Hail & Farewell.

Lest we forget.

Death Of A Clown.

Source: Inquisitr

I don’t know where to begin with Tim Conway. Maybe that’s because I feel like I grew up with him, whether it was watching reruns of McHale’s Navy in the afternoons after school or watching first-runs of The Carol Burnett Show in the evenings where my favorite thing was seeing Conway break up the cast, especially Harvey Corman who, to me when I was a kid, had a kind of sinister quality. Seeing Tim Conway make Corman laugh, now that I think about it, was an early lesson for me in how comedy could make something scary safe, could rob it of its power.

Tim Conway also seemed like a big kid fumbling around among the adults, making a mess of things but, like any kid, able to get away with it because of his naiveté. Even when he played adult characters, like Mr. Tudball, the overbearing boss, he seemed like an overgrown child, just barely able to hold up the pretense of being mature, and his old man character who provided another early lesson: we end life much the same way we begin it, helplessly shuffling along, just trying to get by.

There was also something about that face of his. Tim Conway was a natural born clown, someone who seemed almost like he wasn’t born but produced in a laboratory for comedy. It made everything he did funny. I had an aunt who took me to see his films with Don Knotts: The Apple Dumpling Gang, The Apple Dumpling Gang Rides Again, and Private Eyes. None of them were that great, but everything Tim Conway said and did made me laugh. Some comedians take on dramatic roles and earn high praise for being able to play it straight. Tim Conway never did, possibly because he never wanted to, but also because I’m pretty sure he could do Hamlet’s “To be or not to be” speech and it would be hilarious.

It’s even funnier, though, that in one of his last roles, reuniting with Ernest Borgnine who played the aged superhero Mermaid Man on Spongebob Squarepants, Conway was the voice of Barnacle Boy, Mermaid Man’s sidekick, and in a great reversal, the straight man. Mermaid Man was always the joke, bumbling around, in need of help, and Barnacle Boy was the competent one, occasionally calling Mermaid Man “you old coot!” And yet, true to most of the roles he played, Conway was still a child, or at least younger than his companion. In one episode Barnacle Boy even becomes a villain simply because he’s tired of always getting the child’s meal at the Krusty Krab.

Even in old age he was young, kept that way by the innocence of laughter.

Hail and farewell Tim Conway.

He Kicked The Bucket.

Source: IMDB

Walter, you are just an echo of a world I knew so long ago.
-The Kinks, Do You Remember Walter?

My parents were telling me about an art exhibit of life size sculptures they’d been to.

“It reminded me of Bucket Of Blood,” said my mother.

My father explained that A Bucket Of Blood was a movie they’d been to see when they were still dating, then he asked me if I’d seen it.

“Seen it?” I almost shouted. “I’ve got it on DVD!”

