Showing posts with label synchronicity. Show all posts
Showing posts with label synchronicity. Show all posts

Saturday, August 24, 2013

More Lloyd synchronicity: brought to you by your Uncle Marty!




(Facebook-surfing can either be very boring, or. . . very boring. But I found something tonight. Then lost it, then found it again. It's an interview from this past spring for Humanities magazine, featuring everyone's favorite Italian uncle, Martin Scorsese. Then I get to the end of it and find a Lloyd double-whammy. OK, so when do I get the third one?)




LEACH: How big was the transition from silent to talkies? How did it affect comedies?
SCORSESE: It all became verbal. The comedy stars in the thirties were Laurel and Hardy, thankfully, and W. C. Fields, and the Marx Brothers. Then after the war or during the war, Abbott and Costello, which was really language, old vaudeville routines. And then postwar it’s Martin and Lewis, which was a kind of manic craziness and kind of reflection of the freedom after the war.
LEACH: Two foils.
SCORSESE: Yeah, exactly. But in the silent era, it’s all physical and visual comedy: Chaplin, Keaton, Harold Lloyd, and Charley Chase, all these people we’re restoring. There’s a lot of them that are being restored. It’s quite remarkable seeing these on a big screen.





Young people, when I show it to them, they ’ll ask, Do they talk in this movie? I say, they don’t talk in this one, but you might find it interesting. And they do.
LEACH: I’ll bet.
SCORSESE: The great silent dramatic films really worked extraordinarily well. I mean, they still do if you’ve seen them restored, meaning at the right speed, the right tint and color, because everything was in color, but toned and tinted. In any event, they did have their own international language. Murnau wanted to use title cards in Esperanto. He said, this is the universal language, cinema. And then when sound came in, it changed again completely.
LEACH: The movie industry is America’s greatest presentation to the world in terms of public diplomacy. For instance, Charlie Chaplin was truly universal. You didn’t have to translate it into any language.





SCORSESE: Norman Lloyd, who was a great actor and producer, he worked with everybody: Hitchcock and Welles and Chaplin. He’s in his nineties now. He was just talking on television the other night on TCM, and he was saying that Chaplin is universal, probably the greatest, because he kind of told the story of the immigrant. And anywhere around the world people could identify with it.
LEACH: Well, we thank you.
SCORSESE: Thank you.


(Post-blog revelation. Don't ask me how I find these things. The above shot of the demented old man in the Shriners fez really is Harold Lloyd hanging off the Space Needle in Seattle when he was something like 76 years old. I would've doubted my eyes except, when I looked closely at his right hand, I could see that it was missing thumb and forefinger. How and why he'd do this is anyone's guess, but maybe he was thinking in terms of going out with a big splash.)





Thursday, June 13, 2013

Haunted by Harold





OK, then. I've told you all about Lloyd synchronicity, and in case you don't remember what it is, it's examples of the name Lloyd coming up over and over and over again through the course of a single day.

It happens and happens, and has been happening for months and maybe even years. I've had as many as five a day, and once I had four in a single movie (a little British comedy called The Wrong Box), but the ones that really make my scalp prickle aren't just things like seeing the name Lloyd on the side of a train or on a street sign or a realtor's sign or TV credits or a dog's ID tag. . . they're examples of actually SEEING Harold Lloyd, usually when I least expect it.




It happens fairly frequently on Turner Classic Movies, and this isn't so very unusual because they have championed the re-release of many of his magnificent silent comedies. But tonight. Oh God. I was minding my own business watching William Shatner's Weird or What? (one of my favorite educational programs) when an ad break came on, and. . .




And there was this woman dangling from the hands of a huge clock.

Safety Last! clock. An ICONIC clock. WTF? Have I fallen into the freaking Fourth Dimension or something?

Not only was the ad in black and white, it had little lines running down it to make it look like an old movie. She wasn't dressed like Harold Lloyd, but still, the derivation was obvious.

A Harold Lloydian, Safety-Lastian, clock-dangling, cliff-hanging, danger-defying, "high and dizzy" thrill-picture scene in a goddamn Cover Girl cosmetics ad!

Listen, ever since I started researching my novel The Glass Character, and all through the writing of it, and even now, long post-Lloyd, this has been happening. It seems to come in waves, and now I'm in some sort of a bizarre tidal wave.

When I fell in with Harold Lloyd and his legend, I fell into enchantment. A state not so easy to enter, or, for that matter, to escape. I wish somebody would tell me what it all means.






Saturday, February 19, 2011

Haunted, haunted (and haunted: the trifecta)

I want it to stop, but it won't. Today I found out about the winner of the Westminster Kennel Club Best in Show: a Scottish deerhound named Hickory. But that wasn't the thing that grabbed me. It was the owner's name.



Angela Lloyd.

This news came almost immediately after I watched a story on Dateline NBC about a young woman brutally murdered by a military hero gone mad. But it was her name that grabbed me:


(From the news story)

Hundreds of people filled a Belleville, Ont., funeral home Saturday afternoon as the community came together to honour Jessica Lloyd, the 27-year-old woman whose body was found on a rural road on Monday.
Before the service began, several members of the Canadian Forces entered the funeral home in uniform and wearing black armbands.
Small groups of people clustered outside the funeral home during the service, with one group of young women carrying a sign that said: "Rest in peace sweet angel."
Col. Russell Williams is facing first-degree murder charges in the death of Jessica Lloyd, 27, of Belleville, Ont.
On Friday, long lines of people had waited patiently outside the funeral home to attend the visitation for Lloyd, one of the alleged victims of Col. Russell Williams, the former commander of CFB Trenton.
Lloyd's cousin and brother both spoke at the service Saturday, and her brother paused to thank local law enforcement officials for their work on the case.
(P.S.: Less than half an hour after I posted this, I was washing dishes with the TV on in the background. A newsmagazine show I almost never watch called W5 came on, and the host announced himself: "Hi, I'm Lloyd Robertson."
Three? Well, yesterday there were two. Only.

