high life, he was regularly featured in forgettable European movies shot across the Atlantic. Some of them were as dull as a wet Good Friday but made pots of money. Having worked with European moviemakers earlier, Telly was at ease with the European way of shooting schedules and locations all over Europe. In the movie business, one gets to work closely with a lot of people. His further outings into Continental productions also gained him good rapport with more moviemakers as well as with industry professionals and eminent personalities.

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A Town Called Hell (D: Robert Parrish, 1971) and A Reason to Live, A Reason to Die (D: Tonino Valerii, 1972) were shot in spaghetti film locations in Almeria and Madrid. His repertoire of European productions also included the Charles Bronson-Jill Ireland vehicle Città violenta (aka: Final Shot/The Family/Violent City, D: Sergio Sollima, 1970), Crime Boss (D: Alberto De Martino, 1972), Senza Ragione (aka Redneck, D: Silvio Narizzano, 1973), Faceless (aka. Les prédateurs de la nuit, D: Jesús Franco, 1987).

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Besides Telly’s appearance in Horror Express (1972), Italian director Mario Bava and producer Alfred Leone cast him in Lisa and the Devil (Lisa e il Diavolo, 1973 – re-edited into The House of Exorcism (1975)) as the devious butler Leandro, the Devil who lured Lisa (Elke Sommer) into the Spanish villa of a blind Contessa and her deranged son. It is in this masterpiece of Mario Bava, mainly shot during the latter half of 1972 in Toledo, outside Madrid and Barcelona that Bava showed the lollipop sucking Telly to great effect, and the sucker became Telly’s trademark in Kojak by late 1973.

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While his continuous interest in Continental filmmaking extended to the 1991-93 TV series  Ein Schloß am Wörthersee shot in Austria and Italy, Telly had also appeared in faraway locations like Australia where he shot Rose Against the Odds (D: John Dixon, 1991).

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Hollywood Boulevard’s Walk of Fame awarded him his Star in 1983. The following year, Telly and his third wife Julie Hovland were married. Having promised to be together for richer, for poorer, in sickness and in health, they remained married until his death.

On Saturday July 23, 1988, the tragedy struck. Christina Savalas, Telly’s mother and a leading American artist whose “Picassolike” work received local and international exhibitions, died of heart failure at age 84 at Providence Saint Joseph Medical Center, Burbank, California.

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On Saturday, January 22, 1994, one day after his 72 birthday, surrounded by wife Julie Hovland and family, Telly died of Prostate cancer at the suite he kept at the Sheraton Universal Hotel, Universal City. According to the death certificate, the cause is stated as Renal Failure/Metastatic Disease/Transitional Cell Cancer of Bladder.

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After services at St. Sophia Greek Orthodox Cathedral in Los Angeles, Telly was buried at Forest Lawn Memorial Park, Hollywood Hills, Los Angeles, on January 25, 1994. The large marker on the lawn of his grave contains the header “Telly Aristotle Savalas” (a) followed by the quote from Aristotle:

The hour of departure has arrived,

and we go our ways –

I to die and you to live.

Which is better God only knows.

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Telly has gone. Has he fulfilled his aims and ambitions? The question brings to mind a letter the French novelist and playwright Honoré de Balzac, when quite a young man, wrote to his sister about his aims and ambitions: “….. I have two and only two passionate desires – to be famous and to be loved. Will they ever be satisfied?”  As for Telly, maybe none may dispute that he had fulfilled both the desires Balzac was referring to.

Until next time, Jo

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Notes:

  1. The spelling of the middle name on the marker and the Certificate of Death: 39419004248 dt. 22-1-1994 shown in a website differs.
  2. This article owes its source to various newspapers, books, magazines, visual media, etc.
  3. Films forming part of the collection of Manningtree Archive are marked in bold.
  4. Most of the movies and books referred to in this article are available with amazon.com, amazon.co.uk and other leading dealers.
  5. DVD sleeves credits: amazon.com, en.wikipedia, imdb and from my private collection.
  6. This illustrated article is an affectionate nosegay to the movies and performers of the past. Please refer to “About” of my webpage for more details.