My father rolled his eyes and said, “I should have known.” I’m still not sure why he was surprised. The fact that my parents were going to Roger Corman movies long before I was born explains a lot about who I am. Maybe it even explains why, long before I first saw it, I was strangely drawn to its star, Dick Miller. Maybe it’s why there was always something familiar about him. When I saw him as Murray Futterman in Gremlins or a gun shop owner in The Terminator or proprietor of a roadside restaurant in The Twilight Zone: The Movie, or a guy who eats flowers in the original Little Shop Of Horrors—I honestly can’t say which of those I saw first, and when he popped up in an early episode of Star Trek: The Next Generation—my reaction was always, hey, it’s…that guy! From…that thing! And I’m not the only one. A 2014 documentary about Miller’s life and career is called, fittingly enough, That Guy Dick Miller.
Maybe I recognized him because I’d seen him in something else. He built a career on cameos. After serving in the Navy in World War II he earned a Ph.D. in psychology—making him Doctor Dick Miller—then moved from New York to California to write screenplays. He went straight to Roger Corman who said he had plenty of screenplays but needed actors, so Dick Miller became an actor, appearing in several Corman films. One of his most memorable roles is as a vacuum cleaner salesman in 1957’s Not Of This Earth. Corman wanted the salesman to wear a suit and bow tie, but Miller came to the set in a black cashmere jacket and a black shirt, saying, “this is the way I dressed when I sold pots and pans in the Bronx…You think a guy goes to college to sell vacuums?” He played the role as a fast-talking hipster who says, “Crazy, man” when invited in, providing the film some much needed comedy.
Then he got a large, although not quite leading, role in the 1958 film War Of The Satellites, and would get his most memorable role in A Bucket Of Blood. Miller played Walter Paisley, a busboy in a coffee shop who longs to be like the poets and artists who hang out there. Mentally challenged and lacking any real talent Walter has an inspiration when he accidentally kills his landlady’s cat and molds clay around the body. He quickly moves on to people, turning corpses into sculptures that the critics love—until they find out what’s underneath. It sounds grim, and it is, although the story rocks along at a speedy pace and the total runtime is just a little over an hour, and even finds time for a subplot about heroin dealing that helps provide Paisley with a couple of models. Yet Miller made Walter Paisley a sympathetic character, playing him with a wide-eyed innocence reminiscent of Lenny in Of Mice And Men, and, like Lenny, he doesn’t fully understand the implications of his actions, which heightens the tragedy. The film was shot in five days on a very low budget, and critics noticed, but they were positive toward Miller. A review in Variety said “his ability to sustain a sense of poignancy…is responsible in large part for the film’s appeal,” and the CEA Film Report called the part of Walter Paisley “cleverly played”.
Miller stuck around for a small part in Corman’s record setting Little Shop Of Horrors, shot on the same sets and using most of the same cast, in just two days, but his career had peaked. He’d accumulate over a hundred screen credits in his career but until That Guy Dick Miller he’d never land another leading role. Instead he took small parts, and, in a kind of inside joke, played several characters named Walter Paisley. A Bucket Of Blood would go on to be remade as a made-for-TV movie on Showtime in 1995, and as a stage musical. Dick Miller, like some critics, regretted that Corman had been too focused on time and budget to make a better film, but remained proud of it, saying in 1998, “I believe A Bucket Of Blood is truly the cult film of all cult films…Very, very few films are in every film museum in the world. A Bucket Of Blood is.” That’s likely because the copyright lapsed and the film is now essentially in the public domain, but I think critics and scholars recognize that, like Walter Paisley’s sculptures, there’s something substantial under the film’s outer shell.
If you’ve never heard of Dick Miller, if you see a picture of him and, like me say, “Hey, it’s…that guy,” or if you don’t recognize him at all that’s sad, but it’s also at least partly his own fault. He was well liked and respected by directors and other actors. Some actors, on their days off, would come to the set just to watch him work. And yet he never pursued bigger roles. He took the saying that there are no small parts too much to heart. The film industry is full of actors with ambition but no talent. Dick Miller was the opposite. That Guy Dick Miller unfortunately doesn’t explore this in detail but does sum it up in its final moments when Miller looks straight into the camera and says he hopes people enjoy the film, it will probably be his last one. Then his wife hands him the phone and he says, “Hello?…Yeah, I’m available.”
Dick Miller, born December 25th, 1928, died January 31st, 2019, was the exact opposite of Walter Paisley: he took statues and gave them life, covered them with flesh and blood. He was the character actor of character actors. And as I think about his career I think about the saying that a great actor knows to leave the audience wanting more. Dick Miller was a very great actor.

 

 

 

Deadpans.

