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Wi Tickets to John Mayer & Cirque du Soleil’s OVO METROGIVEAWAYS.COM Win

Palo Alto’s e Stanford Theatr pays tribute to the late great screen star Jennifer Jones . GANT & BY MICHAEL S BUSACK RICHARD VON P16

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JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y


M E T R O S I L I C O N VA L L E Y

JANUARY 13-19, 2010

[03]


[04]   CONTENTS

JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

Cover Silicon Valley’s Weekly Newspaper

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M E T R O S I L I C O N VA L L E Y

JANUARY 13-19, 2010

[05]


[6]   LETTERS

JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

understood that companies would be happy to squeeze more work out of frightened employees and would be slow to hire more. We understood that the banks that had extorted us out of billions of dollars. We understood that a national consensus on health care would not come easily. Candidate Obama never claimed that his proposed solutions would work ďŹ&#x201A;awlessly right out of the box, and we respected him for that. But today, the president is being attacked as if he were a salesman who promised us that our problems would wash off in the morning. He never made such a promise. Itâ&#x20AC;&#x2122;s time for Americans to realize that a president canâ&#x20AC;&#x2122;t just wave a magic wand and ďŹ x everything. Ellie Light San Jose

The Whiner Is . . .

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Local Haunts

No Magic Wand

I really appreciated Gary Singhâ&#x20AC;&#x2122;s review of the paintings of Wayne Jiang (â&#x20AC;&#x153;Shadows of Night,â&#x20AC;? Cover Story, Jan. 6). Singh seems to be instantly everywhere there is something exciting occurring in the area, poised to appreciate and encourage. Jiangâ&#x20AC;&#x2122;s paintings are amazing renderings of my local haunts.

A year ago, if we had read in the paper that employers were hiring again, that health-care legislation was proceeding, that Afghanistan suddenly became a nice place to take your kids, we wouldâ&#x20AC;&#x2122;ve known we were being lied to. Back then, we recognized that the problems Obama inherited wouldnâ&#x20AC;&#x2122;t go away overnight. During his campaign, Obama clearly said that an

Dave Hickey Santa Clara

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economy that took eight years to break couldnâ&#x20AC;&#x2122;t be ďŹ xed in a year, that Afghanistan was a graveyard of empires and would not be an easy venture for us. Candidate Obama didnâ&#x20AC;&#x2122;t feed us happy talk, which is why we elected him. Instead, he talked of hard choices, of government taking painful and contentious ďŹ rst steps toward ďŹ xing problems that canâ&#x20AC;&#x2122;t be left for another day. Right after Obamaâ&#x20AC;&#x2122;s election, we seemed to grasp this. We

I see from all the promotions on TV that itâ&#x20AC;&#x2122;s award season again. Iâ&#x20AC;&#x2122;m losing track, since I havenâ&#x20AC;&#x2122;t watched them for several years. Letâ&#x20AC;&#x2122;s see: Academy Awards, Emmys, Golden Globe and an assortment of music awards, such

as popular, country and, I believe, grunge polka. Now those are just the ones I remember. Iâ&#x20AC;&#x2122;m sure theyâ&#x20AC;&#x2122;ve added a least a dozen since then. Iâ&#x20AC;&#x2122;ve heard that this year there will be awards for the best supporting actor in a daytime commercial, the best dead victim in a crime drama and the best actor in a late-night infomercial. However many there are, you can bet weâ&#x20AC;&#x2122;ll be exposed to one or two big award extravaganzas, lasting several hours, each week until they are eventually replaced by March Madness. Am I the only one who sees the irony in people who are placed in front of the public onscreen and TV on a regular basis, are paid millions for this work and then get shoved in our faces again while they all congratulate each other with a fancy ceremonies and ornate trophies? We get it! These people are megarich and megapopular. Shouldnâ&#x20AC;&#x2122;t that be enough? Do we have to watch them hug each other and give long-winded speeches? Where are the awards for the people who ďŹ ght forest ďŹ res, maintain our parks, for the scientists, teachers and painless dentists. Meade Fischer Watsonville

J!Tbx zpv Self-Entitled Princess I Saw You, your little black dress covering you like an oil ďŹ lm. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m twenty-TWO. I just forgot my ID,â&#x20AC;? you mewled as you batted your mascara-encrusted eyelashes at the clubâ&#x20AC;&#x2122;s doorman, cooing an allusion to certain â&#x20AC;&#x153;favorsâ&#x20AC;? should he allow entrance to you and your gaggle of club bunnies. You snorted and stamped your high heels in derision when he didnâ&#x20AC;&#x2122;t fall for your lie, hufďŹ ng as if you had been denied a basic right. Hey sweets, just because your mama told you that youâ&#x20AC;&#x2122;re special doesnâ&#x20AC;&#x2122;t mean youâ&#x20AC;&#x2122;re above the law. Should karma do its duty, it will see you as a cocktail waitress in a few years, getting arrested for serving an underage patron. SEND US your anonymous rants and raves about your co-workers or any badly behaving citizenâ&#x20AC;&#x201D;or about citizens you admire. I SAW YOU, Metro, 550 S. First St., San Jose, 95113, or via email to isawyou@metronews.com.

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M E T R O S I L I C O N VA L L E Y

JANUARY 13-19, 2010

[07]


JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

Make This Your Year to Excel Set a career goal for 2010 that you can achieve before the year is out! UCSC Extension in Silicon Valley offers more than 40 certificates in high-demand fields, many of which can be completed in under a year. Our programs are designed to equip you for a brighter professional future. Here’s a sampling of the Winter courses starting soon:

Q Business and Management Project Integration and Risk Management, 2356-046 Role of the Project Manager, 0306-153 Human Resource Management, Introduction, 5580-116 Law and Human Resource Management, 5283-094 Mathematics for Financial Planning, 2730-061 Personal Financial Planning, Survey, 4309-063 Search Engine Marketing Strategies, 19966-006

Q Biosciences Risk Management for Regulated Industries, 22631-001 SAS Programming for Clinical Trials, 4670-008 Regulation of Medical Devices and Diagnostics, 19071-009 Sequence Analysis in Bioinformatics, Advanced, 0036-016

Q Engineering and Technology Renewable Energy, 22410-002 Developing Applications for iPhone, 21938-006 Graphic Design Principles for the Web, 18977-008 Content Management Systems: Drupal and MediaWiki, 22627-001 Adobe Photoshop, Introduction, 5307-135 Game Design and Production Overview, 22411-002

Q Education Becoming a Professional Educator, 4317-041

help boost or retool your career. Attend

our FREE Program Overviews January 6–27. Visit ucsc-extension.edu/events.

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[08]   SILICON ALLEYS

See ucsc-extension.edu/tm for directions, course details and to enroll

SiliconValley

K N OW L E D G E YO U P U T TO WO R K

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GARY SINGH

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Save Ryland Pool

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N SAN JOSE, Rotary Ryland Pool sits right at the geographical center of the celebrated 880/280/101 polygon, now bisected by Highway 87. That fact alone might hold some sort of sacred geometrical occult significance to some, but in any event, the recently restored pool is one of San Jose’s hidden treasures. The issue of its future was commendably brought back to my attention by Tina Morrill, a local community booster and one of the folks who led the charge to replace the pool’s historical Batchelder tiles a few years ago. Situated in Ryland Park in San Jose’s quaint Vendome neighborhood, Rotary Ryland Pool was San Jose’s first public pool, built 1926–27. It’s an unusual oval-shaped pool, 4 feet deep in the middle and 2 feet at the edges, and its Batchelder Dutch Boy tiles are what make the original landscaping unique. Generations have learned how to swim in this pool. The neighborhood itself is quite worthy of urban exploration. You can start at the back of the park, right where North San Pedro dead-ends into the Coleman Avenue overpass from the north side. From there, you can worm your way through the ’hood, which features numerous old-worldly homes. When the powers that be were hellbent on destroying the pool a few years ago, members of many local neighborhood community associations bonded together and fought to save and restore the facility, as it really should be a registered historic landmark. With all the ballyhoo about parks being shut down because of budget cuts and whatnot, Morrill is rightfully concerned and gunning to make sure the issue remains on everyone’s front burner. After all, Ryland himself was quite a major San Jose figure back in the late 1800s. Everyone who was anyone in San Jose attended numerous social events at his mansion, which sat where the park is now. Sporting one of those classic 19th-century names, Caius Tacitus Ryland was one of the all-time legends in the annals of San Jose history—a grand titan of local lore if ever there was one. He was a founding member of almost everything during San Jose’s initial stages as the first capital of California and a key player in almost every industry: banking, agriculture, public utilities, education and transportation. He sat on the City Council in 1861 and was on the first board of trustees for the State Normal School, the lineage of which eventually led to what’s now San Jose State University. He was among those who launched the California Society of Pioneers and also originally helped bring the railroad to San Jose. When the state capital moved away to Vallejo, Ryland spearheaded an unsuccessful attempt to bring it back to San Jose. He was a state assemblyman; he chaired the 1876 Democratic State Convention; and he also married the daughter of California’s first governor. For the conspiracy theorists among you, he was also, in 1850, one of the founding officers of San Jose Lodge Sporting one of those No. 10, Free & Accepted Masons, classic 19th-century which eventually led to that building names, Caius Tacitus currently over there in the badlands off Curtner Avenue. Yes, the origins of Ryland was one of Freemasonry in California are directly the all-time legends intertwined with San Jose becoming in the annals of the first state capital. When I find a connection to the bloodline of Jesus San Jose history and Mary Magdalene, I’ll let you know. But I digress. The important thing here is that Ryland Pool must never be shut down, no matter what transpires over there in the budget-juggling circus at 200 E. Santa Clara St. With all the history behind both the park and the pool, it would be a travesty of justice if that place gets left out in the cold. In fact, Morrill is so passionate about the issue that she even brought a few Batchelder tiles over to a local coffeehouse and showed them to me in person while explaining the entire history of the situation from day one. At our rendezvous, all I could do was sink into an easy chair, slurp Turkish coffee and listen, but I absolutely shared her concern, no joke. If the city of San Jose is even considering shutting down Ryland Park because of budget cuts, they must be headed off at the pass. If ol’ Caius Tacitus were around today, he’d make sure of it. What else is worth saving? Send me a message at SiliconAlleys@metronews.com.

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M E T R O S I L I C O N VA L L E Y   JANUARY 13-19, 2010MASHUP

[09]

best of the local web

A roundup of news, commentary and opinion from around the valley. Opinions expressed do not necessarily reflect Metro’s editorial views.

Google VP: a Nexus One For Enterprise

Twinternet Tweaks Out

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WHEN Vanessa Grigoriadis’ Vanity Fair story about female-power Twitter users whom she deemed “Twilebrities” went online the other day, the women in the story freaked out about it. So did their friends. What’s the big deal?

AMERICA’S TWEETHEARTS Njdibfm!

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In the piece, Grigoriadis called Twitter “a utilitarian vehicle for ambitious extroverts, without previous distinction, to become digital superstars. . . . Each day, these women speed easily across the Twitformation Superhighway on their iPhones and laptops, leaving droppings in their wake: “getting highlights before class,” “I hrd u had fun!,” “Wah, missing my twittr time!”” She quotes publicist Sarah Evans calling Twitter “a giant cocktail party, every day,” and web actress Felicia Day (pictured, on a recent trip to Hawaii) saying that the “tools for success have been democratized. It’s just me and whoever wants to talk to me, wherever they are in the world.” The six women featured [were] social strategist Julia Roy, who works for Coach; Evans; travel journalist Stefanie Michaels (a.k.a. “Adventure Girl”); Day; lifecaster and online host Sarah Austin; and marketer Amy Jo Martin, whose company the Digital Royalty coordinates social media strategy for celebrities. —DOREE SHAFRIR, VALLEYWAG. GAWKER.COM

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[10]

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M E T R O S I L I C O N VA L L E Y    JANUARY 13-19, 2010NEWS

Santa Clara Valley, California

the

“Resting Between Last Week’s Earthquakes to Next Week’s Floods.”

FLY

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The Art of the Deal The rapidly growing San Francisco–based Academy of Art University looks to San Jose as a possible site for expansion By Jessica Fromm AN FRANCISCO pedestrians always know when they are walking by an Academy of Art University branch. In place of the usual mishmash of hurrying professionals in business suits, meandering tourists and street people, one finds young, eclectically dressed hipsters, all loaded down with easels and tool boxes, many smoking American Spirits: art students. This crowd can be found throughout the city, congregating in front of

S

Sparking Controversy L]^aZ8djcX^abZbWZgE>:GAJ><>DA>K:G>D ZcYZVkdghid\ZiEgdedh^i^dc'&* ^beaZbZciZY]ZgZ^cHVc?dhZWna^XZch^c\! gZ\jaVi^c\VcYiVm^c\bZY^XVabVg^_jVcV Y^heZchVg^Zh!i]ZgZ^hhdbZhZg^djh bVg^_jVcVYgVbV\d^c\Ydlc^cHdji] 8djcin#;dgi]dhZl]d]VkZcÉiWZZc [daadl^c\i]Zhi^X`nh^ijVi^dc^c<^agdn/ &'

Got a Tip for The Fly? fly@metronews.com

ART NOUVEAU!!Uif!wfofsbcmf!Cbol!pg!Bnfsjdb!cvjmejoh!ibt!cffo!obnfe!bt!!

1929

Year the AAU was founded by Richard S. Stephens

historical buildings, all of which are emblazoned with the striking redwhite-and-black Academy of Art University triangle logo. This modish scene may soon be re-created on the streets of downtown San Jose as the Academy of Art University (AAU), the largest art design school in the country, is looking for a home in Silicon Valley. Aiming to accommodate for their ballooning enrollment—while sidestepping an increasingly volatile relationship with the city of San

1,767

Number of AAU students in 1991

Francisco departments of code enforcement—the private art school’s representatives say they are seriously looking into expanding into downtown San Jose. Paul Correa, planning director for the AAU, says San Jose looks like the ideal location for the first branch of the for-profit art academy outside San Francisco city limits. He says that AAU president Elisa Stephens, and her father and former AAU president Richard S. Stephens, are both enthusiastic

15,791

Number of AAU students in 2009

[11]

January 13-19, 2010 about expanding to the South Bay. “They’ve always had the desire to locate to San Jose, because they see it as another market for them to tap into in terms of demographics,” says Correa, specifying Latino art, art technology and AAU’s burgeoning athletics program as potential focuses for a San Jose branch. “The academy is definitely looking for a new area to grow into, especially if San Francisco can’t meet that need at the pace we’re currently growing at.” While San Jose State University and other schools in the CSU system have had to slash enrollment and faculty as state funding has dwindled over the past year, Correa says that the Academy of Art, as a private university, has been largely unscathed. The Stephens family has directed the school for three generations, since Richard S. Stephens founded it in 1929. The academy has seen significant expansion since Elisa Stephens became head of the school in 1992. The AAU’s current student population is 15,791, up dramatically from 1,761 students in 1991. They anticipate 10 percent to 12 percent yearly growth in enrollment into the future, Correa says, and a 20 percent increase in faculty every year to accommodate for that growth. Correa says that he and president Stephens have met and been in talks with District 3 Councilman Sam Liccardo, 1stACT Silicon Valley managing director Connie Martinez and downtown building owners as they search for an appropriate home for the school. Liccardo says he supports the plan. “I’m thrilled with the prospect of bringing hundreds of creative people into our downtown,” he says. “This would be a really unique opportunity, combined with San Jose State’s School of Design and all of the arts institutions in SoFA, for us to start to see a critical mass of artistic talent emerge in the downtown that could make our arts scene truly unique.” The old Bank of America &'

33

Number of buildings the AAU owns in San Francisco


[12]

NEWS JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

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building and the empty San Jose Medical Center downtown are two sites that were mentioned as possibilities. The AAU’s expansion policy targets unwanted historic and landmark buildings that the school then converts into classrooms and dormitories. The school currently owns 33 buildings around San Francisco. Connie Martinez also seems excited about the idea—but cautions that the institution has gone no further than preliminary talks. “To say that there is any kind of firmness around that would be an overstatement,” Martinez says. “I’ve just had a couple of casual conversations, and what I know is that they expressed some interest. I know that they’ve made some trips here, but I don’t know anything more concrete than that.”