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(©Joseph Sébastine/Manningtree Archive)

Mr. Telly Savalas, Back to the Limelight…, Please!

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Part I

Life with many beginnings and endings is a progression of cycles. Just like the years before, the New Year arrived in the cyclical order – ushering in the divisions of days, weeks, months, various seasons, in conjunction with personal social relationship events such as the dates of birthdays, weddings, anniversaries, etc. Within the past three weeks of January in the present calendar, there were few birthdays (including mine on 18th) and anniversaries of people I have had the privilege of knowing – and also a reminder of more to come as the year progresses – a good number of which must be reinforced by remembrance.

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Those with nostalgic longing for movies of the second half of the 20th century would not have to jog their memory much to remember the late Telly Savalas, the Film/Television actor, TV show host and Singer. Telly shared his birth and death in January – on consecutive days of 21st and 22nd. In many of us, the image of Telly Savalas was moulded not only from the characters he portrayed in a string of movies or from his presentations in Television, or the music albums but also from the wide attention he generated to himself by display of his images in a wide range of American-International magazines.

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Of those movies featuring him in a succession of devious characters, one could easily think of the box-office hit, The Dirty Dozen (D: Robert Aldrich, 1967) which presented Telly as a convict and brutal rapist; he was an earthy renegade killer whose frumpy mistress (Shelley Winters) described him as having “as much feelin’s as a bald-headed hog” in The Scalphunters (D: Sydney Pollack, 1968); a black marketer in Battle of the Bulge (D: Ken Annakin, 1965); a no-good army sergeant in Mackenna’s Gold (D: J. Lee Thompson, 1969), a sadistic bandit leader in A Town Called Hell (D: Robert Parrish, 1971); a crooked narcotics agent in Clay Pigeon (D: Tom Stern, 1971); the cold-blooded assassin in L’assassino… è al telefono (D: Alberto De Martino, 1972)….. and so the list goes on until he came across his alter ago Kojak.

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Like the bald headed Hollywood actor Yul Brynner, it is difficult to fully fathom the real story of Telly Savalas since he told a different story in every other interview – a phenomenon I had noticed while researching for this article.

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Aristoteles Savalas (a) was born in Garden City, New York, on January 21, 1922 (b). He was the second son of artist Christina Kapsalis (a former Miss Greece beauty queen from the Greek village of Anogia) and to Nicholas Constantine Savalas (originally spelled Tsavalas – hailing from the village of Gerakas), who made a fortune in tobacco, lost the lot and made another fortune in the bakery business. As teenagers, both his parents had emigrated to America in the early 1900s.

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The second of five children (three brothers: Constantine Socrates, George Demosthenes, Theodore Praxiteles and sister: Katherine), in his earlier days, Aristoteles who spoke fluent Greek, had to sell newspapers, shine shoes and work as a lifeguard to help support the family. Somewhere along the way, he became regularly known as Telly. Having enrolled in the army in 1941 and following four years of service during the World War II he was discharged duly decorated with a Purple Heart for injuries sustained. How he was wounded in the war is unclear – quite similar to the ambiguity about how his left index finger got slightly mangled.

7With the intention to pursue a career in the diplomatic service, Telly graduated in psychology from Columbia University where he had met Katherine Nicolaides. After his father’s death, Telly married Katherine in 1948 and together they had Christina. Following few years work with the Near East Information Services branch of the U. S State Department as host of the Your Voice of America series, ABC (American Broadcasting Company) News hired him as a producer. Having left ABC in January 1959, he had his first TV acting role in And Bring Home a Baby, of Sunday Armstrong Circle Theatre (1950–1963). Burt Lancaster saw his work and drew him to California to appear in episodes of the CBS TV series The Witness (1960-61).

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About the age of 39, Telly had forayed into acting in feature films, debuting with Mad Dog Coll (D: Burt Balaban, 1961) which chronicled the career of the Irish American gangster, Vincent “Mad Dog” Coll. Telly portrayed the role of another Lieutenant in the crime drama film The Young Savages (D: John Frankenheimer, 1961), the first of Burt Lancaster’s four picture deal with United Artists (the other three being Birdman of Alcatraz (1962), The Train (1964) and The Hallelujah Trail (1965)).