Source: USA Today

The recent passing of two performers has really taken me back to my past, two performers in very different genres but whose similar deadpan styles were a great education in comedy. Which is funny because one of them wasn’t even a comedian, but Mean Gene Okerlund was the funniest person in wrestling, and given how over-the-top and ridiculous wrestling is that’s saying something.
I’ve never really been a fan of wrestling–watching guys throw each other around just isn’t entertaining to me even when they have crazy characters and wear brightly colored leotards–but a couple of my friends were. One of them also had an illegal cable descrambler, which made his house the place to watch a lot of movies even though he felt compelled to throw a towel over the cable box every time a police car went by but that’s another story, and a large group of us gathered there one afternoon to watch Wrestlemania III. For my friends it was all about the grudge match between Hulk Hogan and Andre The Giant. For me the best part was Mean Gene Okerlund’s interviews with the wrestlers. Even though Okerland wrestled some his main career was announcer, ringmaster, and interviewer. The “Mean” was ironic, of course; Okerlund was known as one of the nicest people in wrestling, and his quiet gentility made him the perfect contrast to the wrestlers. While wrestlers screamed and raged and threatened to destroy their opponent in an upcoming match Okerlund would stand there holding the microphone, saying nothing. He’d glance at the camera, the faintest twinkle in his eye hinting at “Can you believe this guy?” But, like the wrestlers, he never let the mask drop. His only judgment at the end of an interview was to quietly say, “Wow.”

Source: MeTV

And then there was the purposely funny but just as understated comedy of Bob Einstein. I was never a fan of Evel Knieval but some of my friends were–it seems to be a pattern–so I loved the stunts of Super Dave Osborne, whom I first saw on David Letterman. Although the running joke of Super Dave Osborne’s daredevil stunts always going horribly wrong was predictable Einstein’s deadpan delivery always killed me, and while I was in college his animated series Super Dave: Daredevil for Hire was always a welcome study break. Most of the time when I hear about the passing of a famous person I learn something surprising about them. Yet I wasn’t surprised to learn that Einstein was the older brother of Albert Brooks and that he worked on The Smothers Brothers Comedy Hour with Steve Martin. Just like them, and just like Mean Gene Okerlund, Bob Einstein would fully commit to a ridiculous premise and make it funny by playing it completely straight.
Hail and farewell.

Art Matters.

When I took my first art history course it was simple. In fact it was just as simple when I took my last art history course. Art history was like regular history: a linear progression of events, or movements, starting with cave paintings, which were prehistory really, and going up through the millenia with widely spaced high points: Egypt, Greece, Rome, then there was the Renaissance, and the rediscovery of perspective. Neo-classicism gave way to Romanticism and then Impressionism was followed by Fauvism or Expressionism. As the chronometer ticked over to the 20th century everything exploded into a bunch of isms: Cubism, Orphism, Futurism. World War I prompted Dadaism and Surrealism. Before World War II the major center of art was Paris. After World War II it was New York, with Abstract Expressionism followed by Pop Art followed by…well, if they made it to that point the art history classes just sort of fizzled out there. Nothing was left: art history had ended. For some art historians Andy Warhol’s soup cans were the capstone. For others the end had come before that: the first time a prehistoric person placed pigment on a cave wall was leading up to the moment Jackson Pollock dripped a blob of paint, breaking the connection between brush and canvas that had been the basis of all art. The greatest emphasis was on artists who were mostly white and mostly European and mostly men, artists who were centered in Italy, Paris, and New York, with brief asides to Berlin, Moscow, and London, because they were the Artists Who Mattered.
Even from the beginning, from that first art history class, there was a question in the back of my mind: what about artists in other parts of the world? Artists from Japan, the South Pacific, South America, and Africa influenced a lot of those 20th century isms, so why did the mostly anonymous artists who produced those works matter less than Manet, Van Gogh, Picasso? The history of art history follows a pretty simple pattern. Vasari, whose Lives Of The Artists is considered the first work of art history, focused on artists he knew. In the 16th century the internet was pretty rudimentary and unreliable; dial-up hadn’t even been invented yet, and that remained true up to and even through 1950 when E.H. Gombrich published The Story Of Art, the book that was either used or influenced every art history course I ever took. And I get it. In order to make sense of art, in order to make a story of art, a few scholars had to pick what they liked and cram it into an alley. And to keep the art history classes simple we students were supposed to ignore the buildings, the whole cities, the whole world on either side.
I like taking pictures of graffiti I find but I’m also always curious about the artists behind it, and some time ago created an Instagram account just to follow them, and through that I learned that an artist I’d seen, whom I only knew by the tag Betor, had died of a drug overdose on Christmas Day 2016. Or rather it helped explain some pictures I found. Through Instagram I learned Betor was part of a group of artists who worked together and influenced each other–what art historians might call a movement, or what they might label with an ism.