Good Neighbors? The deal may be complicated by the fact that the AAU has a lengthy history of violating city policy in its native San Francisco. Since the early ’90s, the art school has bought a bevy of historic structures around San Francisco and converted them into classrooms, administrative offices and dorm space. Meanwhile, the AAU has built up a reputation for ignoring building and signage codes, evident in their penchant for painting huge Academy logo murals across their buildings, often without municipal permission. The AAU has also reportedly neglected that pesky process of obtaining

the

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proper city building permits on many of their locations, a habit that prompted the San Francisco Planning Commission to launch an investigation into their practices in 2007. Some AAU critics have gone so far as to paint the school as a cover for a real estate scheme in which the Stephen’s family gobbles up and holds San Francisco’s prime housing under the guise of providing for their school’s population. AAU president Stephens was unavailable to comment on these issues, after numerous phone calls from Metro. Despite the school’s stated enthusiasm for a San Jose branch, local public officials stress that nothing concrete has been put in motion thus far. The ball is in president Stephens’ court when it comes to making a serious offer on San Jose’s first landmark skyscraper—the old Bank of America building. Still, there is a question of whether the academy is merely courting San Jose for leverage against its testy relationship with San Francisco officials. Perhaps it has already worked: On Jan. 7, the city of San Francisco finally officially announced that it would not be filing a lawsuit against the school after all. This is after AAU representatives openly confessed to flouting building codes in an expansion of one of their San Francisco SoMa industrial buildings during a Planning Commission meeting last November. So perhaps San Jose shouldn’t hold its breath waiting for the hipsters to converge. News Editor Eric Johnson: eric@metronews.com

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M E T R O S I L I C O N VA L L E Y   JANUARY 13-19, 2010SAN JOSE INSIDE

a look inside san jose politics and culture

News Reports: Schwarzenegger’s Budget Plan Will Hurt the Weakest Californians Silicon Valley Newsroom

The New York Times report following the release of Gov. Arnold Schwarzenegger’s budget plan yesterday summarized the harsh facts succinctly: “Mr. Schwarzenegger . . . has proposed eliminating the state’s $1 billion welfare program for families with children, ending a $126 million health insurance program for children, reducing the state’s Medicaid eligibility to the minimum to save over $500 million, and ending the state’s network of subsidized home health care providers for the poor.” The best that Californians can hope for is that the governor is bluffing—threatening to inflict pain on the helpless in order to goad the federal government into a bailout. According to The Times, he said as much: “The state might avert the worst of such a scenario, the governor suggested, if the federal government comes up with $6.9 billion that he claims it is owed, either through fixing accounting errors and shortchanging, or through the rejiggering of federal formulas to benefit the state.” Writing in the San Jose Mercury News, Denis C. Theriault points out that Schwarzenegger is “counting on $7 billion from the federal government to ward off yet another doomsday financial scenario.” Theriault also notes that that unlikely scenario would be small consolation: “Even if more federal money does flow to the state, Schwarzenegger is still proposing billions in cuts to health and human services programs, with $1.1 billion coming from Medi-Cal.” Theriault goes on to quote Jeff Smith, Santa Clara County’s CEO, who says the cuts will trickle down to already burdened local governments and will “make county taxpayers more responsible for services that should be a state obligation.” San Jose Mayor Chuck Reed, who has been openly critical about both federal and state budget matters in recent months, also attacked the governor’s plan: “’It’s the same old budget gimmicks,’ [he said], noting that the San Jose Redevelopment Agency stands to lose $13 million next year through Schwarzenegger’s efforts to shift some redevelopment funding to Sacramento.” Hd!dkZgi]ZYZXVYZh!Wdi]eVgi^Zh\gdl\dkZgcbZciheZcY^c\Wni]ZW^aa^dch#I]Zcl]Zci]ZW^aa[dgi]Zdg\nd[ heZcY^c\XdbZhYjZ!i]ZnbV`ZXjihi]Vil^aa]jgii]ZÆlZV`Zhi8Va^[dgc^Vch#ÇLZaa!^[\dkZgcbZciYdZhcÉi\Zi^ihheZcY^c\ jcYZgXdcigda!ZkZgnWdYn^ci]ZhiViZl^aaWZVlZV`8Va^[dgc^Vc#Å=j\]?VgYdcc 6[ZlnZVghV\d8Va^[dgc^VlVhi]Z[djgi]dgÒ[i]aVg\ZhiZXdcdbn^ci]ZldgaY#L^i]Vaai]Z[gZZW^ZhlZ\^kZid i]ZXdjeaZd[b^aa^dcd[i]dhZÆlZV`Zhi[da`hÇ]ZgZ^aaZ\Vaan!lZÉaahddcWZi]^gYldgaY!_jhia^`Zi]ZXdjcig^Zhi]ZnXVbZ]ZgZ [gdb#Å?d]cb^X]VZaDÉ8dccdg >hi]^hVXijVaanVCZlNdg`I^bZhhidgn4Dg_jhiVeVgdYnd[VI^bZhhidgn4 <dYYZX^YZY^ilVhi^bZidZcYi]ZldgaY!hd]Z]ZaYVegZhhXdc[ZgZcXZidbV`Zi]ZVccdjcXZbZci#GZedgiZgh]ZVgYi]ZeaVc! VcYi]Zcgjh]ZYi]Zhidg^Zh^cideg^ci# KVg^Zin/Æ<dYhVnh/È>iÉhDkZgÉÇ LVaaHigZZi?djgcVa/ÆLdgaYid:cYI]jghYVn#BVg`Zih8adhZ:VganÇ CZlNdg`I^bZh/ÆLdgaY:cYh#LdbZcVcYB^cdg^i^Zh=jgiBdhi#ÇÅGZheZXiZY9ddÒcVidg 9dZhcÉi^iValVnh]jgii]ZdcZhbdhil]dYdcÉi]VkZi]ZbdcZnidÒ\]iWVX`4>[ZVg[dgi]ZhZc^dgVcYY^hVWaZY eZdeaZl]dl^aaadhZ^c]dbZXVgZ!VcYbZY^Va#>i^hkZgnhVY^cYZZY#Å@Vi]aZZc &)

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SAN JOSE INSIDE JANUARY 13-19T, 2010 M E T R O S I L I C O N VA L L E Y

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[16]   COVER STORY

JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

Portrait of Jennifer One of midcentury Hollywood’s most indelible stars, Jennifer Jones both benefited and suffered from the attentions of producer David O. Selznick by MICHAEL S. GANT

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OT T LONG AG AGO, for no special reason, on I rewa rewatched one of my favorite Hollywood H guilty pleasures: Du Duel in the Sun from 1946. This Technicolor Western can elicit guffaws of derision, and certainly the casting of Jennifer Jones, given a makeup tan, as the half-Indian hellion Pearl Chavez, and Gregory Peck as Lewt (rhymes with “lewd”) McCanles, dissolute son of a prominent rancher, does not bode well. But every time I see Duel in the Sun, I succumb to the sheer audacity of Lewt and Pearl’s fierce passion. Jones steamrolls right over the plot holes, dark hair buoyed by the desert winds, her eyes flashing with almost alarming intensity. At the end, Pearl and Lewt track each other through a desolate landscape, exchanging gunfire until they realize that love/lust conquers all. Wounded, Pearl crawls through the dust and over jagged rocks, seeking out her beloved for one last embrace. The moment is downright Wagnerian in its excessiveness. When I heard the news that Jones had passed away last Dec. 17 at age 90, my Duel in the Sun screening seemed like a premonition of

the kind that animates her finest film, Portrait of Jennie (1948). In Portrait, based on a novel by the once renowned and now forgotten Robert Nathan, Jones plays a strange girl from the early 1900s who encounters a starving artist, Eben Adams (Joseph Cotten), in New York during the Depression. Trapped in some kind of time warp, Jennie shows up at key moments in Eben’s life, each time a few years older. She speaks mystically about “catching up” with Eben so that they can be together forever. But when Eben tries to hold onto this bewitching creature, she flits away, until fate decrees that her own forestalled death catch up with her. This soft-focus fantasy, delicately directed by William Dieterle, emphasizes the otherworldly side of Jones, more suited to her essential nature than the sensuous parts she took in Duel in the Sun and later Ruby Gentry. She is at once achingly desirable and yet tantalizingly unobtainable—a perfect muse to an older male artist. Eben makes his name painting her portrait, and in a weird real-life intervention, the wealthy art collector Norton Simon once owned the eponymous portrait (by Robert Brackman) of Jennie/Jennifer used

in the film, and ended up marrying her. Another man, the one who most determined our image of one of Hollywood’s great female stars, was producer David O. Selznick, who discovered Oklahoma-born Phylis Lee Isley, changed her name, made her a star and micromanaged her career until his death in 1965. He, too, owned that famous portrait, conveying a double sense of possession, of the woman and the image. “Today I have chatted about the matter [the movie Claudia] with Phylis Walker—for whom, incidentally, I have a great enthusiasm, in case you don’t already know this. . . .” That memo to story editor Katharine Brown by Selznick, a prodigious memo writer, sounds innocent enough, but soon his obsession would bring down two marriages. Phylis Isley, born March 2, 1919, showed up in Hollywood as Phylis Walker, married to actor Robert Walker (most famous as Bruno Anthony in Hitchcock’s Strangers on a Train) and with two small children. Although she hated her first screen test, Selznick was smitten by the “big-eyed girl” with an “eager, blushing quality” and gave her a contract. He called her married name “particularly undistinguished” 19


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JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y


M E T R O S I L I C O N VA L L E Y    JANUARY 13-19, 2010   COVER STORY

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JENNIFER JONES 16 and settled on Jennifer with a “one-syllable last name that has some rhythm to it and that is easy to remember.” Jones started strong, in 1943’s The Song of Bernadette about the teenager struck by a vision of the Virgin Mary. She landed the Oscar for the role, thanks to her freshness; like Ingrid Bergman she exuded a new kind of naturalism onscreen. Jones, at 25, was cast again as a teenager in the Selznick-produced World War II home-front family drama Since You Went Away, another indication of a tendency to innocence and even infantilism in her persona. Duel in the Sun veered wildly in the other direction. Jones and Selznick’s professional relationship turned very personal during the making of Since You Went Away, which featured Mr. and Mrs. Walker as lovers. Their romantic scenes, relentlessly overseen by Selznick, were painful for Robert Walker. After their divorce, he turned to drink and sought psychiatric care. He died in 1951 after a troubling incident in which he had a kind of emotional fit and then suffered an adverse reaction to sodium amytal given to him by a psychiatrist. Although she was one of the biggest stars of the late 1940s, Jones’ life after marriage to Selznick, in 1949, wasn’t easy. She herself survived cancer and once tried suicide, and her daughter by Selznick, Mary Jennifer, committed suicide, in 1976. Perhaps due to Selznick’s control-freak tendencies, she didn’t make as many movies as she might have in the 1950s, although she is wonderfully amusing in the ensemble cast of Beat the Devil and quite touching as a married American woman almost falling for a sensitive Italian man (Montgomery Clift) in Vittorio De Sica’s Indiscretion of an American Wife. Following Selznick’s death in 1965, she was lost for a while. Has anyone seen Angel Angel Down We Go, a.k.a. Cult of the Damned? She plays the mother of a daughter (Holly Near) who makes bad choices in men, music and mood-altering drugs. Her last role was in the cameo range, along with a high-rise full of stars, in Towering Inferno. She turned then to art collecting and mental-health advocacy. Like two other troubled dark-haired beauties of midcentury Hollywood—Vivien Leigh and Gene Tierney—Jones evinces a sometimes-painful fragility. It’s easy to imagine some role switching among this trio. Jones would have made a fine Blanche DuBois, and David Thomson reports that, surprisingly, Selznick didn’t want Jones to consider Tierney’s role in Laura, another tale of a woman whose beauty is so stunning that she can best be admired through the mediation of a painted portrait. In her best roles, Jones is like some kind of wayward angel, suspended between heaven and earth. She is forever with us and forever retreating before our desires. M

Jones Onscreen

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HE Stanford St Theatre in Palo Alto has just launched Jones retrospective that runs through a Jennifer Jen the end en of the month. As always, these films benefit from being seen in crisp prints on the big screen. immensely m fr Duel in the Su Sun stampedes over its more risible moments the bigger its Technicolor luridness is writ, and Portrait of Jennie’s atmospheric nostalgia envelops viewers in a darkened theater in a way that home video can’t replicate.

The Stanford Theatre is located at 221 University Ave., Palo Alto. (650.324.3700)

Love Letters (1945)

In a kind of warm-up for Portrait of Jennie, Love Letters pairs Joseph Cotten and Jones in an unorthodox romance. During World War II, Alan (Cotten), in a Cyrano plot device, writes love letters on behalf of his pal to a girl named Victoria (Jones). Sensitive and a little morose as only Cotten can be, he fantasizes about Victoria and wants to meet her after returning to England. Turns out that Victoria, 20


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JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

JENNIFER JONES 19

Duel in the Sun (1946) Gregory Peck goes richly bad in this creamy bonbon. He plays a black-clad villain, the evil brother of Joseph Cotten, who gets his girl stolen once again. Selznick’s follow-up to Gone With the Wind, based on a novel by San Francisco’s Niven Busch, is a kitsch Jo!ÕDmvoz!Cspxo-Ö!Kpoft!dmfbst!uif!esbjot!boe!dibsnt!Dibsmft!Cpzfs/ classic. Jones plays the hot-blooded half-breed Pearl Chavez; her good half is prayed over by now called Singleton, is an amnesiac who Walter Huston, a preacher calling himself can’t remember how her husband died— “The Sinkiller.” Pearl’s bad half is drawn to although she’s been charged with his a leering Peck, who won’t forbear to spy on murder. Alan falls for the strange girl, who a lady when she’s bathing. The overstuffed seems detached from her own life. In turn, cast includes Lionel Barrymore, Herbert she senses a bond with Alan, because it Marshall, Charles Bickford, Butterfly was his words that first touched her heart. McQueen and even Lillian Gish. (RvB) The tone is just a bit off, as the stolid Alan tries to understand the sometimes maddeningly elusive Singleton; director (1948) William Dieterle would try again and succeed with a similar dynamic in Jennie. A failure of nerve is evident everywhere In both films, Jones’ character inspires in this otherwise almost perfect romantic raptures of art, both written and visual, movie Portrait of Jennie. It is overnarrated, fulfilling her highest cinematic role as explaining a subject matter that would a muse. It is gorgeously photographed be better left enigmatic. On the bright by Lee Garmes, and Jones’ Singleton is side, Portrait of Jennie is gloriously singularly beautiful, even making a beret overnarrated. During an gleaming vista look good, worn slanting across her of Manhattan crowned with rays of frosty mounds of curls. In a weird footnote, the light comes an intro of what even Selznick story is based on a novel by Christopher termed “pseudoscientific hokeypokey.” Massie with a script by Objectivist icon Ben Hecht’s prologue drops the names Ayn Rand. (MSG) of Euripides, Keats and Browning before expanding: “Science tells us that nothing ever dies but only changes, that time itself (1950)

Portrait of Jennie

Gone to Earth

Gone to Earth is a rarity by Michael Powell and Emeric Pressburger about a spirited young Gypsy (Jones) with a love for all God’s creatures who is pursued by a squire who wants her as badly as he wants the fox over the next hedgerow. It sounds like a cross between D.H. Lawrence and W.H. Hudson (and Jones would have made a very good Rima in Green Mansions). In Technicolor. It was picked up by Selznick, recut and released two years later in the United States as The Wild Heart. Both Gone to Earth and Love Letters are nearly impossible to find on home video, so this is a must-see double bill. (MSG) Jan. 13–15: Letters at 7:30pm; Gone at 5:35 and 9:25pm.

