My favorite children’s television show, Square One Television, first appeared to the television world 28 years ago today. Happy Birthday, Square One!
The show remains conspicuously absent from the DVD collections market, most likely due to a complicated copyright involving (then) Children’s Television Workshop and (now) Sesame Workshop. A fan site, SquareOneTV.org, which I formerly contributed to, seems to have gone offline. So the show’s Wikipedia page provides a thorough overview of what each episode was like and why people like me grew so affectionate for it. (and so upset when it suddenly left the airwaves in the fall of 1994.)
In the summer of 2006 I had the chance to meet one of the show’s core ensemble cast members who was appearing in an off-Broadway show I attended, and wrote about the experience on LiveJournal:
I got a front-row seat and read the program before the curtain went up. I scanned the cast list and was surprised to see a cast member (Cynthia Darlow) from Square One Television, one of my top-5 favorite childhood TV shows, was part of this cast. She displayed just the same brasyness and captivating theatricality that she had displayed in the show, and was a stand-out among the secondary characters of the show. Later, I was waiting around in the lobby and she happened to come out from backstage. We made eye-contact briefly and I decided to take a minor risk and say that I loved her work on Square One. She smiled broadly and said she always is charmed that people still remember the show and that it was “one of her best jobs” of her career with a very tight-knit cast and crew. She is also always amused that people my/our age still remember the show and can tell her how they watched it compulsively when it aired first-run. Once again it felt good to take a risk of approaching a celebrity, especially when Cynthia was as friendly as she is.
Square One briefly reappeared on television screens around the turn of the millennium as part of cable network Noggin (a joint venture between Nickelodeon and Sesame Workshop) and its anthology series “The Phred on Your Head Show” – with segments from Square One intercut into the newer show, and perhaps most importantly, the show-within-a-show Mathnet, which was always my favorite part of the program, reappearing in full glory.
I owe a longer post on the enduring appeal of Mathnet – but it won’t be tonight! I will say that the show contributed greatly to my lifelong love of numbers and coincidences and mysteries and number sequences. And it indirectly introduced me to the theatre world at a young age, with one episode set in a Broadway house and all of the main actors coming from strong theatrical backgrounds.
I only realized a few years ago (possibly on moving to Michigan) that Square One included many references to Michigan and the University of Michigan Ann Arbor, where its creators attended college. So from an early age I had many little snippets of Michigan lore seeping into my brain, most notably centered around U of M life and my current area code, 313, which once covered the entirety of Southeastern Michigan. To that I just say… “wow!”
And it’s a perfect segue to the other birthday I learned is today, which is the state of Michigan itself! 178 years young! MLive asks its readers to guess how well they know the state.
This past weekend’s filmgoing spanned two countries (and more onscreen) and went from the wide galaxy to the inner mind.
I picked the wrong movie (INTERSTELLAR) for my first visit here, but think I will be returning from time to time for the convenience and mostly pleasant experience.
The cinema is nestled in to the checkerboard of the Ren Cen, on the second level of the main atrium area. Signs direct you where you need to go from any of the main entrances, although you need to look closely, as the cinema is highlighted in a different font color than the rest of the signage. A weird circular atrium area is immediately outside the cinema itself, but it does have a small seating area and actual display of the movie posters currently showing; the latter detail seems to be an increasingly lost art of moviegoing.
I was very surprised by the inexpensive $8.50 admission, especially on a Friday night. The box office and concession employees seemed happy and comfortable working as a team. Concessions are also on the lower end of average prices; I paid $5 for a medium popcorn that had smaller kernels than your average offering, and was thankfully not overflowing. The theatre also offers Little Caesar’s pizza slices and cocktail choices, which I may take advantage of on a future visit.
Parking in the nearby Beaulieu Garage is just $2 with validation – be sure to ask for this sweet deal when you buy your ticket! And be sure you’ve parked in the right garage, where the Atwater Garage is confusingly adjacent to the Beaulieu’s entrance. If you’re getting to the cinema via the People Mover, the Ren Cen of course has its own stop.
Finally, the screening rooms themselves. The one I visited, second from the left, was shockingly small by modern standards, with the now-anachronistic “bowling alley” style seating layout and a narrow wide screen. Although this arrangement is not well suited, IMO, for blockbuster-style visually expansive movies such as INTERSTELLAR, I can see it working okay in other settings. Just be sure to sit closer to the front of the room, as long as you are comfortable with that.
The theatre seems selective with its programming, not always grabbing what’s expected to be the #1 movie of the weekend. I’m not sure if this was a trend this fall or has lasted for a longer period of time.