Tell me there are no coincidences.)

Saturday, February 12, 2011

I don't understand this at all: Harold Lloyd synchronicity





When I started this blog some months ago, I had a sort-of theme in mind.

I wanted it to be basically an ad for my fiction, so maybe, just maybe, somebody-out-there might see it and take some sort of an interest.

I mean, somebody who might be able to help.

This didn't happen. Instead, I became more close-mouthed than ever about the subject of my latest (unpublished) novel, The Glass Character, a fictionalized account of the life and times of silent screen comedian Harold Lloyd.

You know: that Harold Lloyd. The ordinary fellow, looking a little geeky in his hornrimmed glasses, who ended up doing daredevil stunts such as hanging off the hands of a huge clock 20 stories up.

I can't get into the complex, often paradoxical life of Lloyd right now. Instead, I want to write about some (many!) examples of synchronicity I've experienced since I began to research and write about this man a couple of years ago.

Synchronicity being, as I understand it, coincidences that don't seem like coincidences because of their existential/emotional significance. Or, in this case, sheer numbers.

It started small. I'd see the name Lloyd on a street sign, on the side of a truck or train, on a realtor's sign, in movie credits, in novels, in magazine pieces, in - well, it could be anywhere.

This escalated over time. It became routine to get at least one Lloyd-sighting somewhere, every day. I mean, every day. Sometimes, there were two or three.

"Oh, you're just noticing it because that's what you're writing about," my friend claimed. Ahhhh, maybe. But when I watched an odd little British comedy called The Wrong Box, I counted, not one, not two, not three. . .

There were five references to the name Lloyd, in the credits (2), in the cast (2), and even in a list, the Tontine, which was the pivotal subject of the movie. When people got bumped off, their name was crossed off the list. One of those names was Lloyd.

Would it surprise you if I said I am still getting this, nearly two years later? The name Lloyd jumps out at me from a newspaper article (but never when I am looking for it!), a doctor's sign, a DOG'S name (yes, a dog!), or just about anywhere else. And in Googling "Lloyd synchronicity", I had to give up after only a few examples.

One blogger kept encountering the name Frank Lloyd Wright, over and over and over again. A Kathrine Lloyd had a display of art prints called Synchronicity. Elizabeth Lloyd Mayer, a psychiatrist, contributed to a paper on synchronicity, a subject both acknowledged and discredited in the psychiatric realm. (Nobody wants to look that crazy, so everyone thinks they're the only one.) And so on, and on, and on, probably into the hundreds, if not the thousands.

Maybe I should tell you about the gold beads, or maybe I shouldn't, because I can't guarantee I didn't misinterpret this. Along with being a serious painter, dog breeder, amateur scientist, photographer, and Imperial Potentate of the Shriners, Harold Lloyd was a master magician, adept at sleight-of-hand (and this in spite of the fact that he lost the thumb, index finger and half the palm of his right hand in an accident early in his career). He made things appear. He made things disappear, then appear again. The coin behind your ear, or -

OK. Things started to disappear, but only in a certain spot in the house. It was in the centre of the bedroom upstairs. Watches went away. Rings. Gold pens. It was weird.

Then came the gold beads. Or, rather, the one. I have a necklace with four tiny charms, each representing one grandchild. I had these mounted on a gold hoop earring, and for some reason I wanted to unfasten it, perhaps to change the order of the charms.

The four were separated by small gold beads.

I unfastened the hoop, and, ta-poinggggg. One of the gold beads shot across the room and disappeared.

I was plenty miffed. I crawled all over the bedroom floor on my hands and knees. No gold bead. Vacuumed and vacuumed, then searched the gritty, fuzzy contents. No gold bead.

It maddened me. I looked for another gold bead, and could not find one just like it.

So I sort of gave up. Months went by. Maybe a year. I was walking around in my bare feet in the opposite side of the bedroom from the ta-poinggggg, then felt something sticking on the sole of my foot.

"Aha!" I cried. "Lloyd, you've done it again!"

I put the gold bead into a tiny drawer in my jewellery box.

More time went by, maybe months. I was walking barefoot in another part of the bedroom. I felt something stuck to the bottom of my foot.

Oh no.

Maybe, somehow, had the gold bead jumped out of the drawer? Or what? I knew I didn't have another one. I had already given up and replaced all the beads with shitty-looking ones, and glued the hoop shut. No more ta-poingggggs for me.

So I put the bead in the drawer with the other one. But you're not going to believe what happened after that.

I now have three perfect gold beads in the drawer. Does this have anything to do with the fact that the rather odd, not-terribly-common name Lloyd keeps popping up every day, sometimes two or three different times in different contexts?

What does it all mean? Lloyd always looks to me as if it spells something backwards. It almost spells "dolly".

It maddens me, because right now I have no prospects at all. I think The Glass Character is the best thing I've ever written, and at the moment it looks like it will die on the vine because agents and publishers won't even read my covering letter before firing it back at me with a (quite literal) rubber-stamped rejection that makes form letters look respectful.

Harold, either lay off, or help me here! I have enjoyed your presence immensely, but I can't believe it has no other purpose than to provide an odd but enjoyable experience, the kind you wouldn't want to relate at a psychiatric conference.

After all. . . they might think you're crazy.