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Luck played into his hands when, impressed by his performance in the roles of Al Capone and “Lucky” Luciano in The Witness in which the life and crimes of America’s notorious rogues are investigated at a committee of inquiry; and also in The Young Savages shot in New York, Lancaster provided him the important role of the solitary row prisoner Feto Gomez of Leavenworth Prison in the prison biography, Birdman of Alcatraz. This breakthrough role earned Telly an Academy Award nomination as Best Supporting Actor.

Following his divorce from Katherine, in early 1960s when his film roles were mainly villainous, he got married for the second time to Marilyn (Lynn) Gardner.

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When director George Stevens’ cameo-packed dramatization of the life of Jesus Christ, The Greatest Story Ever Told (1965) was announced, many eyebrows were raised at the parade of famous actors in unexpected roles. The casting of Telly as Pontius Pilate drew smiles from those who thought that a Brooklyn accent has no place in a Biblical epic.

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Stevens thought that the 6’1” Telly would look more virile and powerful in the role of the Roman prefect (governor) of Judaea if he shaved his head. Telly found the proposition extremely attractive and decided to go on with life as it was before retaining his signature bald look he took for his role in this Bible epic. Whyever not?

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He simply chose to shave his head for the look. By the way, men generally don’t grow beards because they dislike shaving – but because they think their whiskers make them look better and give them a distinctive image.

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He is on record in an interview as saying about the time Telly told his mother Christina vis-à-vis his casting in The Greatest Story Ever Told. She had rounded things off with the remark: “You are joking!” and she continued, “You’ll make a Marvellous Jesus!” She must hold the world record for being the world’s most optimistic mother.

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Telly had a memorable role as James Bond’s notorious arch-rival Ernest Stavro Blofeld in On Her Majesty’s Secret Service (D: Peter Hunt, 1969) in which stuntman Joe Powell nearly got killed doubling him in the bobsleigh in Switzerland. Two of his co-stars of The Greatest Story Ever Told, Donald Pleasance and Max von Sydow also played Blofeld in You Only Live Twice (D: Lewis Gilbert, 1967) and in Never Say Never Again (D: Irvin Kershner, 1983).

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Of his bald head, he once said that “everyone’s born bald.” In spite that Telly was typecast as a villain for being entirely bald, audiences took him to their hearts – believing that in the baddie they saw onscreen rested a sweet nature. His strong features and ethnic look came handy for the role of Shan in Genghis Khan (D: Henry Levin, 1965).

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The success of that film gave his career further fillip earning him roles in Buona Sera, Mrs. Campbell (D: Melvin Frank, 1968), The Assassination Bureau (D: Basil Dearden, 1969), Kelly’s Heroes (D: Brian G. Hutton, 1970); Pretty Maids All in a Row (D: Roger Vadim, 1971), etc.  For the title role of Pancho Villa (1972), the bald look was vindicated by the shaving of his head in prison during the opening sequence.

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Since 1974, after a long separation Telly and Marilyn were divorced. According to the mini documentary “Telly Savalas: The Golden Greek”, he had met the beautiful Sally Adams while working on the movie, On Her Majesty’s Secret Service  (c). In 1973, Cojack with ‘c” hit the TV screens and his luck seems to improve.

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Although the bald-headed, deep, gravel-voiced Telly had been acting since the late 1950s, real popularity came looking for him in the title role of the famous CBS TV series Kojak (October, 1973-April, 1978) which was a spun-off from the made-for-TV pilot, The Marcus-Nelson Murders (D: Joseph Sargent, First American Broadcast: March 8, 1973).

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Few initial instalments showed him wade through a stereo-typed routine of law-and-order claptrap. But soon Kojak became a prime program as the series turned tough and reasonably true – taking on the look, sound, feel, taste, and smell of the New York crime investigations.