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does not pass, but curves around us, and that the past and the future are together at our side forever. Out of the shadows of knowledge, and out of a painting that hung on a museum wall, comes our story, the truth of which lies not on our screen, but in your heart.” Hokeypokey perhaps; pseudoscientific, perhaps not. “This was tomorrow, once,” Jennie says. The idea of a romance about relativity is more logical in 2005 than it was in 1948. Imagine Portrait of Jennie as an infinitely superior version of Eternal Sunshine of the Spotless Mind. As for the hokeypokey about the truth and the heart: only the truly heartless would fail to respond to Joseph Cotten’s noble culpability. He plays Eben Adams, a painter as unsuccessful at the brush as his Holly Martins from The Third Man was at the typewriter. Wandering into Central Park during the frozen horror of the Depression, he meets a young girl unstuck in time— Jennie Appleton (Jones, who is as good at the spiritual purity of desire here as she is at earthy lust in Duel in the Sun). Jennie serves as both his love and his muse; she ages at a much faster rate than he does. And while she gives him courage, she also leaks clues about her own past and future. Tracking down Jennie, Adams visits a convent where she stayed; Lillian Gish plays the nun who vets Jennie’s goodness. Still, the fate of the girl is foretold in advance, despite Adams’ desperate effort to save her.

Portrait of Jennie touches a nerve in a way that won’t let logic block the sting. The care that went into the movie wins over all, in the snowscapes of Manhattan, in the surprise use of tinting and Technicolor and in a climactic tempest scene that successfully brings back the mood of D.W.

Griffith, exactly as Selznick intended. As in the emotionally similar Vertigo, Portrait of Jennie appeals to the part of the mind that never can accept death as something that is fair or natural. (RvB) Jan. 16-17: Duel at 3:30 and 7:30pm; Portrait at 5:50 and 9:50pm. Jan 18: Duel at 7:30pm; Portrait at 5:50 and 9:50pm.

Cluny Brown (1946) British plumbing is no joke, but Ernst Lubitsch’s swan song is a comedy on precisely this dolorous topic. The film is a metaphor for changing times—a joke on those to whom class mobility was as distressing as a backed-up drain. The heroine (Jones) is a warmhearted orphan whose secret superpower is the ability to fix unenthusiastic English drains. Through trifling circumstances, Cluny is forced into an engagement with a damp and disapproving pharmacist. Richard Haydn plays the one drip Cluny can’t fix. Hadyn’s reading of the line “I could relish a crumpet” is dialect comedy at its richest. Fortunately, Cluny is rescued by an emigrant professor (Charles Boyer) who is working on a text about “Morality vs. Expediency”—Lubitsch’s lifelong theme. Stiff in points, and Jones has a clumsy drunk scene, but the film is frequently sublime. Jones displays considerable flair and charm in a rare comedic role. (RvB)

Beat the Devil (1953) Beat the Devil suggests a remake of 22


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[22]   COVER STORY

JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

JENNIFER JONES 20

Since You Went Away (1944)

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director John Huston’s own The Maltese Falcon written by Joe Orton, and it characterizes the white man’s burden as a bag of loot. The lounging adventurer Billy Dannreuther (Humphrey Bogart), stuck in a podunk Italian beach town, has a tip on some uranium fields in Africa; he’s waiting with several fellow adventurers for transport there. His partners include Robert Morley, subbing for Sydney Greenstreet, and Peter Lorre as a Germanaccented “Mr. O’Hara.”

town girl’s attempts to survive in Chicago in the 1890s and the compromises she must make. After enduring the pawings of a traveling salesman (Eddie Albert), Carrie has an affair with a married man (Laurence Olivier). It does not, as is so often the case with Dreiser, end well for either party, although the movie softens the book’s conclusion. (MSG)

During the forced wait, Dannreuther’s wife, Maria (Gina Lollobrigida), takes a liking to an upper-class Englishman, Harry Chelm (Edward Underdown). Fortunately for Dannreuther, Chelm has a neglected wife, Gwendolen, played by Jones, looking better in cat’s-eye sunglasses than anyone has ever looked since and again demonstrating her neglected talent for light comedy. The adventure of a few shady men trying to rip off Kenya holds up a cracked mirror to imperial pretensions, specifically British imperial pretensions. If Beat the Devil doesn’t make a lot of logical sense, forgive it: as Gwendolen sighs, “Charm and dependability so seldom go in the same package.” (RvB)

(1949)

Jan. 19–20: Cluny at 7:30pm; Beat at 5:50 and 9:20pm.

Carrie (1952) Carrie is William Wyler’s adaptation of Theodore Dreiser’s novel about a small-

We Were Strangers

Intending “a war story without battles,” David O. Selznick pounced on a magazine serial. Selznick adapted it under a pseudonym and cast Jones, Claudette Colbert and an out-of-retirement Shirley Temple as the women in a tale of the World War II home front. Jones was acting against her soon-to-be-ex-husband Robert Walker, which adds extra pathos to her scenes. Certainly, this is more of an artifact than a great movie, a taste of overproduced dramas to come. Shot in what James Agee called “Hollywood’s pearliest mezzotones” by Stanley Cortez, it’s practically a by-product of Orson Welles’ Mercury Theater, what with Cortez, Joseph Cotten and Agnes Moorehead, plus Magnificent Ambersons set designer Mark-Lee Kirk (whose hand is most visible in the famous airplane hangar dance sequence). (RvB) Jan. 24: 2 and 7:30pm; Jan. 25–26: 7:30pm

The Man in the Gray Flannel Suit (1956) Jones’ Betsy Rath is, if not a mad housewife, a severely disgruntled one. The movie is best remembered as being the uncredited sire of TV’s Mad Men.

Significantly, that later Jones, January, is named Betty but sometimes called “Betsy” by her straying husband, Don Draper. Jones’ Betsy isn’t in a lot of the film; she’s the goad and moral compass to husband Tom (Gregory Peck), who is pressured into taking a Madison Avenue job that slightly morally compromises him. Today’s legions of unemployed wouldbe sell-outs in the communications field will be baffled trying to figure out Rath’s problem with a job ghostwriting. Tom Rath has a secret of his own, regarding a wartime romance with a distressed Italian woman (Marisa Pavan). Obviously, Sloan Wilson’s bestselling novel spoke to the dissatisfaction of thousands of Tom (W)Raths who had been traumatized in World War II; once soldiers, they were now forced into the rituals of commuter train riding and desk jobs. That credibility doesn’t give this overlong, static movie much more punch. Bernard Herrmann tries to galvanize the stagy action with shocking music. The poorly used CinemaScope makes every scene look staged inside a warehouse, and director Nunnally Johnson can’t heat up the leads. But clothed in burnt-orange and russet, Jones is a one-woman display of the charms of autumn leaves. It takes all of her force not to make Betsy Rath look like a harpy, and she succeeds. (RvB) Jan. 27–28: 7:30pm

In a bit of strange casting that must have fed off her role in Duel in the Sun, Jones plays China Valdés, a Cuban woman inspired to pre-Castro (circa 1933) rebellion when her brother is killed by the Machado government. A romance blossoms between China and an outside agitator named Tony (John Garfield). The forces of repression are well represented by the great Mexican actor Pedro Armendáriz. The real meat of the film comes in a long climactic sequence in which the rebels dig a tunnel in order to plant a bomb. Director John Huston’s sympathies clearly lie with the revolutionaries in a way that seems surprisingly frank for 1949 Hollywood. Distinguished by some terrific location shooting in Havana. (MSG) Jan. 21–22: Carrie at 7:30pm and Strangers at 5:30 and 9:40pm; Jan. 23: Carrie at 3:20 and 7:30pm, Strangers at 5:30 and 9:40pm.

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M E T R O S I L I C O N VA L L E Y


[24]   SPORTS

JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

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M E T R O S I L I C O N VA L L E Y    JANUARY 13-19, 2010   EVENTS

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[25]


[26]

JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

mind body & spirit g Classes & Instruction

Focus Learn How To Meditate - And Why! Enjoy life! Calm the mind. Improve relationships. Make better decisions. Meditation and Buddhist View with Reed Sherman. Everyone is welcome. No previous experience necessary. $10 per class. Every Wednesday evening, 7:30-9, Unitarian Universalist Fellowship of Los Gatos, 15980 Blossom Hill Rd. Los Gatos, 95032. Call Kelsang Gamo 408/226-0595 for information or visit us at www.MeditationInSanJose.org

g Massage & Relaxation

Massage By Michael

Great massage by Asian man. In $50. Outcall $70. By CMT. For days 408-551-0767 or after 7pm 408-893-1966.

Bella Spa The best in relaxation, with aroma therapy. 359 W. El Camino Real, Mountain View. 650-965-8899

Mind, Body, & Spirit. To advertise here, call

Michael R. Hill at 408.200.1308

t


M E T R O S I L I C O N VA L L E Y    JANUARY 13-19, 2010STYLE

BODICE RIPPER!!Mbdf!ju!vq!jo!uiftf!dpstfufe!gbtijpot!cz!Ufnqfsmfz!Mpoepo/

Fashion Strapped

L

ADIES, grab hold of your bedposts ďŹ rmly and get ready to be laced in: corsets are back. Corsets ďŹ&#x201A;ourished in the Victorian era for their ability to bestow womanly curves (not to mention they gave busts that extra boom-boom-pow), but women were glad to throw them off in the liberating 1920s. Nowadays, most members of the fairer sex look back at corsets as if they were brutal contraptions akin to torture chambers. Certainly, corsets are an antiquated restrictive fashion that squeezes the midsection and makes it harder to breathe. But in truth, this discomfort doesnâ&#x20AC;&#x2122;t come without its rewardsâ&#x20AC;&#x201D;corsets really do transform oneâ&#x20AC;&#x2122;s posture, creating curves in the right places without having to go under the knife or eat nothing but grapefruit for a month. In an era where it has become common for women to resort to the likes of tummy tucks, liposuction and breast augmentation to achieve an impossible body ideal, the act of lacing oneself into a corset seems a lot less barbaric. Though this sexy trend was ďŹ rst hinted at on the winter 2009 runway, expect corsets to fully blossom in popularity this spring in the form of boned and laced-up minidresses and strappy cinched tops paired with slim pencil skirts. High-end designers like 9DA8:<6776C6!8=G>HI>6C8DI6!I:BE:GA:NADC9DC and ?6HB>C:9>B>AD sent an abundance of contemporary takes on the corset down their spring 2010 runways. In addition, more affordable fashion retailers like =B!7:7: and ;DG:K:G'& are sure to offer up sultry interpretations of this trend within the next few months. Though some corsets available lately have straps, most are sleeveless, which is all the better for showing off delicate shoulders and collarbones. For a more modern cocktailparty-ready look, try pairing a saucy corset with a pair of dark skinny jeans and killer heels. However, before embracing this trend, remember that itâ&#x20AC;&#x2122;s best not to look like a Moulin Rouge dancer in public. While itâ&#x20AC;&#x2122;s ďŹ ne for celebs like Katy Perry, Rihanna and Eve to go the burlesque route for their everyday outďŹ ts, one must always be careful when wearing lingerie as outerwear. So, try to keep the look classy. For example, wear a corset underneath a blazer and pair it with dark trousersâ&#x20AC;&#x201D;voilĂ , this trend becomes office-friendly. Jessica Fromm

Business Listings

[27]


[28]

JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y


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M E T R O S I L I C O N VA L L E Y    JANUARY 13-19, 2010MENU

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[29]

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Whoâ&#x20AC;&#x2122;s the top chef in Silicon Valley? Let the search begin._31

Netoâ&#x20AC;&#x2122;s 2.0 ;Za^eZ7j^igV\d

The popular sausage company moves to a new location but still serves the same Iberian treats By Stett Holbrook

KEEPER OF THE FLAME Ejop!Dpotuboujop!Ă jqt! tbvtbhft!po!uif!! pqfo!hsjmm!bu!OfupĂ&#x2013;t/

Netoâ&#x20AC;&#x2122;s Market & Grill 6YYgZhh/&(&(;gVc`a^cHi#! HVciV8aVgV# E]dcZ/)%-#'.+#%-&-# =djgh/.VbĂ&#x201E;.ebBdcĂ&#x201E; I]j!.VbĂ&#x201E;&&eb;g^VcY -VbĂ&#x201E;&%ebHVi# Eg^XZGVc\Z/:cigZZh .#..Ă&#x201E;&+#..# 8j^h^cZ/Edgij\jZhZVcY >iVa^Vc# LZW/cZidhbVg`ZiVcY \g^aa#Xdb#

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ETOâ&#x20AC;&#x2122;S SAUSAGE Companyâ&#x20AC;&#x2122;s twice-aweek barbecue held just outside the small market wasnâ&#x20AC;&#x2122;t exactly a secret, but it had the feel of a neighborhood gathering that attracted a select, sausage-loving crowd. Netoâ&#x20AC;&#x2122;s was tucked away off The Alameda in Santa Clara and was one of those places you would take visiting friends who appreciated good food in unpretentious surroundings like the edge of a parking lot with picnic tables for seating. Netoâ&#x20AC;&#x2122;s had been making sausage in the same spot since 1948, when Arthur Gonçalvez founded the market and sausage outlet to cater to the areaâ&#x20AC;&#x2122;s Portuguese community. But four months ago, Netoâ&#x20AC;&#x2122;s owners, Ed Costa (Gonçalvezâ&#x20AC;&#x2122;s grandson) and his wife, Debbie, decided to move their operation to a bigger space and offer their grilled sausage every day as well as a full menu of Italian and Portuguese food. They settled on a hulking space that used to be a UFW hall a few blocks away near Franklin Square. Thus Netoâ&#x20AC;&#x2122;s Sausage Company has become Netoâ&#x20AC;&#x2122;s Market & Grill. A corner of the restaurant is given over to fresh sausage (made

off-site) and cheese, as well as various Iberian grocery items. The rest of the space is dedicated to the restaurant and a small bar (!). You order at the counter and ďŹ nd a seat among the aluminum tables and chairs. Old black-and-white family photos line the walls, and near the bar is a cluster of TVs tuned to various games. Because the space is so large, the Costas decided to add live entertainment. Tuesday is blues-jam night, an event that is taking off, judging by the packed house and dozens of musicians who showed up last week. Fridays feature karaoke backed by a live band; they plan to add live music and comedy on Saturdays. As for the food, Netoâ&#x20AC;&#x2122;s menu of grilled sausage has expanded into full-service breakfast, lunch and dinner. They still serve the grilled links and sausage burgers of old and have added some Italian-American classics and a few lesser-known Portuguese dishes. The sausage is as good as I remember it from when I last visited the old Netoâ&#x20AC;&#x2122;s ďŹ ve years ago. I love the spicy Calabrese sausage burger ($7.99), a hearty patty of spiced pork. My only complaint is that

the bun needed a good toasting. I hate untoasted bread. New to me is the carne de vinho dâ&#x20AC;&#x2122;alhos ($9.99), garlicky, marinated grilled pork served on a French roll. Itâ&#x20AC;&#x2122;s good but got lost in all that bread. For a starter that could work just as well as a meal, go for the cheesy chorizo bread ($6.99), grilled ciabatta topped with oil and garlic loaded with marinara sauce, sliced Spanish chorizo and melted mozzarella. It looks like the worldâ&#x20AC;&#x2122;s best toaster-oven creation. Skip the bruschetta ($6.99), French bread slices gone soggy with too much balsamic vinegar and mealy out-ofseason tomatoes. Back for dinner on another visit, I was drawn to the Portuguese specialties. San Jose and Santa Clara have sizeable Portuguese communities but few Portuguese restaurants. Iâ&#x20AC;&#x2122;m guessing that the best cooking is done in peopleâ&#x20AC;&#x2122;s homes, and Netoâ&#x20AC;&#x2122;s food looks and tastes like home cooking, with big portions and hearty ďŹ&#x201A;avors that aim to please. Best of the lot was the Portuguese febras ($14.99), thickly sliced pork loin simmered in a creamy but light garlic sauce and served with a fried egg on top, a heap of roasted

potatoes and an afterthought of sautĂŠed vegetables. While itâ&#x20AC;&#x2122;s not for everyone, I was glad to see the bacalhau de Gomes ($15.99) on the menu, a jumble of salt cod, potatoes and onions with a sliced hard-boiled egg on top. If youâ&#x20AC;&#x2122;re looking for Old World, this is it. For something a little more New World, the chicken Parmesan ($11.99) offers a heaping helping of Italian-American food. The hulking chicken breast is lightly breaded and covered with red sauce and a thick layer of mozzarella, with pasta and vegetables on the side. The large portions precluded me from trying many desserts, but I did squeeze in the Portuguese ďŹ&#x201A;an, a wonderfully dense and rich version of egg custard. Netoâ&#x20AC;&#x2122;s sells a number of Portuguese wines in the market, but on the restaurant side youâ&#x20AC;&#x2122;re limited to less-than-good red and white wine by the glass. Why not bring some Portuguese wines over to the bar? Raising a glass of Vinho Verde or Douro would be a great way to toast this outpost of Portuguese cooking-cumentertainment hall.