Once I got settled in to the smaller than current standards viewing arrangement, I felt it was an ultimately comfortable experience, and continued to appreciate the ease and opportunity of coming to see a film downtown, rather than driving to Royal Oak, Southfield, Dearborn or some other metro area location. It is this ease, and the pleasant, welcoming demeanor of the staff, that will probably draw me back to the RenCen for another film before too long.
Getting back to the film, INTERSTELLAR, I was impressed (again) by Christopher Nolan’s bold and enormous vision, but felt that this film ultimately overreached and stayed at a cool distance from the viewer… or at least this viewer.
Matthew McConaughey continues his recent acclaimed streak in the lead performance, showing more humanity than ever before (although I did not catch DALLAS BUYER’S CLUB) in the role of Cooper, a veteran NASA astronaut who is led into a mission to save humanity from a dusty, uncertain future. A respected supporting cast unevenly filled out the other central roles. Anne Hathaway seemed more ill at ease than confident in the role of a co – pilot scientist, who is connected to Michael Caine back on Earth as her character’s father and the principal behind the scenes architect of the mission. Caine offered a familiar and comfortable presence, but no unique shadings, to a character he has portrayed before, and I longed for a sense of menace or uncertainty that he’s displayed in some of his other Nolan projects. Jessica Chastain, in really the third lead role, continues to maintain an impressive command and intensity of the screen, but was subject to wide and sometimes incomprehensible swings in character.
Among the secondary supporting cast, John Lithgow makes a notable appearance as a relative of McConaughey’s, while Ellen Burstyn has an extended cameo as another primary character, and a Surprise Hollywood Veteran (an unbilled and well – known actor) appears in a few crucial scenes. Actor Wes Bentley, who seems to be enjoying a modest career revival, also appears as an underdeveloped character.
Technically the film is a masterwork. Nolan and company reach their biggest heights on a series of uncharted planets and universes, including a tidal wave toting water planet, an icy world that is not hospitable to many forms of life, and several variations on what the Earth’s landscape might look like at some point in the future.
While the story makes every effort to tell a humane story, and succeeds at points, I couldn’t shake a broader feeling of distance and observation, thus preventing my full identification with the story. I do have to wonder if the tiny confines of the RenCen cinema affected my perception of the film, and if my opinion would be different having seen it on an IMAX or stadium seating style large format screen.
Yesterday brought an encore visit across the river for one of the final screenings featured in this year’s Windsor Film Festival. I would have liked to have seen more of the films that this festival offered, but am satisfied with having seen at least two.
The Sea has film prints in such short supply that WIFF had to show one with German subtitles. Made in 2013 with Irish backing – and on location along the coast of that country – the film features a notable ensemble of British actors, including veterans Ciaran Hinds, Charlotte Rampling, and Sinead Cusack, younger veterans Natascha McElhone, Rufus Sewell, Bonnie Wright (moving on from Harry Potter fame), and a trio of even younger newcomers.
This film also shows a fine sense of technical craftsmanship, especially for a directorial debut. Shifts in time are keenly delineated with strong differences in filming style, fades in and out of memory, and occasional uses of creative segues between the time periods. An often plaintive musical score adds depth by being selective as to when it fades in and out, and chooses to feature violin solos that also serve to accentuate different thematic strands of the narrative.
The three elder veteran actors offer expectedly strong portrayals, although the two women fare better than Hinds. Rampling, who is always a welcome and intense presence onscreen, and I had the pleasure of seeing onstage in a 2004 production (referenced within this past blog post) brings focus and attention to the role of an innkeeper who knows more than she lets on. However, the character is not a kindly Miss Marple type, and Rampling effectively balances a sense of sharp awareness with a feeling of the character’s past and wider presence. Cusack has a smaller part, but knows just how to bring a brittle awareness to her scenes, which are all opposite Hinds. As for him, he has a difficult role, and only partially succeeds in evoking a sympathetic portrayal. Apparently the source novel adds more shadings and rationale to his character.
Natascha McElhone seems not to have aged at all since her string of mid – 1990’s art house and Hollywood releases, such as Surviving Picasso, Ronin, Mrs. Dalloway and The Truman Show, among others. She portrays a character that is seen by others rather than given her own voice, but succeeds in the portrayal. Sewell has less success as an eccentric womanizer – his role could have been simplified without problems for the narrative. Wright, unrecognizably grown up from her Harry Potter role as Ginny Weasley, also embodies a “seen” character, but is allowed a few moments of strength.
I didn’t feel that this film offered a completely satisfying narrative, but I certainly enjoyed the chance to see the veteran performers shine in new material.