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Working out of a Precinct of Manhattan, Telly’s Lieutenant Theo Kojak, in fabulous three-piece suit, displayed a more credible human being. Much of the vicious power and toughness Telly had displayed in his earlier villainous roles were there. But the exception was that, in his new persona as the stubborn and tenacious good guy Kojak with a deep concern for people and justice, his wrath was targeted against the crooks, spooks and killers. Audiences related to Kojak’s passionate belief in equality and fairness and his vehement opposition to police bureaucracy. Well, you know the rest.

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While Telly reigned supreme in the role of the chrome-domed streetwise cop’s cop with a sweet tooth for sucking lollipops and a penchant to wisecrack snazzy lines, Telly soon became indelibly identified with the character of Kojak. “Telly and Kojak are one and the same,” Telly said in a TV interview, drawing a parallel between him and Kojak.

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His love for the suckers, I mean, his serious attitude towards the lollipops, reportedly to replace Telly’s addiction for long thin cigars, was initially featured in Episode eight “Dark Sunday” of Kojak in December 1973. This addiction for suckers could have its origins in Toledo, Spain and to Italian director Mario Bava, the father of Italian horror films.

This concludes Part I.  Part II will follow. Jo

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Notes:

  1. The spelling of first name is based on Certificate of Death: 39419004248 dt.22-1-1994 shown in a website although the name on his tombstone differs;
  2. The date is based on his death Certificate;
  3. Some sources maintain that Telly met Sally while working on the movie, The Dirty Dozen.
  4. This article owes its source to various newspapers, books, magazines, visual media, etc.
  5. Films forming part of the collection of Manningtree Archive are highlighted in bold.
  6. Most of the movies and books referred to in this article are available with amazon.com, amazon.co.uk and other leading dealers.
  7. DVD sleeves credits: amazon.com, en.wikipedia, imdb and from my private collection.
  8. This illustrated article is an affectionate nosegay to the movies and performers of the past. Please refer to “About” of my webpage for more details.

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(©Joseph Sébastine/Manningtree Archive)

A Winsome Sweet ‘17

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2The New Year’s Day 2017 has arrived with hopes – giving new courage and belief for a fresh start. The transitory period when the old year gives way for the new often kindles a curious manifestation of optimism in us and inspires hope for a “happy and better New Year” – free from the misfortunes of the year just gone by. Inwardly, this feeling is merely a repetition of the optimism that inspired us at earlier New Year’s Eves when it was wished that the ensuing New Year would bring its own heaven. Even though the year’s outcome was contrary to our expectation, yet again, when the clock struck the first note of midnight at the New Year’s Eve, and the bells ring, the fire crackers were lit, Auld Lang Syne was sung to be followed by other old, new, nostalgic medley of seasonal carols and songs, and toasts were raised, we take fresh heart to, once again, hope for the best.

New Year’s Day is the eighth day after Christmas and traditionally, bears the name “Octava Domini” (In Octavas Domini) in the Gelasian and Gregorian Sacramentaries. The first of January appeared as an ecclesiastical festival at Rome for the first time at the beginning of the ninth century, where it is called from the first Circumcisione Domini. The idea and date of this festival are derived from the Gospel of St. Luke (Chapter II. 21), since eight days after birth, the Christmas child of Virgin Mary was circumcised and received the name Jesus, a personal name. The year ends with the birth and begins with the naming.

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This year’s crib in our house

The traditions and customs related with New Year’s Day were concerned with bringing good luck for the coming year. When the year dies out at the chimes of the midnight hour, and when the traditional toast and ubiquitous salutations of “Happy New Year” and “Good Health” resonate the air and people hugged, kissed and shook hands; whatever be the attitude of the body, certain thoughts in some of us would become silent prayers turned heavenward, thanking for the past years and hoping for the best times and good health. Holy Toledo! The truth is you cannot savour the joys of life without good health.

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It is also a time for New Year resolution – decisions intended to abandon a bad habit or adopt a good one in the New Year, most popular being the decision to give up smoking and to diet which are always updated as time passes by. According to a survey, two people out of three made such resolutions but most soon break them.

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Back in December 2013 we were in Bangkok for the festive season. There was political unrest in the country at that time between red and yellow shirts. But rather than let the tourism go haywire and celebration of people curtailed, the sensible local authorities, very efficient to cope with the matters of their positions and departments, did not clamp on any undue restrictions which was laudable.