[30]   DINING GUIDE

JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

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M E T R O S I L I C O N VA L L E Y    JANUARY 13-19, 2010   DINING GUIDE

mjwf! gffe Top Chef Silicon Valley

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ART OF my role as Metroâ&#x20AC;&#x2122;s restaurant critic is, of course, to critique the food in local restaurants and bring new discoveries to light for your consideration. But I also see my role as pushing Silicon Valley restaurants and chefs to break the bonds of mediocrity and do something delicious. Toward that end, this year Iâ&#x20AC;&#x2122;m going to be on the lookout for a chef who best represents Silicon Valley. Itâ&#x20AC;&#x2122;s my take on Top Chef. Call it Top Chef Silicon Valley. OK, in truth Iâ&#x20AC;&#x2122;ve never watched the show, but I hear itâ&#x20AC;&#x2122;s really popular. In my version, Iâ&#x20AC;&#x2122;ll be looking for chefs who distinguish themselves with singularly delicious food that shatters the notion that one must travel to San Francisco for truly outstanding food. At the end of the year, Iâ&#x20AC;&#x2122;ll present my choice for Silicon Valleyâ&#x20AC;&#x2122;s top chef with a proďŹ le of the big winner. Along the way, I hope you will send me suggestions of chefs who you think deserve to be called Silicon Valleyâ&#x20AC;&#x2122;s top chef. Iâ&#x20AC;&#x2122;ll tell you upfront that B6CG:H6â&#x20AC;&#x2122;s 96K>9@>C8= wonâ&#x20AC;&#x2122;t be considered. As a chef, Kinch is in a class by himself and isnâ&#x20AC;&#x2122;t exactly hard up for recognition. Iâ&#x20AC;&#x2122;m looking for a lesser-known talent, a brash young upstart or perhaps an old master who has never gotten his (or her) due. So let the campaign begin. Whoâ&#x20AC;&#x2122;s Silicon Valleyâ&#x20AC;&#x2122;s best chef ?

Bombay Express H6@DDC, a modern Indian restaurant in Mountain View, was one of my favorite restaurant debuts last year. Now owner 76A@6GI6B7:G has opened a new restaurant that looks promising as wellâ&#x20AC;&#x201D;and itâ&#x20AC;&#x2122;s a whole lot cheaper. 7DB76N :MEG:HHK:<:I6G>6C8=66I86;w brings traditional and modern Indian street food, small plates of food known as chaat that pack big ďŹ&#x201A;avors. Look for chaat classics like pani puri and bhel puri, tandoor-cooked vegetables, dosa and neo-Indian dishes like the do mushroom dhania frankie wrap: mushrooms cooked with cilantro wrapped in homemade paratha served with sesame tomato chutney. Word is that Tamber is working on another Bombay Cafe in Sunnyvale. Go Tamber! Bombay Express Vegetarian Chaat CafĂŠ is located at 5029 Mowry Ave., Fremont; 510.713.0155. Sholbrook@metronews.com. Follow me at Twitter.com/stett_holbrook.

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[31]


[32]   DINING GUIDE

JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

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M E T R O S I L I C O N VA L L E Y

JANUARY 13-19, 2010

[33]


[34]   DINING GUIDE

JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

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M E T R O S I L I C O N VA L L E Y    JANUARY 13-19, 2010   DINING GUIDE

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Big Dog Vineyards

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ILPITAS doesn’t quite have the ring of Napa, Healdsburg or Sonoma, but B6G@86E6ADC<6C is doing is his best to put Milpitas on the winemaking map. Together with his wife, H6C9N, Mark is the owner and winemaker of 7><9D<K>C:N6G9H, Milpitas’ sole winery. Technically, it isn’t in Milpitas, since it’s in the hills east of the city limits, but for all purposes it’s still Milpitas, home of the Great Mall, good public schools and an abundance of outstanding Chinese restaurants. But wine country it isn’t. Or is it? Just three miles east of Interstate 680 up Calistoga Road, the scenery changes dramatically. Traffic congestion and shopping centers give way to horse stables, a golf course and rock-strewn rolling hills green from winter rains. There are a few houses and not much else. The Capalongans live on 45 acres perched atop one such hill. Behind them to the east, stretching seemingly all the way to the horizon, lies San Francisco Water District land that will never be developed. North and south are more rolling hills that are surprisingly underdeveloped given the proximity to the valley below. To the west are views of San Francisco Bay, San Francisco, the Santa Cruz Mountains and the circuit board–like density of Silicon Valley. When Capalongan first decided to have a go at grape growing, he submitted a soil sample to UC-Davis for evaluation. According to him, the university scientists were giddy about the site’s potential for growing world-class cabernet sauvignon. “There were practically jumping up and down,” he says. “I happen to like cab, and we just lucked out.” At first, he just planned to grow grapes, but LDD9H>9:K>C:N6G9H winemaker 7G>6C86H:A9:C encouraged Capalongan to take the plunge and start a winery. Thus Big Dog Vineyards was born. The winery takes its name from Mark and Sandy’s fondness for Saint Bernards. Cabernet (“Cab” for short) greeted me when I drove up to the Capalongans’ house. He met me at eye level. Cab weighs 210 pounds and is still something of a pup. What looks like an oversize garage next to the Capalongans’ house is the winery’s tasting room and winery. This is a family operation, so the front half is a three-car garage, too. Capalongan tells me that his wife insisted that he couldn’t build a winery without building a garage and more storage first. So he did both. Capalongan makes just two kinds of wine, cabernet sauvignon and cabernet franc. He also makes outstanding port-style wines from the same grapes. Five acres of vines grow right behind his house, and there’s a smaller vineyard on a neighboring property about a half-mile away. A thin crust of topsoil conceals what is little more than a mountain of boulders. Because of the fast-draining soil and the fact that Capalongan is so stingy with water, the grapes must dig deep to tap into nutrients and, as a result, produce wines of great depth and intensity. The cabernet sauvignons I tasted are big wines that aren’t shy about announcing their black cherry, plum and earthy flavors, but the wines also display an elegance and integration that makes the varietal such a noble wine. Capalongan originally planted cabernet franc as a blending wine, but he was so pleased with what he got that it stands on its own. I tried the 2006 release, and while it was a bit tightly wound around a tannic core, the wine still displayed delicious black pepper and perfumed, floral notes. But it’s Big Dog’s cabernet sauvignon that really shines. I liked the 2006 Cinq Chevaux Cabernet Sauvignon, but it was the 2006 Estate Cabernet Sauvignon that really spoke to me. It’s a dark, inky wine. I picked up flavors and textures that were more lush and plush than what came from the Cinq Chevaux vineyard just a short distance away. It’s a real testament to the terroir of the vineyard and to the Capalongans’ lonely Milpitas winery. Big Dog Vineyards’ wines are available online at bigdogvineyards.com and by appointment at the winery. The winery also holds a few special events each year that are open to the public. Stett Holbrook (Twitter.com/Stett_Holbrook)


[36]   DINING GUIDE

JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

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[37]


[38]   CCALENDAR ALENDAR

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M E T R O S I L I C O N VA L L E Y    JANUARY 13-19, 2010CALENDAR

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JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y


M E T R O S I L I C O N VA L L E Y    JANUARY 13-19, 2010   ARTS

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[41]

METROGUIDE

Gjmn ‘The Lovely Bones’ adds vengeance to teen fantasy_47

Far Side of Minimalism ?dZaH^bdc

So Percussion joined composer Steve Reich at Stanford to explore dense textures of percussive invention By Alex Gilrane

S MALLET AFORETHOUGHT Tp!Qfsdvttjpo! qfsgpsnt!Tufwf!SfjdiÖt! ÕNbmmfu!Rvbsufu/Ö

IX MEN stood at the front of the stage at Stanford’s Dinkelspiel Auditorium on Saturday night facing each other, clapping out a tune. Five were members of So Percussion, a celebrated and famously eccentric New Music ensemble. The sixth was Steve Reich, the 73-year-old winner of the 2009 Pulitzer Prize for Music, widely regarded as the most important living American composer. Clapping Music, from 1972, is a classic Reich piece: a perfect demonstration of the minimalist concept—and its weird power. First the men stated a simple idea—a rapid-fire staccato rhythm: 1-2-3, 12, 1, 1-2—clapped in unison. Over the course of four minutes, the rhythm divided and became more complex, morphing into something multidimensional. Six men clapping, creating a complex, richly textured song. The effect was stunning. Toward its conclusion, the musicians returned to the simple theme. Here’s the weird part: When that happened, I felt a flood of good feeling. Judging from the explosive ovation that followed I was not alone.

So Percussion followed that with Nagoya Marimbas, from 1994. By the time Reich wrote this piece, he had been composing for the marimba for a decade and had discovered ways to make the instrument do some fascinating things. A perfect vehicle to exploit his love of complex rhythmic patterns, it also allowed him to explore new melodies and challenging harmonies. In the hands of So Percussion, the piece was playful, then briefly melancholic and, finally, ecstatic. The collaboration between Reich and So Percussion has been a good fit since they began working together in 1999. Although the composer has written for a variety of instruments— including string quartet, 18-voice chorale and looped tapes of random conversations—he has a special love for percussion. He studied drumming at the University of Ghana in the early 1970s and went on to study Balinese gamelan, which may be why the evening’s next piece, Four Organs, could serve as proof of the organ’s status as a percussion instrument. So Percussion staged the piece simply. Its four main members—

Josh Quillen, Adam Sliwinski, Jason Treuting and Eric Beach—sat around a table onstage, each in front of a small portable keyboard, while sometime collaborator Jim Munzenrider stood at the head of the table with a pair of maracas. Again, the piece began with a simple statement: Munzenrider rapping out a plain, midtempo rhythm. This time, that meter would repeat, relentlessly, for 20 minutes. Meanwhile, one by one, the organists joined the song, playing chords in a similarly simple tempo, over and over, relentlessly. Layering note upon note, the ensemble built dense chords, then took them apart, note by note. The phrase intervals grew longer and longer. The chords built in density—at times, the audience was probably being bathed in 40 separate notes and their overtones—and the volume grew. The piece developed slowly, with punishing repetitiveness, as a series of small, 30-second-long crescendos built toward an almost violent ultimate crescendo. It was a trip to the other side of monotony. Minimalism is often described as trance music, but experiencing

Four Organs, I found myself entering something other than a trance. Remaining alert to the subtle changes, no doubt hypnotized by the droning repetition, I found myself in a sharpened, heightened state of awareness. Maybe it was the wash of organ recalling the Catholic church of my youth, but the effect felt almost religious—darkly so. When it ended I was close to tears. When Reich won a Grammy in 1990 for his composition Different Trains, The New York Times said that the piece “possesses an absolutely harrowing emotional impact.” I was reminded in Palo Alto how deeply music can touch us. So Percussion followed this tour de force with another: the world premiere of a new work, Reich’s Mallet Quartet. With this piece, the composer seems to be reaching new technical heights and emotional depths. As the ensemble transitioned from the joyful, galloping opening into a quiet, elegiac second section, the players seemed to be moving in slow-motion, their mallets drifting through the air in a graceful ballet. The effect was sublime. And the evening wasn’t half over. M


[42]   STAGE/ART/LIT

JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

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[ ] M E T R O S I L I C O N VA L L E Y   JANUARY 13-19, 2010STAGE/ART/LIT

[43]

DANCE REVIEW 9VkZAZedg^

SOUL SEARCHING!!Ftufmmb!)Tibjob!Mfjctpo*!boe!uif!bevmu!Qjq!! )Spcfsu!Sbofz*!ipqf!up!dpoofdu!jo!ÕHsfbu!Fyqfdubujpot/Ö

Moving Dickens Choreographer Margaret Wingrove’s new version of ‘Great Expectations’ defies expectations

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O CHARACTERIZE the Margaret Wingrove Dance Company’s vision of the Charles Dickens novel Great Expectations: it’s not overly joyous. People struggle on the ground level, rolling, huddling, holding their bodies, negotiating their limbs. Even at standing level, characters seem bowed, movements labored, as if through sticky webs of restriction or melancholy. And just beyond them we see light-filled doorways or windows (lighting designer Richard Larsen). There’s a larger sense of dance paused by storytelling, or constrained by voice-overs and ballet mime. “It’s like a silent movie,” said one elderly viewer of last weekend’s performance. From her opening salvo, Wingrove declares her intention to take a more internal, psychodynamic look at Dickens’ socioeconomic portrait. She does it with an element of surprise. Magwitch (Michael Howerton) does not “jump out” at young Pip (Diego Blanc) as the voice-over by Kevin Kennedy announces; he slogs, stooped over his leg chains. Unlike Dickens’ brute, Howerton’s escaped prisoner puts a fatherly hand on Pip’s head. And freed from his chains, Magwitch dances with them, holding them fondly or folding them with care. As a character whose life path will take him to wealth and back to prison, Magwitch shows a need for the boundaries of the chains. Likewise, Lori Seymour dances in relation to her wedding gown, as Miss Havisham on her wedding day. Her solo has none of the leaps and skips of a lighthearted bride. Instead, taut, wide-ranging floor moves show a tension between bodily freedom—stretching, extending— and control or design—placing, posing. She arranges, then rearranges her raised, bent legs, with a sense of forcing herself to be precisely this, not that. She echoes this sense when she makes a quick readjustment before settling into her wedding gown with a steely pose. This is the way Dickens shows her, years later, a jilted and bitter old maid. But Wingrove seems to use these solos to suggest that character, not circumstance, has determined life’s path. Meanwhile, Wingrove’s choreography of duets dissects the stumbling human quest for the perfect relational “fit.” As characters go from mismatch to perfect match, parallel moves reveal the contrasts. Most interesting is Pip’s household. Pip grows up with a live-in teacher, Biddy (Amy Briones), under the guardianship of the kindly Joe (Brendan Barthel) and his abusive wife (Andrea Moody). Moody’s pained expressions suggest not a shrew but someone in love with grief. Moody rejects or is unaffected by Joe’s support, his hunched self-effacement, his concerned touch, his kneeling offers of support. Likewise, Biddy finds that Pip only obligingly supports her impressive, muscular, 180-degree leg lifts. Whereas Biddy has thrown herself on Pip’s back, clutching, she later melts onto the widowed Joe’s offered back and easily drops into Joe’s kneeling support, following him to ground level in embrace. Two longer duets have strong narrative power: a battle for control between Miss Havisham and her adopted daughter, Estella (Shaina Leibson), and a final battle for Estella’s soul between the adult Pip (Robert Raney) and Estella. These are full of remarkable swooshes—Seymour’s facial and body language as Havisham sucks in Estella’s man-eating charm; Leibson’s zombielike flat-footed walk as an older broken Estella; the build-up and heroic shoulder lift of Ballet San Jose dancers Raney and Leibson. Their return to classic, balletic beauty amid majestic horns seems to signal Pip’s and Estella’s return to their essential selves. This fascinating program defies expectations, great or otherwise. Marianne Messina

7th annual gala...