These works aren’t done by Betor. They’re done by friends of Betor, artists who admired his work. They’re tributes. There are more on Instagram, and messages too from artists who knew him, and others who are sorry they never met him but admired his work. I feel the same way. Betor was a person who mattered. An organization, A Betor Way, was founded in his memory to help anyone struggling with addiction.

There is no one story of art. Art doesn’t end with the death of any artist, or with any particular movement. And if I had to give only one explanation for why I’m so interested in graffiti it would be this: because it matters.

 

So Long, And Thanks For All The Coffee.

Every possession and every happiness is but lent by chance for an uncertain time, and may therefore be demanded back the next hour.

-Schopenhauer

Some of my best ideas come to me in coffee shops. I’m not sure why this is. Maybe it’s the change of scenery, although I’ve had those best ideas in coffee shops I know well. Maybe it’s the combination of the familiar and the strange—the constant interruptions of people coming and going. Once while I was writing a story in a coffee shop, a story that wasn’t going that well and that I was only writing down to get it out of my head, a woman asked me, “Are you journaling?” I said yes and we talked for a minute and then she got her latte and left. Then as I went back to writing the story took a weird turn and became so much better. Don’t knock the person from Porlock, but that’s another story. Or maybe it’s because I’ve had some good ideas in coffee shops and those have just happened to foster other good ideas.

I also prefer local coffee shops. They all have some features in common but every one is unique, too—unlike those chain places that you find everywhere. So I’m sad that one of my favorite coffee shops, JJ’s Market, closed December 22nd, 2018.

JJ’s has been around since 1971—almost as long as I’ve been alive. When the Noshville Delicatessen next door, a more recent arrival, closed and a developer wanted to raze the block the owner of JJ’s went to court. His lease, after all, was good through 2022. That was a few years ago, but when I talked to the owner he said a lot of circumstances meant he had to close. The leaky roof would cost $100,000 to fix, and JJ’s was the last tenant on a block in an area where new buildings, and prices, are going up. The midtown area of Nashville used to be a funky place with bars and coffee shops, but thanks to gentrification it’s rapidly getting defunked. In spite of JJ’s being just a block away from a major chain coffee shop, not to mention a chain that specializes in pastries and, just one block over, a chain bagel place, it remained popular and crowded. Some mornings there I listened in on business meetings with four people in suits, and it tickled me to think high-powered deals were being made at JJ’s funky, wobbly tables and overstuffed sofas. The leaky roof with exposed ductwork and the bare brick walls added to the charm. Once I overheard a musician talking to an agent—and being around creative people might be another reason I get good ideas in coffee shops. People left books lying on tables or in the bookcase by the register, where there was also a selection of board games.

JJ’s was more than just a coffee shop. You could even say it was world famous, included in Ariel Rubinstein’s Atlas Of Cafes. The front section had coolers with a wide selection of craft beers. You could also get some local brews on tap, or fill a growler to go. They had a selection of European chocolates, magazines, Japanese snack foods, and ceramic mugs made by a local artist. And there’s something really funny about a place with its own specialty coffees called “Studying Nietzsche” and “James Brown”.

Companies like WeWork are creating workspaces for people who want to get away from the traditional office, and hotels are redesigning their lobbies to be community hangouts, but JJ’s created a community space decades before just by being what the community wanted.