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On that warm Saturday morning of December 2013, I was waiting to keep my appointment at one of my favourite Foot Reflexology parlours in Bangkok which I had managed to reach from my hotel with some difficulty. As many of you will know, Bangkok is notorious for traffic congestions, but since yesterday (Friday, 27th) the streets were unusually packed as the New Year revellers flocked out of Bangkok to their villages. A friend of the owner of the parlour, a middle-aged Thai was also in the lobby with me waiting for the arrival of his friend. A great conversationalist, he is known to me from my earlier visits. That was the extent of our acquaintance. Having known that I write about Bangkok, he wisely used my waiting time to give me a run through about some of the many traditions and customs of his land – most of which I had come to know over the years in some finery.

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9When our conversation touched upon Songkran festival (marks the start of the traditional Thai New Year which falls during April), he suddenly switched the topic to the hair style he would be getting at the adjoining salon either on 30th or 31st (specifically on Monday and Tuesday which he believed are the only good days for getting haircut!!) in time for the New Year’s Eve. At that time, his hairdresser would remove the red-shades from his natural jet black hair worn too long by Thai standards. Although I tried to avert the conversation from being nosy about his personal choice, he went right ahead and told that he is clearing the red shades for his elder sister who has invited him to her house for late dinner on the New Year’s Eve which he intended to attend, after cutting-short his own razzle-dazzle with his friends at the local pub.

8As assigned, he would be the “first-foot” to enter his sister’s household to usher in the New Year. This fairly clear-cut custom, which has many versions, is based on a Hogmanay (a New Year’s Eve in Scotland) tradition, and still kept up in some Far Eastern and Australian households.

It is believed that if the first person to cross the threshold of a house after midnight, when the old year ends and the New begins, is a dark haired man, a year of good luck will follow. Since her brother’s last “first-foot”, she had experienced lesser gale over the domestics. And certainly, once more the elements of specific gifts a “first-footer” usually brings which symbolised life, hospitality and warmth is in his consideration to take along with him.

For his sister, who displayed great strength and furious energy to go through the ritual of sweeping her whole house thoroughly on 31st of every December, the recruitment of her brother to make the necessary entrance at her house is rooted on her belief that it should be someone with dark hair and not of her household.

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Family ties are stronger at Christmas and New Year time – and louder, too. First of January is Global Family Day, too. Mind you, he would have his fun in her home ground – the whisky, the songs, the smile, the smells – and the mishmash of games: shuffleboard, Ping-Pong, Bingo, cards, and God knows what else. To reach her home at that time of the night without the bow-wow of stray dogs in her street would be a benefit since any stray dogs living in the premises on New Year’s Eve were particularly cleared because, according to his sister, they brought bad luck.

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People do strange things hoping for best things ahead. Not long ago, a European chef of Mandarin Oriental spoke about a Thai chef’s unbridled enthusiasm for anything associated with superstitions. The Roman belief that misfortune would come into a house by anyone entering with his left foot first, is a custom which is strictly followed with right foot by his family. They have a tradition to criss-cross certain rituals of the Thai Songkran festival also with the customs of New Year’s Day.  The ingredients they used in this respect, forming part of the ritual of bathing of Buddha statues during Songkran, consists of five bowls containing different-coloured floating flowers – each colour to represent prosperity in a variety of forms: Rose Red to bring a tranquil life devoid of obstacles; Marigold Orange to signify success and wealth; Anchan Blue representing strength to overcome obstacles; Pandan Green for peace without problems; and Jasmine White to symbolise a joyful life.

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The question about how a fairly intelligent and even moderately educated person could inwardly believe these superstitions – that number 13 is unlucky, or that one should not start a new venture on Friday, etc., in spite of its universal acceptance, is, how-do-you-say-it, much like a pyramid balanced in unstable equilibrium upon its point. Nevertheless, people do knock on wood; take a pinch of salt and throw it over their left shoulder; or refuse to walk under a ladder, and hope that, “touch wood”, this New Year would hopefully go down in memory as the year they moved into the house of prosperity, good health, peace, joy and all things of goodness – with the baggage of serious misfortune safely left behind. I remember the saying, if you must leave your old house and move to a new one do not take your old broom with you.