Arts Panorama Friday, January 29 6:30 PM Le Petit Trianon Theatre & Banquet Hall 72 North 5th Street. downtown San Jose Tickets: $25 each, order: 408 251-8440. * wine, hors d’oeuvre & dessert social * silent auction featuring fascinating & unusual (many one-of-a-kind) art objects, services & enrichment experiences for your winning bid * “best of ” staged entertainment by Silicon Valley Arts Coalition member organizations with emcee, Susannah Greenwood.

www.svArts.org


[44]   STAGE/ART/LIT

JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y ?d]c9Vj\]ign

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M E T R O S I L I C O N VA L L E Y

JANUARY 13-19, 2010

“Death-defying Butterflies, foot-juggling Ants, contortionist Spiders, high-bounding Crickets ...” – San Francisco Chronicle

WRITTEN AND DIRECTED BY DEBORAH COLKER PRESENTED BY

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[46]   STAGE/ART/LIT

JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

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West Coast premiere of collaborative composition A Chinese Home, directed by Chen Shi-Zheng (The Bonesetterâ&#x20AC;&#x2122;s Daughter); plus Tan Dunâ&#x20AC;&#x2122;s Ghost Opera.

Bay Area debut of celebrated choreographer Wheeldonâ&#x20AC;&#x2122;s â&#x20AC;&#x153;dream ballet troupeâ&#x20AC;? (The New York Times) with live music.

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The Complete Works of William Shakespeare (abridged) :: Feb 4, 7:30 pm :: Carriage House Theatre Praised by the Los Angeles Times as â&#x20AC;&#x153;wildly funnyâ&#x20AC;? and by the Montreal Gazette as â&#x20AC;&#x153;the funniest show you are likely to see in your entire lifetime.â&#x20AC;? This irreverent, fast-paced romp through the Bardâ&#x20AC;&#x2122;s plays was Londonâ&#x20AC;&#x2122;s longest-running comedy â&#x20AC;&#x201C; 10 years at the Criterion Theatre. All 37 plays in 97 minutes! Original London cast!

:: $35/30; Members $31/27

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Masters of Persian Music: Three Generations :: Feb 14, 8 pm :: Carriage House Theatre Legendary masters in Persian classical music, including Hossein Alizadeh, the tar (plucked lute) maestro and Kayhan Kalhor, the kamancheh (spike-fiddle) virtuoso. â&#x20AC;&#x153;...the large audience in attendance drew the trio back for two encores and might still be there had the house lights not come up and the curtain finally come down.â&#x20AC;? â&#x20AC;&#x201C; THE LOS ANGELES TIMES

:: $45/35; Members $31/27

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M E T R O S I L I C O N VA L L E Y    JANUARY 13-19, 2010FILM

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Dead Reckoning Peter Jackson and Steven Spielberg contrast horrible reality and candycolored fantasy in ‘The Lovely Bones’ By Richard von Busack

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NY FILM adaptation of a celebrated novel is a sort of X-ray; any manipulation or selfimportance in the text will be laid bare. The success of the book The Lovely Bones is easy to understand. The horrific subject matter has substantial Gothic appeal, and it’s an irresistible fantasy of a family mourning without cease, for you and only you. What adolescent hasn’t thought, “If I were dead, they’d be sorry”? And the appalling way the 14-yearheroine, Susie Salmon, is brutalized before she dies sticks with the reader: the worst thing in the world. The italics are by author Alice Sebold, who experienced this worst thing, as she noted in her memoir Lucky. Peter Jackson’s film of The Lovely Bones is set in Pennsylvania in the early 1970s. Susie (Saoirse Ronan)— who has never even been kissed—is dealing with high school life. One winter day, on her way home through a stubbly cornfield, she is lured into an underground lair and raped and murdered by a neighbor. From the antechamber to heaven, Susie watches what else happens to her family in the years that come. She’s serene, if lonely. The way station to heaven is her own invention, a paradise with all the pet dogs and candy and peppermint ice cream she wants. Sometimes, this twilight limbo is phantasmagorical: with a harbor full of three-masted ships in bottles and

forests of butterfly trees. Sometimes, it’s comfortingly childish, as when Susie has her own floating planet like The Little Prince. Other times, it’s alien: something like outsider artist Henry Darger’s view of an alternative world of young girls. What keeps Susie from moving on is her murderer. He has killed before and may kill again: an element of vigilantism keeps The Lovely Bones from looking too much like the cover of a Jehovah’s Witness pamphlet about heaven. Jackson goes into this film having already made the sublime Heavenly Creatures, about the reveries of a pair of teen girls. But the executive-producing credit for Steven Spielberg says it all—here’s an unhealable contrast of horrible event and candyish fantasy, similar to The Color Purple. When I learned that Brian Eno was lending his ’70s classics to the soundtrack, I expected his dreamiest, saddest music: “Julie With” from Before and After Science, or some of the tracks from Another Green World. Actually what is used are the raveups: an early scene of a car race to a hospital, with no real effect on the plot, is there to show off the bass solo from “Third Uncle.” Jackson and production designer Naomi Shohan have built a ’70s mall that you could walk straight into as if the film were in 3-D; the polyester, Sears Lemon Frog shop wardrobe makes The Lovely Bones surpass The Ice Storm as the ultimate dense ’70s visual time capsule.

Jackson’s approach to the scene of violence is symbolic. The murder is suggested through focus on inanimate objects: a straight razor, the broken rung of a ladder. Jackson’s gift is taking a “What would Hitchcock do?” approach to the material. The most satisfying moments come in the too-orderly lair of the maniac and in the closeups of the souvenir he took: a silver house from Susie’s charm bracelet, a symbol of the home that he destroyed. Jackson can get intense with the classic stuff: the minute clicking of a loose floorboard that lets the killer know there’s an intruder in his home. It’s easier to respond to the thriller than to the spun-sugar heaven. As in most movies aimed at young adults, the adults are freakishly dressed weirdoes. Stanley Tucci, following up the most endearing acting of his career—as Julia Child’s dapper husband in Julie and Julia—is lamentably miscast as the murderer: equipped with bugeyed blue contact lenses and a limp, combed-over Peter Stormare hairdo. Mark Wahlberg, as the father, has essentially the same hair he had in Boogie Nights; the hair has creative differences with the way Wahlberg wants to play his scenes. Mom Rachel Weisz goes on some weird hegira to Sonoma County to pick apples; the orchard has the same animated pollen as Susie’s heaven. Standing in the gap, for welcome if broad moments of comedy relief, is the grandma (Susan Sarandon),

hitting the cigs and guzzling the cooking sherry. Really metaphysical fantasies usually give all the harsh logical lines to the drunks: it’s their job to throw the cynics in the theater a bone. This happens when Sarandon’s Lynn tells Susie’s brother, Buckley (Christian Thomas Ashdale), that his sister is in heaven. And when Buckley contradicts her, Grandma snaps, “She’s dead, OK?” In this instant, the X-ray quality I described earlier shines through the movie: the grieving and haunting looks petulant instead of eternally sad. Ronan makes an effectively macabre staring angel, but she’s not quite the mousy nerdish girl turned into a master of a universe. One can’t feel what it was that made this book seem unreadably sad. There’s no good way to patch the illogicalities. Take the iron safe that somehow holds the bones of the title: decomposition gasses have no place in a fantasy, but most of the audience are inveterate watchers of autopsy shows on TV, so it’ll stick in their craws. The January release is telltale of the film’s off-putting nature; strange that The Lovely Bones didn’t get wide release by Christmas, since it’s essentially It’s a Wonderful Life with child murder in it. THE LOVELY BONES (PG-13; 135 min.), directed by Peter Jackson, written by Jackson, Fran Walsh and Philippa Boyens, photographed by Andrew Lesnie and starring Saoirse Ronan, opens Jan. 15.

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film january 13-19, 2010 m e t r o s i l i c o n va l l e y

film reviews 

Reviews by Michael S. Gant, Martin Malloy and Richard von Busack.

New The Book of Eli (R; 118 min.) See review on page 50. Decasia Stanford Lively Arts screens Bill Morrison’s full-length film made up entirely of distressed footage from film archives, with a minimalist score by Michael Gordon. After the show, San Francisco film archivist Rick Prelinger will talk with Morrison about his work. (Jan 19 at 7pm at Stanford’s Annenberg Auditorium; free.)

The Lovely Bones (PG-13; 135 min.) See review on page 47. (Opens Jan 15.) The Spy Next Door (PG; 92 min.) A comedy adventure with Jackie Chan as a former agent who must protect his girlfriend’s kids. (Opens Jan 15.)

Revivals Jennifer Jones Festival See story on page 16. Love Letters and Gone to Earth Jan 13-15. Duel in the Sun and Portrait of Jennie Jan 16-18. Cluny Brown and Beat the Devil Jan 19-20. (Stanford Theatre in Palo Alto.) Niles Film Museum Jan 16: The Count (1916). When a mean tailor masquerades as royalty, his assistant (Charlie Chaplin) makes it hot for him. Also: The Bell Boy (1918) with Roscoe Arbuckle and Buster Keaton. “The Elk’s Head Hotel—third-rate service at first-

class prices” is the workplace of a pair of bell boys, one a 300-pound psychotic baby and the other a very fast shrimp. They go through the works: mopping the place up, leaving a pond of water under the main staircase, dealing with the horse-powered elevator and checking in the guests, one of whom is Satan or Rasputin or some kind of nancy boy—they can’ t figure it out. Fatty does some barbering on this worthy’s whiskers, and then lets us have a big hand for Honest Abe, the occupant of Grant’s tomb, and take that, Kaiser Bill! Then Miss Cutie Cuticle turns up, since the loose manicurist was a favorite erotic daydream of the day. Slapstick at its most fast and disreputable; essential viewing. Also: His Royal Slyness (1920) with Harold Lloyd and Wrong Again (1929) with Laurel and Hardy. Greg Pane at the piano. (Plays Jan 16 at 7:30pm in Fremont at the Edison Theater, 37417 Niles Blvd.) (RvB)

Reviews Alvin and the Chipmunks: The Squeakquel (PG) There is only one reason multiplexes across the United States are flooded with prints of Alvin and the Chipmunks: The Squeakquel, the unnecessary sequel to an unnecessary children’s film, and it can be summed up in one word: money. The sequel picks up a short time after the end of Alvin and the Chipmunks. Alpha chipmunk Alvin (voiced by Justin Long) and his two brothers, the nerdy Simon (Matthew Gray Gubler) and the shy Theodore (Jesse McCartney), have hit the big time, while their surrogate parental figure, Dave (Jason Lee), tries to keep them out of harm’s way. After an accident (partly caused by Alvin’s shenanigans) leaves Dave in traction, Alvin and the Chipmunks head back to L.A., where they end up attending high school. The movie is short on originality, long on pop-culture jokes and slapstick humor. And at under 90 minutes, it’s also quickly forgettable, a perfect, if slightly expensive way to entertain small children and parents eager for a 90-minute nap. (MV) Avatar (PG-13; 162 min.) A victory for people who insist that science fiction has to be dumb. In the future, Earthling mercenaries are shipped to the planet Pandora, where 9foot-tall, blue-skinned noble savages called Na’vi live in a phosphorescent forest full of saurian beasts. Jake (Sam Worthington) is the paraplegic brother of a dead soldier hooked up to a Na’vi shell; the program is under the direction of a chain-smoking biologist (Sigourney Weaver). While it is a maxim of screenwriting that the plot ought to be the longest distance between two points, James Cameron’s terrible script for this putative end-of-the-decade experience really overworks the principle. The politics play it both ways; letting us swoon over the military hardware and still lament for the plundered forests. After an hour, the drugs wear off, and the appeal of synthespianism starts to drag; motion capture isn’t exactly motion release (compare the synthetic Weaver to the real thing), and the cobbledtogether story of eco-rebellion isn’t be eclipsed by the visuals. If you’re going to see it anyway, see it in 3-D. (RvB) The Blind Side (PG-13) The film focuses on Michael Oher (Quinton Aaron), who overcame homelessness as a teenager to receive a football scholarship to the University of Mississippi and later played in the NFL. Oher succeeded with the help of a wealthy Christian couple, Ole Miss grads Leigh Anne (Sandra Bullock) and Sean Tuohy (Tim McGraw), who took Oher in and made him a part of their family. Most of the attention is on Oher’s experiences as the only African American student at a private Christian school, his homelessness after being abandoned by a caretaker and his relationship with the Tuohy family. In adapting Michael Lewis’ nonfiction bestseller, writer-director John Lee Hancock


m e t r o s i l i c o n va l l e y january 13-19, 2010 film eliminated the most controversial aspects of Oher’s case: the Tuohys’ motivation for adopting him. Would they have taken him in if he wasn’t athletically gifted and a potential football star at left tackle? Hancock refuses to see or acknowledge any ambiguity, instead leaving moviegoers with a simple, simplistic answer: They did what they did first out of compassion and later out of unqualified love. (MV) Broken Embraces (R; 127 min.) A sleek, twisty mystery, illuminated by the stunning Penélope Cruz, the new Pedro Almodóvar is also a sprawler. The James M. Cain–style plot involves a blind film director from Madrid (Luís Homar). After losing his sight, the filmmaker took the ballsy new name “Harry Caine” and became a writer. News of the death of a corrupt tycoon sends Caine back to confront unfinished business—to retrieve the moment 16 years previously where he lost both love and sight. The dead tycoo n in question, a cuckolded millionaire named Ernesto Martel (José Luis Gómez), unwillingly shared the love of Caine’s life. Lena, known as Magdalena, was an actress, secretary and part-time prostitute who took as her working-girl name Severine. She, of course, is played by Cruz. No one but Almodóvar knows how to make Cruz really fascinating. She acts out a regular scene we used to see in ’60s movies, an auditioning actress trying on wigs. We see this woman’s modes of glamour. Here are the curves of Sophia Loren, the frailty of Audrey Hepburn. Capped with a tousled platinum wig, Cruz evinces something of Lana Turner in her mankiller parts. The spirits summoned up here aren’t travestied; they’re worshipped. Do we feel for Lena? The film is all a bit too stylized for that. She’s such an imago it’s hard to think of her as a character, despite the moments of love, anger and regret that Cruz acts out. (RvB) Crazy Heart (R; 111 min.) Jeff Bridges is the draw in Scott Cooper’s typical softball Sundancian exercise. It’s a belly-baring role for this terrific actor, playing Bad Blake, a morose satyr of an outlaw musician. He travels via an ancient 1978 Chevy Suburban and slaps together sets with pickup bands. In his few sober moments, Blake lives with the humiliation of having been commercially surpassed by a country superstar named Billy Sweet (Colin Farrell), who was once one of his backup musicians. Touring in Santa Fe, Bad meets a newspaper reporter named Jean (Maggie Gyllenhaal), who lets Bad pick her up. Despite the credited input by T-Bone Burnett, none of the tunes are really memorable, but you sink into them anyway, and the encircling camera gives the scenes some rhythm. What integrity Crazy Heart doesn’t borrow from Bridges it picks up from the glorious wide-open-spaces cinematography by Barry Markowitz (Sling Blade). (RvB) Daybreakers (R; 98 min.) This very interesting, filmedin-Australia vampire movie provides some ingenious new angles on the old myths. The directors, the Spierig brothers, come up with something unexpected: elements of Malthus and peak oil, and a satire of militarism. In 2019, a vampire plague has left most of the human race devoured. The soldiers are hunting the remaining humans for food. Hungry vampires feeding on each other or their own blood soon devolve into batlike horrors; the vampiric but soulful Dalton (Ethan Hawke) is working ceaselessly on a cure under the direction of evil tycoon (Sam Neill). It turns out that at least one vampire has found a cure on his own: Willem Dafoe (very good and looking a little bit like Charles Manson) plays an auto mechanic who calls himself “Elvis,” and who proclaims a particularly noble quote by the King on the likeness of truth and the rising sun. In addition to the evolved politics of this thriller, the Spierigs come up with the capacious blood sprays that’ll keep the core audience contented. (RvB)

