Cover of Shenandoah

The Virginia farmer acted by James Stewart in Shenandoah (1965) has every intention of keeping himself and his family neutral in the War Between The States, but abundant gloom descends after Yankee soldiers make a costly mistake, etc.  It is impossible to buy much of what James Lee Barrett‘s script proffers us, such as a group of Johnny Rebs escaping from Yanks on a wharf (ineptly directed by Andrew V. McLaglen.)  There are some gripping and pleasurable moments, though, just not enough of them.

Human relations can get so loathsome.  In last night’s Jane the Virgin, a very pregnant Petra treated Jane condescendingly, bitchily, before the unexpected childbearing, and Paolo (Ana De la Reguera), who seemed so sane at first, continued to keep Rogelio captive in a non-dingy locked apartment.  And then we hear that Xiomara has invited into the family’s lives a man who represents “bad luck.”  The telenovela problems and antics were strong—the episode was teeming with them.  Here’s one of the antics: Petra named her two newborn daughters Elsa and Anna, which names are from the animated movie, Frozen, though Petra didn’t know that.

I’ve been waiting for something meaningful to happen on Jane, as it has before, and last night something somewhat meaningful did.  Jane imagined, with images on the screen, what it would have been like had she never broken up with Michael.  She sees that human relations in this case would have been quite nice.

Human relations can get so loathsome.  In last night’s Jane the Virgin, a very pregnant Petra treated Jane condescendingly, bitchily, before the unexpected childbearing, and Paolo (Ana De la Reguera), who seemed so sane at first, continued to keep Rogelio captive in a non-dingy locked apartment.  And then we hear that Xiomara has invited into the family’s lives a man who represents “bad luck.”  The telenovela problems and antics were strong—the episode was teeming with them.  Here’s one of the antics: Petra named her two newborn daughters Elsa and Anna, which names are from the animated movie, Frozen, though Petra didn’t know that.

I’ve been waiting for something meaningful to happen on Jane, as it has before, and last night something somewhat meaningful did.  Jane imagined, with images on the screen, what it would have been like had she never broken up with Michael.  She sees that human relations in this case would have been quite nice.

Directed by Marielle Heller, The Diary of a Teenage Girl (2015) is morally detached from its depiction of sexual indulgence, and, in the end, mildly stupid.  An unconvincing paean to self-esteem, in fact.

No sale.

I like the fact that, as at least one critic has indicated, it is not the ordinary things people do in Muriel Spark‘s fiction that ultimately matter.  Rather it is their sins and, implicitly, their standing in the cosmos that matter, although this is never examined gravely or angrily.  Spark uses wit: she does so in 2004’s The Finishing School as she concentrates on Rowland, a would-be novelist, and Chris, the 17-year-old libertine whose seeming writing ability Rowland is madly jealous of.

Rowland is married to Nina, but there is no bona fide love between them.  He may be homosexual, but this is unclear in a way his “envy of another’s spiritual good”—a catechism phrase—is not.  That’s right: Chris’s artistic writing talent, if it actually exists, is seen as a spiritual good.  And, as seen by the Catholic Muriel Spark, Rowland’s “obsessive jealousy” is “his greatest affliction.”  Without spiritual truth, both Rowland and Chris have little or nothing going for them.

The Finishing School is clever and meaningful and probably wittier than such Spark novels as The Prime of Miss Jean Brodie and The Girls of Slender Means.  It lacks, however, the viable drama of those works, and yet an irresistible intelligence saves it from any kind of hard judgment I might give it.  You did it again, Muriel.

Cover of The Finishing School