Thank you for riding with me during the past year. I raise a toast: Here is wishing my friends and readers a lovely, peaceful and prosperous new 2017. Jo

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(©Joseph Sébastine/Manningtree Archive)

NOTRE DAME WILL STAND – Part II

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Will you walk a little faster?” said a whiting to a snail,

“There’s a porpoise close behind us, and he’s treading on my tail.”

Here at last, we are at the queue at Portail de Sainte-Anne and these lines from: Alice’s Adventures in Wonderland, The Lobster Quadrille (The Mock Turtle’s Song) by Lewis Carroll (1832-1898) had crossed my mind. To whoever was right behind me at the queue – there certainly was urgency to get into the cathedral.

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Once inside, we would soon realise that the timing of the visit to Cathédrale Notre Dame de Paris was perfect for us. Before we could explore the double aisles, various chapels, rose windows, the ambulatory, etc, our attention was drawn to the streams of music wafting from the central transept where, we soon found the Chorus, soloists and an orchestra in jubilant mood – practising a classical music concert. So that explained the urgency at the queue.

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In comparison with its length, the cathedral is extremely broad. Standing over the black and white coloured floor tiles at the west end, the interior appeared well lit though I could see a marked variation between the principal nave, the transept and the chancel.

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However, despite the changes made to provide more light to the tribunes, in gloomy weather, the cathedral can still appear sombre and even cavernous. This subject about the light reminded me of an entry I once read in the Duchess of Windsor’s (Wallis Simpson) memoirs: “….As the Prince of Wales (Edward VIII) walked past, I (Wallis) overheard him mutter to his uncle, the Duke of Connaught: “Uncle Arthur, something ought to be done about the lights. They make all the women look ghastly.” (1)

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Good music often transports me into another dimension. Slipping into a wooden bench nearer the transept, we spent some time in glorious musical bliss while the 14th century Statue of Virgin Mary Holding the Christ Child joyfully watched over us as she leaned against the south-east pillar where an altar dedicated to the Virgin had stood earlier. This work is dedicated to “Notre-Dame de Paris” and the most distinguished of nearly 40 representations of the Virgin inside the cathedral.

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At every moment in the world, things change and the shape of things to come seldom announced its presence among us, but later on. It was as if fate had planned our visit to arrive here right on our schedule. Had we lingered longer by the banks of the Seine and watched the barges and bateaux mouches float silently along the river; or indulged longer to thumb through dusty volumes at the quayside bouquinistes’ stalls selling bouquins (old used books) and other special treasures, while enjoying the kiss of the sun from above; or idled more time away sitting under the candy-stripped awning of the open-air café on the chestnut-lined boulevard, with a lingering glass of red and a croquet-monsieur, relishing the general joy of watching the moving stream of pedestrians; – then, we might never have reached this cathedral to enjoy the musical treat on that day. Punctuality works! Carina always said Punctuality is indeed my first, last and middle name.

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I was too entranced in the music to turn around to look up the nave at the West end where, directly below the artistic upper West Rose window is situated the great organ (one of the three) – a marked feature of the Cathédrale. Rebuilt by Thierry Lesclope in 1730, enlarged in 1785 by Cliquot, and improved by Cavaillè-Coll, it is reputedly the largest organ in France, There is no need for me to look back at it now. I had endeavoured to study it during earlier visits and my mental picture of that area is clear down to the upper ends of the organ’s pipes obstructing the lower half of that Rosette.

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Presently the musical performance came to a close, and a wave of applause swept through the cathedral. Most of the crowd, as if signalled by an internal green alert, had started to head for the exit – possibly, in search of the sun.  We resumed our exploration along the far-stretching southern aisle, passing the great cylindrical columns rising to support the vaulted ceilings, their weights being shared by the external flying buttresses on both sides of the huge structure. On our right was the line of chapels forming part of the numerous chapels around the walls.