An Education (PG-13; 95 min.) Lone Scherfig’s British coming-of-age film ends with a marathon session of tea brewing, but it has its good points. The look is cool—1960ish England may be more interesting than the full-blown and overexposed later ’60s. Twickenham-raised Jenny (Carey Mulligan) is studying for Oxford when she gets picked up by David (Peter Sarsgaard), a slightly older rotter; his slightly cruel eyes and flat smile forecast trouble to come. Until then, Jenny gets to see London highlife and nightclubs, and voyages to Paris. Smelling class, and wanting to make their hard-working daughter happy, Jenny’s parents (Cara Seymour, Alfred Molina) relax the leash. And that’s when the young girl learns how David makes his money without working days. No one in the movie apparently saw one of those melodramas about the wealthy seducer who steals a poor but honest girl; letting that matter aside, Mulligan is charming, the meet-cute is deft and Olivia Williams bears all the movie’s spine as a deliberately drabbed-down English teacher. Nick Hornby’s screenplay, from Lynn Barber’s memoir, might have meant he had input on the film’s excellent pre–Swinging London soundtrack. Singer Beth Rowley steals the show as the breathy canary at one nightspot. (RvB)

Fantastic Mr. Fox (PG; 87 min.) A real artist learns to turn his limitations into strengths. In switching gears entirely from live action to stopaction animation, director Wes Anderson has created his most consistently enjoyable film. Anderson has softened his typical aura of disappointment with a sense of rejuvenating play. Based on a short Roald Dahl children’s book, Fantastic Mr. Fox is a fairy tale, but it’s a realistic, slightly bleak one. Fox (voiced by George Clooney) is living a straight life with his wife (Meryl Streep). A midlife crisis rouses the beast; he decides to turn hunter once again. Retaliation comes fast and hard: the Fox is robbed of his tail by a shotgun blast. In the war that follows, Fox and his family—and, soon, all the creatures in the woods— become refugees. Clooney is a fox in full: we see both the humorous suavity and the realization of possible failure. Clooney is our Cary Grant, but what people forget about the original Grant is something that this superbly compelling Clooney remembers: the buried fears that a suave man harbors of being out of control. (RvB) The Imaginarium of Doctor Parnassus (PG-13; 122 min.) For Terry Gilliam, Don Quixote is still the ur-text. Despite the

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film january 13-19, 2010 m e t r o s i l i c o n va l l e y

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Just Desert Denzel Washington brings home an overdue volume in ‘The Book of Eli’

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HIS ONE goes out to the lighthouse keeper in the Pitcairn Islands who never saw a dystopic downer before. We, however, saw a dozen of them last year alone, just never a version apparently produced by the Gideon Society. In the Hughes brothers’ The Book of Eli, Denzel Washington plays the warrior of the wastelands, “30 years after the Big Flash.” He is Eli, armed with a makeshift yet just sword and a significant book. After slicing and dicing a group of roadside thugs, Eli enters a Western hell town. There, he trades a few words with the postapocalyptic junk-shop proprietor (Tom Waits, in a set that we, his many fans, would love to think is exactly like the inside of Waits’ garage). Wanting nothing more than a quick refreshment—just like a century’s worth of peaceful cinematic cowpokes before him—Eli saunters into a saloon run by boss Carnegie (Gary Oldman looking like Robert Evans). Carnegie’s life’s work is to find a certain book that will give him the words to rule the wasteland. And the book ain’t The Fountainhead. The Hugheses try to make The Book of Eli nondenominational by having Eli treat his Bible the way a fundamentalist Muslim treats the Koran, swaddling and kissing it; our hero is also seen wearing a Palestinian scarf. The movie suggests that we could be as people-of-the-book pious as Christianity’s main competitors, but it’ll take a nuclear holocaust to teach us all. Eli easily makes lost girl Solara (Mila Kunis) his Magdalene by teaching her how to say grace over her post-atomic dinner; later, he reads her Psalm 23. If only Eli had gone on to the reams of and “Habakkuk begot Hezekiah” that give the Bible its uniquely bullet-stopping qualities. The Bible-hunt premise doesn’t have any more thrill than theCINEMAS pre-title CAMERA sequence, in which Denzel draws a bead on a Mr. Bigglesworth–style AD cat with bow and arrow. Any pathos in the kill is blownWednesday, by the CGI freeze frame of the January 13th x 4 inches arrow in flight, so we can admire its awesome deadliness.1Scriptwriter Gary Whitta, as in the IMDb sentence “Gary Whitta was editor of PC Gamer for several years,” brings nothing new to this death-of-civilization miasma. And the good old things aren’t honored much either. The exception is a scene with two superior actors, Michael Gambon and Frances de la Tour, as a deranged old pair of survivors with a cracked if intact tea set and the world’s last Anita Ward LP. NORMA In the end, the very arbitrariness of what survives (sunglasses, highpowered ammo, Hummers, lingerie, cicadas, the Transamerica Pyramid) over what doesn’t (common sense, humans’ unique ability to invent and band together) is another reason why it may be time to bury this genre. The Book of Eli has more sense than The Road when it insists that people who live on a diet of people would start to look rather ill. I loved Max Max once, but after yet another ocher-dyed load of scrapings from Tarkovsky’s dead skull, postapocalyptic adventures are rapidly becoming my least favorite genre, more than even stock-car racing movies and rape-revenge thrillers. Is it possible that someone could use the background for something else: a romantic comedy, an ensemble piece, perhaps a musical? (Has anyone done Macbeth yet in a wasteland staging?) Richard von Busack

X-MEN ORIGINS: WOLVERINE

THE BOOK OF ELI (R; 118 min.), directed by Albert and Allen Hughes, written by Gary Whitta, photographed by Don Burgess and starring Denzel Washington and Gary Oldman, opens Jan. 15. (Get movie specials and alerts by following us at metrofb.com.)

various stops and starts he has had adapting the Cervantes classic, Gilliam repeatedly makes films about fantasy as an escape from a cruel world. The Imaginarium of Doctor Parnassus, a very personal and not-so-coherent fantasy, has Christopher Plummer in the Man of la Mancha role this time, with Verne Troyer as Percy, a dwarf Sancho Panza. Plummer plays Doctor Parnassus, an immortal sage reduced to busking in a horse-drawn Gypsy wagon. He and his crew set up their stand in the streets of modern-day London at its vilest, trying to lure patrons into a world beyond the doctor’s mirror. On board is his daughter, who doesn’t know that she has been promised to the devil on her 16th birthday; Mr. Nick (Tom Waits) is sniffing around already. During their travels, the group rescues a hanged man named Tony (an irresolute Heath Ledger). Certainly, Gilliam’s love for antique theater is true—although the greasepaint and cardboard make one wonder why he didn’t stage this story instead of filming it. The autobiographical angle is plain regarding the showman’s heartbreak—begging for money and coaxing an audience. We can understand why it’s hard for Gilliam when we see his vision of what the audience really is: rich matinee dames; wide-mouthed tarts coming out of a pub; a scurvy, violent little brat with a Game Boy. (RvB) It’s Complicated (R; 118 min.) In Santa Barbara, Jane, a successful restaurateur (Meryl Streep) hooks up with her ex-husband Jake (Alec Baldwin), despite the fact that Jake is married to a younger woman. Meanwhile, a shy, sad-sack of an architect, Adam (Steve Martin) also shows some interest in her. Classic-era romcom bones are visible under the expensive skin of Nancy Meyers’ newest. Commentators note the too-rich staging in Meyers’ films because often there isn’t enough going on in the foreground. Meyers (Something’s Gotta Give, What Women Want) puts forth the solidly practical, American view of what the kids will think of this affair—even though the kids are grown up. It’s strange to see Meyers’ vision of what it’s like when an older woman gets romantic: it’s a reversion to girlhood with loads of consumption of chocolate. Jane’s good points are her ability to cook, her ability to cultivate very expensive real estate, but these don’t involve what most of us men

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really like in women past 40—the wisdom, the lack of coquetry. Baldwin’s willingness to drop his pants for a laugh tends to eclipse the romanticism. And it’s not just the pants that get dropped; the film ends with an audible thud. (RvB) Leap Year (PG; 97 min.) Another generic romantic comedy. Anna (Amy Adams) is the typical American girl whose life is driven by success and material rewards, until she believes that her boyfriend, Jeremy (Adam Scott), is going to propose to her—and he doesn’t. Desperate for the one thing she doesn’t have, she decides to take on an old family myth. The Irish tradition is that on Feb. 29, during a leap year, women are permitted to propose to men. Jeremy just happens to have left for a conference in Dublin, and Anna decides to follow him and get engaged. She ends up stranded in a small Irish town where she meets pub owner and taxi driver Declan (Goode). He agrees to drive Anna to Dublin. The two hate each other until they’re forced to spend time with one another. Only Anna is barely characterized, and even her story is thin. Director Anand Tucker’s intentions are muddled at best, and the editing is secondrate. (MM) Nine (PG-13, 115 min.) Federico Fellini’s 8 1/2 (1963) is boiled down to a musical series of celebs in pushup bras. An Italian film director, Guido (Daniel Day-Lewis), has announced an ambitious new film project. But Guido has no idea what the film is going to be, and the time to start shooting is coming up. Director Rob Marshall (Chicago) has calmed the camerawork down—he’s previously been an addict of fast cutting to make a group of mostly nonsingers and nondancers to look like lightfooted showstoppers. But only Marion Cotillard, as Guido’s much-spurned wife, delivers a number that leaves an aftereffect. As Guido’s mistress, Penélope Cruz is edible (if slightly self-conscious) sliding down a satin banister. Nicole Kidman is the pedestal girl, inserted into a strapless evening gown that makes her look like a single arrow in a quiver. Kate Hudson is the Yank journalist who only pays attention to the surfaces of Italian film—something else that can be said against this movie. What we see in Nine is not an artist in peril of his soul; what we’re really seeing in these musical fantasies is essentially the problems of a creatively blocked choreographer. (RvB) Precious: Based on the Novel Push by Sapphire (R; 110 min.) Much lauded, but it’s a bulldozer. It’s 1987, during some of Harlem’s most suffering years. A girl of immense girth, 16-year-old Claireece (Gabourey “Gabby” Sidibe) makes her way through life. She has intelligence, but she can’t focus, and we learn why in flashback; she was serially raped by her mother’s boyfriend. Her scathing, angry mother, Mary (Mo’Nique), blames Precious for this and her resulting pregnancy), urging her to stop this foolishness about school and go on welfare. Watching Sidibe, we see something of what this movie could have

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been if it hadn’t been so overcooked. The film is practically a pre-Clinton-era dream of the need for welfare reform: here, welfare is a generational evil that Precious might fall heir to. As you’ve heard, Mo’Nique is great, but the film has a judgmental streak that won’t quit. And that’s been essential to a success worthy of its sensationalism. By the end of the movie, you know who all the heroes and all the villains are, and you can go home comfortable. (RvB) The Princess and the Frog (G; 97 min.) In New Orleans of the 1920s, a hard-working African-American girl, Tiana (Noni Rose), falls for the myth that a princess’s kiss can turn a frog back to a prince, but the curse turns out to work both ways, and soon the couple—now both frogs—are running for their lives from a voodoo conjurer (voiced by Keith David, reprising the malevolent silkiness of his Cat in Coraline). This 2-D cartoon supervised by John Lasseter of Pixar is slightly overstuffed and slightly redundant on the subject of the importance of work (the virtue of hard work is beaten by life into nine out of 10 knaves, as George Bernard Shaw said). The disappointing soundtrack by Randy Newman is instant Creole, just add swamp water. (Better they should have called Chris Strachwitz and asked him what he had in his collection.) That said, the attempt to make a multiculti story is suitably enchanting. The full-length cartoon is a tribute to a century-long history of cellular animation—the kind smart people were going around saying was redundant. Here, in the villainous Shadow Man (whom I adored) is a tribute to Cab Calloway’s ghostly gambler in Betty Boop; the blindness of Mr. Magoo is seen in a benign swamp witch; there are paintbrush traces of both Michigan J. Frog and Pepe Le Pew in the fleeing amphibians, and a spot of Tex Avery’s Red in the physique and crinolines of Tiana’s friend and foil Lotte. Some will be enamored of Ray the Cajun firefly, who has a Don Marquis–style romance with the unobtainable; me, not so much so. I’m more rapt by the lambency, smoothness and stained-glass colors of this supposedly dead medium, restored to life. Likely it will be a success; it deserves to be. (RvB) Sherlock Holmes (PG-13; 128 min.) There are moments during Sherlock Holmes when you wish you could hit director Guy Ritchie with his own storyboard; there are bone-crushing fights that you feel like applauding just to celebrate the fact that they’re over at last. Yet all in all, Sherlock Holmes is ripping fun. Robert Downey Jr.’s expert acting reflects Aldous Huxley’s thought that if you could open the doors of perception, you would see the world as it is: infinite. This insight sums up the mind of the world’s greatest detective—it also sums up the mind of a schizophrenic. Downey’s Holmes is a dandy in high Victorian regalia, smoked glasses, ascots and the kind of slanted hats worn in Oscar Wilde’s circle. But we also see another side of Holmes—a hermit crab in a dank flat, huddled under a silk dressing gown so raveled it looks shaggy as a bear skin. Mark Strong’s Lord Blackwood is apprehended


m e t r o s i l i c o n va l l e y january 13-19, 2010 film

NITRATE MELTDOWN Experimental filmmaker Bill Morrison screens ‘Decasia,’ his compilation of

found distressed footage. It shows Jan. 19 at 7pm at Stanford’s Annenberg Auditorium. The event is free. by Holmes in mid–black mass and ushered in to a well-deserved hanging. Naturally, Inspector Lestrade (Eddie Marsan) decides that the case is closed. But it seems the grave cannot hold Blackwood. Holmes is approached by two different clients: the ever-troublesome Irene Adler (Rachel McAdams) and the head of a Masons-like group, who are troubled by the specter of Blackwood. The movie keeps coming back to a serene partnership—when Holmes says “The game’s afoot,” Jude Law’s formidable Watson picks up the rest of the Henry V quote. (RvB) A Single Man (R; 99 min.) Tom Ford’s adaptation of Christopher Isherwood’s novel, essential reading in the gay canon. Colin Firth plays professor George Falconer, an Englishman in Los Angeles in the early 1960s. He’s a bereaved figure; being in the closet, he isn’t permitted to show his sorrow after the death of his longtime male lover in an automobile accident. This grieving single man’s secret is known only to his friend Charlotte, called Charley (Julianne Moore), also a former flame, who has never quite got over George. Falconer has another secret, though: he is putting his affairs in order, with the plan of committing suicide that night. Certainly, Firth looks like a man of the era in question. Moore practically mainlined her eye shadow to get that zonked 1960s aura. Despite the opera on A Single Man’s soundtrack, it couldn’t be less operatic: nothing seems like a matter of life and death. The film is beautiful, but it’s not the kind of beauty one can feel much about. Ford is good with the placement of actors on a set; he’s a tableau maker. The fine clothes don’t make the men. (RvB)

hired terminator—a man brought in to fire people; he tolerates this job with benefits of an executive life with plenty of travel. Enter a young, seemingly equally callous rival (Anna Kendrick). Having this inexperienced girl along interrupts Ryan’s regularly scheduled no-strings flings with a fellow constant business traveler, Alex (Vera Farmiga). The acrid first half is the best part—Clooney makes us admire Ryan’s gamesmanship. The film wants us to equate two different kinds of toxicities—to draw a line between the corporate bloodletting that juices up stock portfolios and the wrongness of the present-tense sex life that Ryan and Alex enjoy. Too bad that Farmiga and Clooney are such a scintillating pair that you don’t want to see them pay the piper. And as a critique of corporate culture, Up in the Air is about as bold as Connecticut salsa. (RvB) The Young Victoria (PG; 104 min.) Unforgivably static, despite the fascinating subject: the early and often unpopular years of the longestreigning and most iron-bottomed British royal who ever lived. As Victoria, the lovely and suitably aristocratic Emily Blunt is the best part of this story. Treated with brutal overcaution and surveillance by her mother, the Duchess of Kent (Miranda Richardson), and her friend (perhaps with benefits) Lord Conroy, the girl is kept locked up and escorted down all stairs as if she were a brittle-boned child. When she grows older, her cousin Albert (Rupert Friend) comes to court, and this starts a romance, tainted with scheming by the power in Albert’s family, the perfidious Belgian king (Thomas Kretschmann). Director Jean-Marc Valée slows things down and smooths over the complexities of history; matters get simplified to the point where it seems like nothing is going on in the world outside the problem of Victoria trying to get some time alone with Albert. The sketchy background and the slow pace bring on the familiar PBS-watcher’s narcosis. (RvB)