A poem literally stamped into one of the tables ends, “You are marvelous./The gods want to twilight/in you.”

It’s a sad but fitting epitaph for a coffee shop that was part of the community, was even a community unto itself, for almost half a century.

Hail and farewell, JJ’s Market.

 

Goodbye, Old Friend.

Source: Wikipedia

Friendship must have been very important to Penny Marshall. The first thing I thought of when I read about her passing was, of course, Big, which, until I read about her passing, I thought was her first film. In fact before reading that she was gone I could only think of two of her films off the top of my head: Big and A League Of Their Own. I didn’t realize that I’d seen and enjoyed several other films of hers, including Jumpin’ Jack Flash, which was her directorial debut, until reading one of several remembrances.

Anyway I didn’t think of the famous piano scene in Big but rather the scenes between Tom Hanks, as Josh, and Josh’s friend Billy, played by Jared Rushton, who’s still a child and who, even as Josh starts to take on real adulthood, remains his anchor. The scene where Josh and Billy take Josh’s first paycheck to the bank and ask for “Three dimes, a hundred dollar bill and 87 ones,” then gorge on junk food is exactly what you’d expect a couple of kids to do, but it’s the chemistry between Hanks and Rushton, who don’t just seem like a couple of kids but a couple of friends, that makes it work. Robert DeNiro was briefly considered for the role of the adult Josh and he and Rushton spent an afternoon shooting hoops together, just getting to know each other, and I assume Hanks and Rushton did the same. And David Moscow, who played the young Josh, and Jared Rushton would become real friends, hanging out together even after the movie was done. That, to me, is more meaningful and makes the film more important than the fact that Marshall was the first woman director to have a film gross more than $100 million. Financial success is great but the emotional impact lasts long after all the money gets splurged.

It’s the sort of thing I always hope for with most films I watch—that the actors who portray friends onscreen are friends offscreen too, although I know it rarely happens. Still it’s nice to know that it does happen sometimes, and that it happened in Big and in other Marshall films.

In fact for any of us who grew up on ‘80’s sitcoms it’s also nice to know that the reason Marshall and her Laverne & Shirley co-star Cindy Williams worked so well on-screen is because they got along so well off-screen.

And Marshall’s early sitcom success followed by such a great career as a director completely undermines the saying that there are no second acts in American lives. She had an amazing second act. There was a genuine warmth and interest in people that ran through all her films, from Awakenings to Riding In Cars With Boys, and I keep coming back to Jumpin’ Jack Flash which is less of a spy story than it is about the need to connect with another person—even through a computer screen, and that’s why, even behind the camera, she felt like a friend.

Hail and farewell Penny Marshall.

 

Under The Sea.

Source: BBC

When I was a kid I wanted to be a marine biologist. My family would go on summer vacation in Florida and each day we’d go to the beach where I’d swim and collect various creatures. Then back at the house I’d draw whatever I found, or I’d draw other things—I did a lot of drawing too, and making up stories. I felt strangely divided between wanting to be a scientist and wanting to be an artist, and although I didn’t pursue a career in science I did realize that art and science aren’t that far apart—aren’t different, really. There’s a creative aspect to all scientific research, and art provides a way to share what’s learned, and both are a way of understanding the world.

Because of that I like to think of Stephen Hillenburg as a kindred spirit. We weren’t that far apart in age so I couldn’t say he was a childhood hero—although it’s a sobering thought that a child born the year Spongebob Squarepants debuted could be nineteen years old now—but we shared that duality. Hillenburg started out teaching marine biology but left it to pursue a career in art—in animation, specifically, and even though I think teachers are really important I think he had an equally important impact by giving us a world that was pure silliness.