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I can well understand why Notre Dame de Paris has had a splendid acceptance. In its long course of construction, this edifice had to transit through the art movements of Romanesque and the Gothic, a progression that branded it as a transitional structure. The gauzy structure of Gothic architecture resulted in the rise of stained glass, the virtual elimination of solid wall space and transformed the walls as connecting space for windows. At that time, the thought crossed my mind that all this would be of professional interest to my second daughter Andrea, engaged with her studies in architecture back home.

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An important feature on the southern side of the slightly projecting transept is the Rose window. Now this is an artful creation of bold, simple trellis designs with an amazing arrangement of stained glass work. The most frequent background was a red trellis on a blue field. During an earlier visit, I overheard a local guide mentioning about the window’s primary colours to a group of American tourists, suggesting that “it is very drawable.”

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But if we observe it with a painterly eye, there is a revelation. We could see the predominant blue dissolves for different colours; and the window glows in pink and crimson tones. The colours had been there to be found all the time. When taken as a boy to Notre Dame, it was this rose window of the south which seized upon the imagination of the great architect Viollet le Duc (January 1814 – September 1879) and stirred his passion for Gothic. In “Paris; the Magic City by The Seine”, author Gertrude Hauck Vonne explains that situation: “While gazing at it the organ began to play, and he (Viollet) thought that the music came from the window – the shrill, high notes from the light colors, and the solemn, bass notes from the dark and more subdued hues.”

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2-013As we proceeded further ahead, we would notice that not only the nave, but the choir, possessed double aisles. To our right was the entrance to The Sacristy (formerly part of the Palais Episcopal) and The Treasury which housed many precious things. Before going around the magnificent semi-circular apse at the east end to the northern aisle, one could see the High Altar; the three large statues: the Descent from the Cross; Louis XIII, (both by Guillaume Coustou, 1677 – 1746) and of Louis XIV (by Antoine Coysevox, 1640 – 1720). The Ambulatory (pourtour) of the Choir was raised above the body of the church by three steps, both sides enclosed by a low grille in wrought iron with gilding. I could well imagine the magnificent set-piece of pageantry of various ceremonial occasions held here; and how the echoes of many “Te Deums” had resonated inside these old walls for victories long forgotten, and for those many long remembered.

The removable stones of the pavement close to the small organ on the north side of the choir lead to a subterranean burial chamber for eminent officials of the cathedral. Remains of a small Gallo-Roman votive pillar to Jupiter (which I had mentioned in the First Part) were discovered some six feet beneath the apse during excavations for this crypt during 1711.

Prior to the northern Rose Window, one could see the famous Porte Rouge (Red Door), a masterpiece that dates back to the 14th century. It derived its name from its painted doors.

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Corresponding with the statue of Notre-Dame de Paris on the south is a statue of St. Denis by Nicolas Coustou in the north. Although many of the treasures were destroyed by the Revolution, granted there is time and inclination to explore the interior, one could spot the intrinsic beauty of many things that were well made – the sexpartite system of alternating ground supports, the clearstory, the stone step, the various windows, moulding round the doors, an artistic door handle, the numerous sculptures, fine chandeliers, paintings of much value ,… and the flowers at the foot of the statue of Notre-Dame de Paris which seem, to some, suddenly glow as if they were lit from within.

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Having purchased a Médaille for Andrea from a counter at the west end, we walked out through the northern Portail ae la Saint Vierge. In the bright sunlight one could clearly see the splendid character of the ironwork of the outer doors.

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Curious tradition relates this to the skill and energy of the devil. Up above, the grotesque representations of Chimères and gargouilles or “Devils of Notre Dame” lurked on strategic locations of the cathedral, scowling down from their point of vantage upon the French metropolis – probably their mark of attention even reached our present hotel somewhat closer to Basilique du Sacré-Cœur – one of the many hotels of Paris noted also for its number of French oils – impressionist, expressionist, and abstract.

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As we took leave of Notre Dame de Paris, I reflected on the staying power of this ornate feat of architecture – this edifice of a community’s tangible bygone days. Have I missed something here? Although individual escape from the present into the past has rarely been more widespread than it is now, there is another side of the coin of course. Recently the world has witnessed the cruel destruction of historical monuments to suit the ideologies of certain groups.