Youth in Revolt (R; 90 min.) Michael Cera plays Nick Twisp in Miguel Arteta’s alterna-date movie. Young Nick is a virgin in the leafier part of Oakland, and he can’t stand it. His mom’s boyfriend of the day, Jerry (Zach Galifianakis), has to leave town suddenly. Jerry, Nick and the mom in question (Jean Smart) go vacationing at “Restless Axles,” a sad trailer park by a lake. There, Nick meets a girl who is too good to be real: Sheeni Saunders (Portia Doubleday), kept under lock and key by her parents. Nick is determined to get next to her at all costs—even if it means creating the identity of “François Dillinger,” a kind of Big Lots version of the breezy heel Belmondo played in Breathless. Small-scale mayhem follows in Francois’ wake. Based on a self-published novel by C.D. Payne, Youth in Revolt invokes numerous local sites, from Ukiah to Santa Cruz (though for budget reasons, the movie was shot in Louisiana and Michigan). The writing is so crisp that one ignores the incidents of dead air and the jokes that fail to build. Despite a nod to computers at the beginning, this is a film that carries out its scheme of rebel cool against a background of vinyl LPs, French New Wave references, pay telephones and a thinly veiled version of the book The Joy of Sex. (RvB)

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Up in the Air (R; 109 min.) As the predatory Ryan Bingham, George Clooney delivers a startlingly good performance. Sadly, the film is compromised by director Jason Reitman, who shows signs of morphing into Cameron Crowe. Bingham is a

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Former guitar hero Adam Franklin ducks limelight on solo tour By Steve Palopoli

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ES, the Adam Franklin playing the Blank Club this week is the same one whose band Swervedriver rode the ’90s shoegaze craze into stadium tours and high-profile releases on Creation Records, the beall, end-all of British hip in that preBritpop era. Yes, he knows you think it’s weird. No, he doesn’t care. “People have said, ‘It’s weird to see you playing in this little club,” says Franklin, “but this is what I’ve always wanted to do.” It may sound like a line, but Franklin seems to have genuinely chosen a working-class musician’s life. He certainly could be touring again with Swervedriver, who reunited in 2008 at Coachella before embarking on a world tour. But instead he’ll be playing the Blank with his backing band the Bolts of Melody, with whom he’s about to release his third solo album under his own name, I Could Sleep for a Thousand Years. Franklin has no patience for fellow musicians who have let fame go to their heads, and prefers to pal around with folks who take a similar workaday view of their career, like Sam Fogarino of Interpol. Franklin plays with Fogarino in their side project Magnetic Morning. “He’s somebody who was playing in bands for a lot of years [before

Interpol hit it big],” he says. “He doesn’t get a ridiculous, overblown complex about it.” Over Christmas, Franklin returned to Oxford, where he was able to get some time in with other hometown chaps he’s always found to be down to Earth, like Colin Greenwood of Radiohead and the Coombes brothers from Supergrass. There, he says, “it doesn’t matter who’s selling 8 million records and who’s playing small clubs.” Oxford was where Franklin formed his first band, Shake Appeal, in 1984—he played guitar while his brother Graham sang lead. Also part of that lineup was Swervedriver’s other future guitarist, Jimmy Hartridge. His brother lost interest after some demos, and other than Franklin and Hartridge, the whole lineup would change before Swervedriver came into its own. Around this time, Creation Records, an indie label that had hit it big with the Jesus & Mary Chain and Primal Scream in the mid-’80s, was singlehandedly kick-starting the shoegaze movement, so named because of the subgenre’s abstract, geeked-out guitar wizardry, and its musicians’ habit of staring down at their effects pedals during performances. Creation put out the early My Bloody Valentine records that defined the genre, as

well as other key shoegaze bands like Slowdive, the Boo Radleys and Ride. Also from Oxford, the members of Ride got Swervedriver’s demo into the hands of Creation head Alan McGee, who signed them on the strength of their song “Son of Mustang Ford.” Thus did Swervedriver find itself lumped in with shoegaze, but despite Franklin’s talent for strange and fascinating guitar sounds, it was an uneasy fit (“shoegrunge,” a description that seemed to have been made up purely for the sake of describing Swervedriver, was closer). The band built on the success of singles like “Duel” through the ’90s, but by 1998, Franklin was fed up. “There were some strange bills we were on,” he says. “I would look out into the crowd and see people wearing T-shirts of bands I didn’t like. I felt like I was in the middle of something that didn’t involve me. I definitely wanted to do something else.” “Something else” turned out to be his solo project Toshack Highway. The first songs were actually meant for another Swervedriver record, but were deemed unusable since they featured keyboards fed through wah-wah pedals, rather than electric guitars. When the band broke up, Franklin spun them even further away from his previous band’s sound.

“I ended up turning away from electric guitars,” he says. “I confused a lot of Swervedriver fans in the process.” Interestingly, his solo records have sort of come back around to the Swervedriver sound over the last 10 years, and he says that’s more true than ever on the new record. It was probably influenced, he admits, by playing with his former band mates on the reunion tour. “I was quite surprised at how fast and loud and heavy the songs were compared to what I was doing in the interim. It’s fun plugging in and playing that loud swirling guitar,” he says. Franklin’s newest songs combine all sides of his complex and varied career, from the big 1995 guitar sound, to his acoustic period in the early 2000s, to the more laid-back fuzz of last year’s Spent Bullets. It’s hard to say where he’ll pop up next—Blank Club or big tour—and what he’ll be playing when he does. He likes it that way. “If people aren’t really sure what’s going to happen next,” he says, “that’s the perfect thing.” ADAM FRANKLIN AND THE BOLTS OF MELODY perform Monday, Jan. 18, at the Blank Club, 44 S. Almaden Ave., San Jose. Case in Theory and the Albert Square open at 8pm. Tickets are $18. (408.29.BLANK)


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JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

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photos.metroactive.com

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Extreme ‘Home’ Makeover

How Kronos Quartet got lost, and found an epic new piece By Steve Palopoli

‘I

N CHINA, everything is used and reused. Nothing disappears, musically,” says David Harrington. The founder and artistic director of Kronos Quartet should know—he spent countless hours over three years listening to hundreds of musical works from all over China. It’s fair to say Harrington became obsessed with the making of the group’s newest piece, A Chinese Home, co-commissioned by Stanford Lively Arts, who will present its West Coast debut on Saturday. The first collaborator Kronos chose was a natural for the project. The quartet had been working for almost two decades already with Wu Man, whom Harrington wanted not only for her famous command of the Chinese lute, but for her encyclopedic knowledge of the form. “There’s no one I know whose knowledge of Chinese music and culture is so broad, but not hardened into a certain camp. She’s open to so many things,” he says. But as the Chinese Home story—based on the real-life history of Yin Yu Tang, a 300year-old Chinese house that ended up intact in Salem, Mass.—began to take shape, Harrington felt there was no way to get a handle on all the musical and visual ideas in his head. For the first time in the group’s 35-year-history, Kronos brought in a director. That it was acclaimed visual stylist Chen Shi-Zheng didn’t hurt. Suddenly, A Chinese Home, now made up of four parts and led into by composer Tan Dun’s Ghost Opera, became an expansive multimedia composition. “It’s a very dramatic piece,” says Harrington. “It uses the entire stage, and there’s a real sweep to it.” Despite the epic scale of the work—which burns across a musical landscape that includes the Chinese countryside, the Shanghai film industry of the 1920s, the cultural revolution and a finale that features pretty much every influence mixed together into one gigantic swirl of sound—Harrington had to admit, in the end, that some of his designs were simply too ambitious. He had, for instance, originally wanted the whole group to learn fluent Mandarin—a notion which probably helped his fellow Kronosians figure out that he was in way too deep. And yet, as they were putting the finishing touches on the piece, Harrington discovered he needed a half hour of music to fill the time for set changes between Ghost Opera and A Chinese Home. That became a collage of all the musical ideas that he hadn’t been able to fit into the project, from train noises to sounds of Tibetan radio to the first recording made in China, in 1895. It was true, after all, that nothing disappears in Chinese music. “That’s the approach we took,” he says, “that layers of culture and sound keep reappearing.” The KRONOS QUARTET performs with WU MAN on Saturday, Jan. 16, at 8pm at the Memorial Auditorium, 551 Serra Mall, in Palo Alto. Tickets are $34-$60; 650.725.ARTS.

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*-


M E T R O S I L I C O N VA L L E Y

PUB & RESTAURANT

JANUARY 13-19, 2010

[57]


[58]   MUSIC

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JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

SPUTIN

MUSIC & DVDS Vampire Weekend Contra

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CAMPBELL 1820 S. Bascom Ave across from the Pruneyard MOUNTAIN VIEW 630 San Antonio Blvd. at El Camino Real 800-350-8700 www.rasputinmusic.com

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[61]


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[64]

ADVICE GODDESS JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

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6gZlZÒ\]i^c\]jbVccVijgZ^cign^c\idWZbdcd\Vbdjh4>ÉbYVi^c\V\jn>YViZYÒkZnZVghV\d# 7VX`i]Zc!]ZlVhhZmjVaan^cZmeZg^ZcXZY#Cdli]Vi]ZÉhWZZcVgdjcYi]ZWadX`!]ZidiVaanY^hV\gZZh l^i]bdcd\VbnVcYlVcihjhid]VkZVhZmjVaandeZcgZaVi^dch]^e#>ÉbkZgndeZc"b^cYZYVcY]VkZ cdegdWaZbl^i]eZdeaZ^ci]ZhZgZaVi^dch]^ehWji`cdli]ZnÉgZcdi[dgbZ#LZXVcÉiY^hXjhhi]Z^hhjZ WZXVjhZ]Z\ZihhdYZ[Zch^kZVcYg^aZYjei]ViX^k^aXdckZghVi^dc^h^bedhh^WaZ#=ZVXXjhZhbZd[ add`^c\Ydlcdc]^bVcYÒcY^c\]^bÈY^h\jhi^c\!Él]^X]>YdcÉi#=ZVabdhi]VhbZXdck^cXZYi]Vii]Z dcanhjXXZhh[jagZaVi^dch]^ehVgZi]ZdeZcdcZh!VcYi]Vi>ÉbdcZd[Vb^cdg^ind[eZdeaZl]dlVci bdcd\Vbn#ÅIjgcZY6gdjcY Yes, the suburbs are just teeming with wives calling to their husbands as they’re going out the door for work, “Honey, want me to TiVo your dinosaurs thing in case your sex date runs long?” Actually, it seems clear that vast numbers of people are having sex with somebody other than their partner or spouse. They just do it behind that person’s back, as did the thenmarried Newt Gingrich, probing Clinton about lying about l’affaire Lewinsky—when Gingrich wasn’t too busy probing his naked congressional aide. Other married cheaters will roll out of a motel-room bed, then snarl about how horrible and disgusting it is for other consenting adults to have sexually open relationships: those where partners honestly confront the fairy-tale notions that one person can meet another person’s every need; that two people can remain together “till death do us part,” and not get to the point where keeping the spark alive is a job for a Panty Bomber–load of PETN explosive. The Bible is no help to those who claim that the multiply partnered are immoral and wrong. Gideon, the guy the hotel-room editions are named for, had lots of wives and a concubine. King Solomon had hundreds of both. In Biblical Literacy,” Rabbi Joseph Telushkin writes that “Biblical law permits a man to have more than one wife,” but he adds that “biblical narrative . . . depicts multiple marriages as almost always leading to multiple miseries.”

Even Nena O’Neill, co-author of the ’70s bombshell Open Marriage, came around to that point of view. She subsequently wrote in The Marriage Premise that couples may agree to sexual nonexclusivity but often experience jealousy, insecurity, resentment, anger and feelings of abandonment—“sometimes as strongly as they do when a clandestine affair is discovered.” So, a person can make lofty pronouncements about not wanting to deny their partner any of life’s pleasures—until the difference sinks in between having extra hot fudge and having the hairy guy next door. As for your situation, are you in a relationship or a really tiny cult? You’ve made it clear the open thing just isn’t for you. If your boyfriend cared about you, he’d say, “Aw, gee whiz, wish you felt differently” and probably be on his way. But he’s determined to have his cake and a bunch of other people’s cake, too, so he’s trying to bully and head-game you into believing you’re small-minded and boring. He’s got you so sidetracked defending yourself against bogus charges (looking down on him, finding him “disgusting”) that you’re on your way to glancing up from your relationship and finding that you’re no longer part of a couple but a face in the crowd. Ditch this guy and find one who’s open to discussing your needs—beyond how you’ll need to let him keep the key to your heart in a cabinet he bought off somebody running a valet parking concession.

>ÉYVeegZX^ViZ^[ndjÉY^cigdYjXZbZidVaVYnWZilZZc(*VcY+*[dg[g^ZcYh]^eVcYbdgZ#>Éb)-!+[ZZi iVaa!''%edjcYh#>ÉbVcVgi^hi!lg^iZgVcYbjh^X^Vc#>ÉbXjggZcian^ceg^hdc!Wji>Ébcdi\j^ain!hd>ZmeZXi id\Zidjid[]ZgZhddc#Å?V^a]djhZGdX`Zg I guess you’re asking me to post a personals ad for you: “Enjoyed long walks on the beach; now enjoying short walks between electrified fences.” Sure, the incarcerated man has his merits: There’s no wondering where he is at night or worrying he’ll run off with another woman (at least not for another 10 to 20). Of course, a woman who goes for a man behind bars almost always has something seriously wrong with her.

Luckily, like almost all the prisoners who write me, you’re innocent. Put your time into attracting a lawyer, and maybe you can invite a lady to your house instead of your house of corrections. You’ll get a better class of woman when you can say you’re a 48-year-old artist/ writer/musician rooming with another guy because you need to pick up extra cash, not because he got caught leaving three bodies in a ditch.

'%&%!6bn6a`dc!Vaag^\]ihgZhZgkZY#<diVegdWaZb4Lg^iZ6bn6a`dc!**%H#;^ghiHi#!HVc?dhZ!86.*&&(! dgZbV^aVYk^XZVbn5Vda#Xdb#


M E T R O S I L I C O N VA L L E Y

JANUARY 13-19, 2010

CLASSIFIEDS

[65]

metro CLASSIFIEDS CLASSIFIED INDEX 67 67 65 66

Single Services Employment Family Services Music

Legal & Public Notices Automotive Home Improvement Real Estate

Call the Classified Department at 408.298.8000 Monday through Friday, 8.30am to 5.30pm.

Fax your ad to the Classified Department at 408.271.3520.

@

dmiller@metronews.com Please include your Visa, MC, Discover or American Express number and expiration date for payment.

±

Mail to Metro Classifieds, 550 South First Street, San Jose, CA 95113.