He was also very private, and in a world where too many of our heroes or even kindred spirits turn out to have feet of clay—where we learn so much about people we admire it can be hard to keep admiring them—that’s okay. For all that I feel a connection to him personally I’d rather think I know him through the characters he created, and while, like all classic animated characters, they always sprang back to their original selves, the denizens of Bikini Bottom had personalities and emotions as deep as Rock Bottom. Consider this: Patrick Star is continually joyful and full of life and once, when asked how stupid he is, replied, “It varies.” And yet he also worked hard to impress his parents—at least until they turned out not to be his parents, and gave up the brain coral that turned him into a genius, deciding that ignorance really is bliss. Squidward, perpetually grumpy, got so fed up with Spongebob and Patrick he moved to Tentacle Acres, but realized that living with people just like him didn’t really make him happy. Sandy is a squirrel who lives underwater, the only girl in the main group, and while she occasionally gets homesick for Texas, she realized home is really where you’re surrounded by those who care about you. Mr. Krabs is a perpetual cheapskate who nevertheless is willing to spend money on his daughter and, hey, as bosses go I’ve had worse. Even Plankton, the show’s villain, has a soft side—he has a computer wife named Karen (which was also the name of Hillenburg’s wife)—and is able to let go of his quest for the Krabby Patty formula once in a while and just have fun. And then there’s Spongebob himself: he finds joy in everything, from blowing bubbles and catching jellyfish to working at a griddle and scrubbing toilets.

And there’s a wonderfully weird group of other recurring characters, from Mrs. Puffs, Spongebob’s boating instructor, to Mermaid Man and Barnacle Boy. They’re a diverse enough group that almost anyone could find a kindred spirit in there, although I did once take an online quiz, “Which Spongebob character are you?” and was surprised to get the answer “Gary”, but that’s another story.

Source: Giphy

Spongebob has been with us and will be with us for a very long time, but it feels like Stephen Hillenburg was taken too soon.

Hail and farewell.

We Can Be Heroes.

I have a complicated relationship with comic books. For some reason I never had any when I was a kid. It’s not that my parents had any objections to comic books, but I don’t remember going anywhere they were for sale. When I was, I think, in second grade there was some kind of school contest and I won a single issue of <i>The Fantastic Four</i>. I don’t remember what the contest was exactly–I wasn’t really paying attention, and maybe if I had I could have won more than just a single issue, but that’s another story. And I loved it. I could never figure out where to find more, though. I hear people talk about comic books racks at the drugstore or the grocery store, and eventually, when I was in my teens, the bookstores in the mall had racks with offerings from Marvel and DC, but at that point I’d moved on. I was making regular trips every Thursday–new comic day–to a local comic book store where I spent my money on mostly independent titles. I liked, if I could, to pick up a comic from issue one so I wouldn’t miss any of the backstory. I avoided the old classics because the size and depth of their universes intimidated me. My friends were all big X-Men fans and yet I avoided it because I felt I’d missed so much. I was fascinated by them–and several times seriously considered getting back into Spider-Man, my childhood hero–but kept my distance.

And yet there had been a glorious summer, maybe in between second and third grade–I don’t really remember because I wasn’t paying attention–when every afternoon the local UHF station ran a series of Marvel cartoons from 1966, and, starved for superhero action, I soaked up a good dose of Captain America, Thor, The Hulk, Iron Man, and Namor of Atlantis. The stories were great but at first the animation seemed a little shoddy and goofy to me–characters barely moved, and the design seemed, well, flat. Over time it grew on me, though, and I realized these were faithful interpretations of the originals. The quality of the animation may have been intended to save on costs, but it also captured the spirit of the comic books. I like to think the singular genius behind all of these characters, Stan Lee, had a hand in making the comic books characters he created and helped write the stories for, accessible. And that he got a kick out of the catchy theme songs. They opened me up to the worlds of comic book stories, and those comic books I collected in my teens–that included The Watchmen and Neil Gaiman’s Sandman–probably wouldn’t have existed without him.