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In September 2016, The Telegraph (UK) reported the discovery of upto seven cylinders of gas tanks and documents in a specific language in an unmarked Peugeot 607 next to Notre Dame cathedral, sparking fresh terror fears. Condemnations and appeals against such ideologies were heard. Victor Hugo’s 1831 novel, Notre-Dame de Paris, was the product of a similar protest and aimed to draw attention of his contemporaries to deter the destruction of existing architecture.

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By visiting and polishing up our love for noble monuments of the past, relating the stories behind their construction, understanding the masters who build them in their times, we not only comprehend the traditions, aesthetic and cultural history of an area but also of the high-values reached by civilization. Time is the most precious commodity I possess. I am glad that the hour glass of my life is also filled by precious moments like the favourite footpaths I have treaded in the course of my visit here – helpful journeys into the past which I am excited to make from time to time. And, hopefully, when I come back here again, I know Notre Dame de Paris will be here – waiting. Jo

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Notes:

  • Besides other improvements, the Cathedral’s lighting system was upgraded by late 2012 owing to a year-long 850th anniversary celebration.
  • For those in need of flowers for Notre Dame de Paris, there is a huge selection at Marché aux fleurs, Place Louis Lépine – Quai de la Corse near Cité Metro Station.
  • I am indebted to many publications dating from the late 19th century onwards, for useful background data;
  • This article is dedicated to my daughter Andrea Lalis Sebastine, the architect in our family.

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(©Joseph Sébastine/Manningtree Archive)

Vicissitudes of Life – according to Jaya ANNA

1Every so often an exhibition of paintings comes along which is superior to the general run that it automatically receives special attention. Such an installation was “Layers”, an exhibition of paintings recently concluded at Taj Gateway Hotel, Cochin, Kerala (India).

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6Presented in collaboration with Sula Vineyards who hosted a complimentary Sula Wine tasting session during the event, on view in “LAYERS”, the first solo exhibition of Ms. Jaya Anna (aka Jaya Annamma Mathew) were 30 of the finest paintings of still lifes and vivid landscapes from her studio vault – created by her in a career spanning almost half a decade.

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Hailing from Kuttanad but living alternately between Cochin and Trivandrum in Kerala, and celebrated as a thought-provoking contemporary artist, Jaya (as she is adorably called) through her bold use of colours and vigorous brush strokes, has developed a visual language that reflects her vision and energy in a variety of styles.

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An art exhibition is an individual thing, a unique event. “Layers” offered rare, evocative, and influential examples of Jaya’s works which featured not only the very vicissitudes of life through which our day to day life progress – but also her passionate response to the identity of women and their place in the society.

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A painting has to be the experience, instead of pointing to it. In the blend of colours and shapes of her paintings, the works reveals its meanings perfectly clearly, some of which has derived from her personal experiences, which challenges viewers to approach her paintings from a very personal point of view. In fact, I found myself returning to her paintings and encountering myriad subtleties that I did not notice before.

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The exhibits also displayed her acumen in choice of viewpoint. On balance, where to stand when painting or sketching is one of the most important decisions an artist has to make since it will have a great effect on the finished painting. While all of Jaya’s oeuvre are either in oil or acrylic or both combined (viz., Draupati and Her Angels, Expression, and Others), “Kumarakom” is created with watercolour.

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A former English teacher at two reputed Colleges in and around Cochin, Jaya’s creative skills with paints, brushes and palettes was honed without any professional training except for a three-day workshop in her 20s under renowned artist T. Kaladharan whose encouragement had eventually culminated in “Layers” which was inaugurated by him.

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With the drive and energy to dream and create, Jaya has shown that her ever flowing creativity just cannot be deterred. Stamping her presence in the art scene with “Layers”, she had empowered the viewer, making them an integral part of the work. It is hardly surprising that many viewers to her solo debut show could foresee Jaya soon emerging under the spotlights of the art community.  As for me, my intuition already knows that more widespread acclaim will not be far behind in leading right up to Jaya’s studio door. Until next time, Jo

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PS: Original and print of paintings on demand available from : wordpub@yahoo.co.in

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(©Joseph Sébastine/Manningtree Archive)