DEADLINES: For copy, payment, space reservation or cancellation: Display ads: Thursday 3pm Line ads: Friday 3pm

.

Engineer VeriSign is looking for qualified individuals for following 40/hr/wk position. To apply, mail your resume to 487 E. Middlefield Rd, Mt. View Attn: Susanna Wong, HR Serv., Jobs Mountain View, CA 94043 with Req. # and copy of ad. Job TEACH ENGLISH site & interview, Mt. View, CA. Principals only. EOE. Software ABROAD! Become TEFL certified. 4-week Eng. IV. [Req. #00000611]. Design, develop, test and procourse offered monthly in vide customer support for variPrague. Jobs available worldous components in the Public wide. Lifetime job assistance. Key Infrastructure (PKI) product Tuition: 1300 Euros. www.teflworldwideprague.com suites. Req. Bach’s degree, or info@teflworldwideprague.com foreign equiv., in Comp. Sci. and 7 years of exp. in job (AAN CAN) offered incl. Object Oriented Programming; Java, C/C++; Linux, Solaris, Windows; Struts, Hibernate, J2EE, Spring frameLive in and Hourly works; Developer Unit testing Caregivers Needed!! tools (i.e. JUnit, CPPUnit); Possess skills that include developing with data stores; excellent communication, lisLDAP, ORACLE, MS SQL Server; tening and positive attitude. Agile Development For immediate consideration, Methodologies; developing please apply online or fax applications and services in PKI resume to 925.943.7601. http://professionalhc.com/em Domain (PKCS#11, PKCS#10, PKCS#7, ASN.1, X509); BSAFE ployment and TIPEM

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[66]

ASTROLOGY JANUARY 13-19, 2010 M E T R O S I L I C O N VA L L E Y

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10 acres. Rough and rugged and a beautiful spot right on top! Long private bumpy road. Private road association. Good owner financing. $215,000. Shown by appointment only. Contact Deborah J. Donner, Donner Land and Mortgage Co., Inc. 408/395-5754 or www.donnerland.com

Los Gatos Mountains Highland Way. 5 acres. Double wide with wrap around deck. NICE. Spring and creek. Sunny. Private road. Off-grid. Possible owner financing. $289,000 Shown by appointment only. Contact Deborah J. Donner, Donner Land and Mortgage Co., Inc. 408/395-5754 or www.donnerland.com

Time for a New Home? Check out Metro's Real Estate classifieds and find a new place to live. Call 408-200-1300 to advertise.

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6g^Zh(March 21–April 19): The Earth’s north

magnetic pole is not the same as the geographic North Pole. If you take out a compass to orient yourself toward due north, the compass arrow will actually point toward a spot in the frigid wilds of Canada. But what’s really odd is that the north magnetic pole has been on the move since 1904—scientists don’t know exactly why—and has dramatically sped up in recent years. According to National Geographic, it’s now zooming toward Siberia at the rate of almost 40 miles per year. I suspect that your own metaphorical version of magnetic north will also be changing in 2010, Aries. By January 2011, the homing signal you depend on to locate your place in reality may have migrated significantly. This is a good time to start tracking the shift.

IVjgjh(April 20–May 20): “The common idea that success spoils people by making them vain, egotistic, and self-complacent is erroneous,” wrote W. Somerset Maugham. “On the contrary, it makes them, for the most part, humble, tolerant, and kind.” I think the trajectory of your journey during the last 12 months tends to confirm his theory, Taurus. According to my analysis, you set new benchmarks for your personal best in 2009, while at the same time becoming a wiser, riper human being. Congrats! Now get out there and capitalize on the grace you’ve earned. Be as organized as possible as you share the fruits of your progress. <Zb^c^(May 21–June 20): The Onion, which describes itself as “America’s Finest News Source,” ran a feature on the inventor Thomas Edison. He “changed the face of modern life in 1879,” said the report, “when he devised the groundbreaking new process of taking ideas pioneered by other scientists and marketing them as his own.” The tone was mocking, of course, but I’m perfectly sincere when I urge you to imitate Edison in the coming weeks. Given the current astrological omens, you’d be wise to take advantage of the breakthroughs of others and make good use of resources created by others. Just be sure that you give credit where credit is due, and you’ll actually be doing everyone a service. 8VcXZg( June 21–July 22): A Scorpio is willing

and maybe even eager to share secrets with you. Can you marshal just the right amount of selfprotection—not too much, not too little—to trust a little more and go deeper? As for Virgo: That under-self-confident person would really benefit from getting more appreciation from you. Don’t be stingy. Meanwhile, I think you’re suffering from a misunderstanding about an Aquarius. It will be in your selfish interest to clear it up. A few more tips: Don’t give up on Pisces. There’s more to come when the coast is clearer. Browse but don’t buy yet with a Leo. And make business, but not love or war, with a Capricorn.

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AZd( July 23–Aug. 22): I like it best when the creek

that runs near my home is wide and deep. It gets that way at high tide, when the moon shepherds in a surge of water from the bay. As I gaze out at the swollen cascade, I feel full and fertile; everything’s right with the world. Inevitably, though, the tide goes out and the flow turns meek and narrow. Then my mood is less likely to soar. A slight melancholy may creep in. But I’ve learned to love that state, too—to derive a quiet joy from surveying the muddy banks where the water once ran, the muck imprinted with tracks of egrets and ducks. Besides, I know it’s only a matter of time before the tide shifts and the cascade returns. Enjoy your own personal version of the low-tide phase, Leo. High tide will be coming back your way soon.

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K^g\d(Aug. 23–Sept. 22): If you asked me to make you a mixtape that would be conducive for making love to, I wouldn’t be in the least surprised. These long January nights are ideal times for you Virgos to be unleashing your dormant passion and sharing volcanic pleasure and exploring the frontier where delight overlaps with wonder. In the compilation of tunes I’d create for you, I’d probably have stuff like “Teardrop” by Massive Attack, “Breathe Me” by Sia, “Supermassive Black Hole” by Muse and “6 Underground” by the Sneaker Pimps. But I think it’s a better idea for you to assemble your own soundtrack. Tell me about it if you do. I’m at Truthrooster@gmail.com. A^WgV(Sept. 23–Oct. 22): The world’s tallest

waterfall is Angel Falls in Venezuela. It was named

after Jimmie Angel, an American who was the first person to fly a plane over it in 1933. Recently, Venezuela’s president suggested that this place should be officially renamed Kerepakupai Meru, which is what the indigenous Pemon Indians have always called it. The coming weeks happen to be a favorable time for you to consider making a comparable move, Libra: restoring a natural wonder to its original innocence; rehabilitating the truth about a beautiful resource; returning an old glory to its pristine state.

HXdge^d(Oct. 23–Nov. 21): In the first half of 2010, your calling will be calling to you more loudly and insistently than it has in years. It will whisper to you seductively while you’re falling asleep. It will clang like a salvation bell during your midmorning breaks. It will soothe you with its serpentine tones and it will agitate you with its rippling commands to spring into action. How will you respond to these summonses from your supreme inner authority? This week will be a good test.

HV\^iiVg^jh(Nov. 22–Dec. 21): “You can have

it all,” says fashion designer Luella Bartley. “It’s just really hard work.” That’s my oracle for you, Sagittarius—not just for this week, but for the next three months as well. According to my reading of the astrological omens, the cosmos will indeed permit you to have your cake and eat it, too, as long as you’re willing to manage your life with more discipline, master the crucial little details everyone else neglects, and always give back at least as much as you’re given.

8Veg^Xdgc(Dec. 22–Jan. 19): The number of

bacteria per square inch on a toilet seat averages about 50. Meanwhile, your telephone harbors over 25,000 germs per square inch and the top of your desk has about 21,000. I’d like you to use this as a metaphor that you can apply more universally. According to my analysis, you see, you are overemphasizing the risks and problems in one particular area of your life and underestimating them elsewhere. Spend some time this week correcting the misdiagnoses.

6fjVg^jh( Jan. 20–Feb. 18): One of my readers,

Judd, shared his vision of how to cope with the blahs of January. Given your astrological omens, I’d say his strategy perfectly embodies the approach you should take right now. Please study his testimony below, and come up with your own ingenious variation. “On the coldest of days, my friends and I celebrate ‘scrufting,’ the art of enjoying the great outdoors with indoor furniture, while listening to loud indie-rock and adorned in our grungiest slop-ware. Aided by Samuel Smith’s Oatmeal Stout, we curse and laugh at the constraints of winter by playing our favorite summer sports like Frisbee, hacky-sack and soccer.”

E^hXZh(Feb. 19–March 20): It’s graduation time.

Not in any officially recognized sense, maybe, but still: You have completed your study of a certain subject in the school of life. At a later date, maybe you will resume studying this subject on a higher level, but for now you’ve absorbed all you can. I suggest you give yourself a kind of final exam. (Be sure to grade it yourself.) You might also want to carry out a fun ritual to acknowledge the completion of this chapter of your story. It will free up your mind and heart to begin the next chapter.

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M E T R O S I L I C O N VA L L E Y JANUARY 13-19, 2010 STRAIGHT DOPE

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Legal SUMMONS (CITACION JUDICIAL) NOTICE TO Legal DEFENDANT: Notices (Aviso a Acusado)] MIKE RICHMOND Legal & Public Notices YOU ARE BEING SUED FICTITIOUS BUSINESS BY PLANTIFF: (A Ud. le esta demanNAME STATEMENT dando) #532808 CHRISTOPHER E. The following person(s) is (are) doing business as: Hub WALKER Auto Brokers, 3130 DeLa Cruz CASE NO. 109CV155611 Blvd., #99, Santa Clara, CA,

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Not following you, Dano. You’re saying we should encourage transit use even if it wastes energy because transit is inherently cool? This is a questionable policymaking aim. However, confusing claims on this subject are widespread. Consider the following: • “Current public transportation usage reduces U.S. gasoline consumption by 1.4 billion gallons each year. . . . Total national fuel savings from public transportation would double to 2.8 billion gallons per year or more if improved coordination between land use plans and public transportation could replace even more car travel.” —“Public Transportation and Petroleum Savings in the U.S.,” report prepared for the American Public Transportation Association, 2007. • “Even if we could get more people to ride transit, transit uses as much energy, and emits nearly as much greenhouse gases, as cars; and the trends suggest that cars will be more environmentally friendly than any transit system in the country by 2025.” — Randal O’Toole, senior fellow, Cato Institute. Appears we’ve got a diversity of opinion. Time for the Straight Dope to step in. Let’s compare the average energy efficiency of different methods of transportation, expressed in British thermal units (BTUs) per passenger mile. These numbers were compiled or computed from government sources by my assistant Una, a professional engineer: • Motorcycle—2,200 with single rider. • Heavy rail (includes subway and commuter trains but excludes light rail/streetcar)—2,600. • Commercial aircraft—3,100. • Bus—4,300. • Auto—5,500 with single occupant, 3,500 with average passenger load. A few observations: 1. Motorcycles are tops energy-efficiency-wise. However, I’m not seeing them as a practical option for the average cube-farm denizen. 2. Trains are efficient, but not that efficient. If you’ve ever been packed into a subway car at rush hour, you might think it’d beat auto efficiency by 10 to 1. Uh-uh—rail travel is a modest 30 percent more efficient than autos on average. New York MTA rail is close to three times as efficient as a car driven solo, but that’s the extreme case. Chicago

CTA rail consumes 4,200 BTUs per passenger mile, making it less efficient than the average car. 3. Buses are more efficient than a passengerless car, but that’s about it. On the face of it, therefore, transit offers no energy advantage over cars except in a handful of cities with heavy rail. Estimates of auto efficiency vary widely depending on how many passengers you assume they’re carrying, so I won’t say transit is an energy loser. Instead I’ll cuddle up to Randal O’Toole and agree that, from the standpoint of energy consumption, transit vs. cars is pretty much a wash. So what’s the basis for the claim in the 2007 APTA study that transit use saves gasoline? The key word is gasoline—or more broadly, petroleum. Rail transit commonly runs on electricity; relatively little electricity is generated using oil. If all passengers in electric transit vehicles had to ride in cars, we’d use a lot more gasoline. No claim is made about energy use overall, and it’s here that we get to the heart of the matter. The real issue isn’t energy efficiency or foreign oil dependence. The fundamental problem is that petroleum is sure to be scarcer in coming decades and alternative energy sources will have to be developed. Many of the obvious ones (wind, solar, nuclear) are best suited to producing electricity. Transit electrification is well understood. Electric cars, not so much. My point is, big changes are in the offing, and we have to make bets now about what kind of lifestyles the energy mix of the future is going to support. The pro-transit argument boils down to this: transit promotes densely built-up cities, which we know will work from a transportation standpoint. (If all else fails, you can just walk or ride your bike.) Car buffs say, come on, most people prefer spread-out suburban living—we’ll figure something out that’ll let us keep doing it. I wouldn’t be so sure, but I’m not that worried about it. My inner Ayn Rand figures the market will decide.

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[67]

You have 30 CALENDAR DAYS after this summons is served on you to file a typewritten response at this court. A letter or phone call will not protect you; your typewritten response must be in proper legal form if you want the court to hear your case. If you do not file your response on time, you may lose the case, and your wages, money and property may be taken without further warning from the court. There are other legal requirements. You may want to call an attorney right away. If you do not know an attorney, you may call an attorney referral service or a legal aid Run Your Ad Here office (listed in the phone Your ad will appear in both book).Despues de que le print and online. To advertise entreguen esta citacion judivisit metroactive.com or call cial usted tiene un plazo de 408/200-1300. 30 DIAS CALENDARIOS para 95054, Hadi Farahani, 301 Budd Ave., Campbell, CA, 95008. This business is conducted by a individual. Registrant began transacting business under the fictitious business name or names listed herein on 1/8/2010. Refile of previous file #530080 due to publication requirement not met on previous filing. /s/Hadi Farahani This statement was filed with the County Clerk of Santa Clara County on 1/08/2010. (pub Metro 1/13, 1/20, 1/27, 2/03/2010)

presentar una respuesta escrita a maquina en esta corte. Una carta o una llamada telefonica no le ofrecera protec cion; su respuesta escrita a maquina tiene que cumplir con las formalidades legales apropiadas si usted quiere que la corte escuche su caso. Si usted no presenta su respuesta a tiempo, puede perder el caso, y le pueden tras cosas de su propiedad sin aviso adicional por parte de la corte. Existen otros requistos legales. Puede que usted quiera llamar a un abogado inmediatamente. Si no conoce a un abogado, puede llamar a un servicio de referencia de abogados o a una oficina de ayuda legal (vea el directorio telefonico). The name and address of the court is: (El nombre y direccion de la corte es) Superior Court of California County of Santa Clara 191 North First Street San Jose, CA 95113 The name, address and telephone number of plaintiff’s attorney, or plaintiff without an attorney is: (El nombre, la direccion y el numero de telefono del abogado del demandante, o del demandante que no tiene abogado, es) ANDREW V. STEARNS SBN 164849 IGNASCIO G. CAMARENA

SBN 220582 BUSTAMANTE, O’HARA & GAGLIASSO 333 W. SAN CARLOS STREET, 8TH FLOOR SAN JOSE, CA 95110 408-977-1911 408-977-0746 Date: OCTOBER 26, 2009 /DAVID YAMASAKI/County Clerk (Actuario) /HAHARA/, Deputy (Delegado) (Pub 12/23, 12/30/2009, 1/6, 1/13/2010)

FICTITIOUS BUSINESS NAME STATEMENT #531985 The following person(s) is (are) doing business as: Luxury Estates & Development, 6120 Hellyer Avenue, Suite 100, San Jose, CA, 95138. This business is conducted by a Corporation. Above entity was formed in the state of California. Registrant has not yet begun transacting business under the fictitious business name or names listed herein on. /s/Eric Tan Chief Executive Officer #3260063 This statement was filed with the County Clerk of Santa Clara County on 12/14/2009. (pub Metro 12/23, 12/30, 1/06, 1/13/2009)


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