Tom over at Tom Being Tom has a great tribute to the comic books of his youth and the profound influence Stan Lee had on him and, reading it, I realized that even before I started collecting comic books regularly Stan Lee had an influence on me too, and even that his influence reached beyond just giving us memorable comic book characters who’ve become part of our collective culture. He made it possible for us all to be part of the world of heroes.

Hail and farewell Stan Lee.

Here are some of the openings to those old cartoons. Enjoy the catchy theme songs.

Feet, And Everything Else, Of Clay.

Source: Cartoon Brew

When I was a kid I’d spend hours playing with modeling clay, creating miniature worlds and the strange creatures that inhabited them. When I was finished I’d mash them up and start over again, although what I really wanted to do was Claymation. Some magic tricks are even more impressive when you know how they’re done, and after seeing how it was done that’s how I felt about Claymation. It just fascinated me that every motion, every gesture, every change of a clay figure was produced through the slow and patient work of a pair of human hands, and not that different from what I created, then destroyed, at the kitchen table. I even created characters, wrote scripts, plotted out movements, but cameras were expensive then. Well, they still are, but most of us carry cameras around in our pockets all the time.

What I didn’t know until I recently heard about his passing was that the genius behind a lot of the Claymation I loved so much was Will Vinton. Vinton created the term Claymation. He won a 1975 Academy Award for his short Closed Mondays, which I remember seeing bits of but not in its entirety until now—thanks, YouTube—and several other projects. His studio produced, among other advertising campaigns, the California Raisins and Domino’s Noid, which has a weird and dark history. His studio also produced the Claymation Christmas Celebration which I loved even though I’d outgrown playing with clay by the time it first aired.

I never even knew his name but he was one of my childhood heroes.

Hail and farewell Will Vinton.

Ordinary People.

Some critics complain that Neil Simon’s plays rely too much on jokes which, to me, is like complaining that Shakespeare’s plays rely too much on iambic pentameter. And Neil Simon started out as a comedy writer, along with his brother Danny, working on, among other things, Sid Caesar’s Your Show Of Shows in a writers’ room that also included Mel Brooks and Carl Reiner and I can’t begin to imagine what that was like.

His plays are generally romantic comedies, built on a style that can be traced back to ancient Greece and fairy tales–he once said his own life was “kind of a Cinderella story”–but he went beyond the traditional happy ending. Neil Simon was always interested in what happened after happily ever after. Barefoot In The Park, his second play and first big hit, picks up where most romantic comedies end, and his next and probably most famous play, The Odd Couple, centers around two divorced men. The funny thing, though, is that Oscar and Felix enter into kind of a marriage—when Oscar asks Felix to move in with him he even asks, “What do you want, a ring?” And then they end up going their separate ways, although they’ll always have the weekly poker game. Even in his later plays Simon keeps returning to the themes of divorce and how families break up or stay together. In the semi-autobiographical Lost In Yonkers it’s mostly seen from children’s perspective, reflecting how, when he was young, Simon’s father deserted the family for long periods and his mother took in boarders to pay the bills while sometimes sending her sons to live with relatives. Simon said, “The horror of those years was that I didn’t come from one broken home but five.” Escaping into comedy, starting with the films of Charlie Chaplin, was how he survived.

Even though comedies traditionally end on a happy note many of his plays, his best plays, have open or ambiguous endings. While he always affirmed the human desire to survive he also reminded us that after every ever after there’s another story, another beginning. His characters and plays realistic–only once does a character break the fourth wall and talk to the audience, in Jake’s Women–but he also wants them to find happiness and fulfillment, and they find it through laughter. He said, “I used to ask, ‘What is a funny situation?’ Now I ask, ‘What is a sad situation and how can I tell it humorously?'”

Here’s a better line, one that could be a philosophy for life: in Laughter On The 23rd Floor, a tribute to that old writers’ room, one of his characters says, “I knew then and there that if I was going to keep my job I’d have to become as totally crazy as the rest of them.”

Hail and farewell Neil Simon.

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