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    Just grainy film clips & that wonder music

    Losing sight of John Lennon, the man: Reflections on his 70th birthday

    Jim Beviglia
    Oct 9, 2010 | 1:57 pm
    • John Lennon has been dead for 30 years and the memory of the man (butthankfully, not the music) is being lost.
    • We know how the other Beatles like Paul McCartney turned out. The wonder willalways be around John.
    • My older brother bought The Beatles Greatest Hits 1962-1966 the day after JohnLennon was killed.

    I didn’t become aware of John Lennon until after he died. You see, I was just an 8-year-old kid in 1980, and The Beatles were just a vague presence flittering across my Dad’s AM radio in the car.

    The day after Lennon was killed, my older brother bought The Beatles Greatest Hits 1962-1966. By the next morning, I had memorized the lyrics to every song on the record, and my love for John’s music was born.

    It’s important to note that I only know of Lennon in retrospect, because that’s probably the case for most of the people within my generation. I can’t ever know what Lennon was like within the context of his times, and that always presents a barrier for truly understanding what he was all about.

    That’s not the case for the other three Beatles, because I have watched them closely ever since that day when I played that record over and over. I could form my own opinion of what made them tick, even as that view was ultimately filtered by whatever media was presenting them to me. There’s Paul, eager-to-please and perpetually chugging ahead in the face of tragedy and turmoil, even as his nostalgia for the past and his faith in rock ‘n’ roll never wavers; Ringo, the quick wit and amiability belying the soulful sadness for lost friends and his interrupted band that’s undeniable even behind the sunglasses; and George, wary and bruised by fame, yet clear-eyed about his legacy and, ultimately, the picture of dignity in his final moments.

    John Lennon, as a person, will always be to me just grainy film clips and fuzzy sound bites and other people’s words. I’ve read more than a few biographies on John and the band, and I can draw as many conclusions as I want from those, but it’s ultimately like the telephone game you play as a kid. It’s impossible to fully trust even the worthiest of sources more than genuine experience.

    Although John’s 70th birthday is upon us, rife as it is with celebrations and reissues of his music, it’s the fact that 30 years have passed since his death that looms large over how he is viewed today. It becomes increasingly more difficult to separate the man from his achievements as time churns forward. Most of those who know are facing their own twilights, while we, the ones now in charge of teaching his legacy to an even younger generation (as I try to teach it to my own daughter) are largely ignorant of the full truth.

    Luckily, John Lennon left us with the consolation of his music, which allows us to fill in the gaps as we see fit. Lennon wasn’t the most artful or elegant songwriter, but he was, without a doubt, the most resonant.

    Even though what he wrote was intensely personal and, especially in his solo years, extremely autobiographical, his words reside in the deepest hearts of multitudes of people. His messages were fearless in their directness and simplicity, unfettered by any agenda or concerns of how they might be perceived by the cynical. As trite as it may sound, he really was trying to make the world a better place with the tools he had at his disposal, and his battles with his own frailties as he made that attempt kept him always at the level of his fans.

    People are fond of guessing about how his life might have progressed had tragedy not intervened, what kind of music he might have made, etc. But, as John himself was fond of bluntly reminding the Beatlemaniacs who couldn’t let go, we do have all the old records. And those records are not only brilliant, but they are also infinitely malleable, capable of filling in the gaps of our own lives.

    For example, when my Dad died suddenly in 1982, “Watching The Wheels”, Lennon’s ode to his hard-earned domestic bliss that was, of course, interrupted by his own death, held an almost unbearable poignancy for me. As I struggled through my teenage years with the loneliness of feeling that no one else really understood me, I clung hard to the lines “No one I think is in my tree/I mean it must be high or low”.

    When I unexpectedly became a father to an amazing little girl seven years ago, “Life is what happens to you/While your busy making other plans” hit home with an almost comical accuracy.

    A few years later, I stumbled upon the girl who provided the romantic happy ending that I never thought was in the cards, and “In my life, I’ll love you more” suddenly made perfect sense. And now, surrounded by more love that I could ever have fathomed, my lifelong faith in “All You Need Is Love” has been rewarded.

    I think it’s safe to say that most John Lennon fans have this kind of circumstance-specific attachment to his songs. Even though he is not around to bemuse, bewilder, challenge, and, yes, maybe even frustrate us with his deeds and words in the current time, even though he cannot add anything more to his musical legacy, we shouldn’t really feel robbed in any way.

    His music, with all the guidance, solace, inspiration, and joy it provides, is always right there for us to access as we go riding on the merry-go-rounds of our own lives. We can’t bring him back, so it’s all we’ve got.

    It’s enough.

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    Movie Review

    Michelle Pfeiffer visits Houston in new Christmas movie Oh. What. Fun.

    Alex Bentley
    Dec 5, 2025 | 3:30 pm
    Michelle Pfeiffer in Oh. What. Fun.
    Photo courtesy of Amazon MGM Studios
    Michelle Pfeiffer in Oh. What. Fun.

    Of all the formulaic movie genres, Christmas/holiday movies are among the most predictable. No matter what the problem is that arises between family members, friends, or potential romantic partners, the stories in holiday movies are designed to give viewers a feel-good ending even if the majority of the movie makes you feel pretty bad.

    That’s certainly the case in Oh. What. Fun., in which Michelle Pfeiffer plays Claire, an underappreciated mom living in Houston with her inattentive husband, Nick (Denis Leary). As the film begins, her three children are arriving back home for Christmas: The high-strung Channing (Felicity Jones) is married to the milquetoast Doug (Jason Schwartzman); the aloof Taylor (Chloë Grace Moretz) brings home yet another new girlfriend; and the perpetual child Sammy (Dominic Sessa) has just broken up with his girlfriend.

    Each of the family members seems to be oblivious to everything Claire does for them, especially when it comes to what she really wants: For them to nominate her to win a trip to see a talk show in L.A. hosted by Zazzy Tims (Eva Longoria). When she accidentally gets left behind on a planned outing to see a show, Claire reaches her breaking point and — in a kind of Home Alone in reverse — she decides to drive across the country to get to the show herself.

    Written and directed by Michael Showalter (The Idea of You), and co-written by Chandler Baker (who wrote the short story on which the film is based), the movie never establishes any kind of enjoyable rhythm. Each of the characters, including competitive neighbor Jeanne (Joan Chen), is assigned a character trait that becomes their entire personality, with none of them allowed to evolve into something deeper.

    The filmmakers lean hard into the idea that Claire is a person who always puts her family first and receives very little in return, but the evidence presented in the story is sketchy at best. Every situation shown in the film is so superficial that tension barely exists, and the (over)reactions by Claire give her family members few opportunities to make up for their failings.

    The most interesting part of the movie comes when Claire actually makes it to the Zazzy Sims show. Even though what happens there is just as unbelievable as anything else presented in the story, Showalter and Baker concoct a scene that allows Claire and others to fully express the central theme of the film, and for a few minutes the movie actually lives up to its title.

    Pfeiffer, given her first leading role since 2020’s French Exit, is a somewhat manic presence, and her thick Texas accent and unnecessary voiceover don’t do her any favors. It seems weird to have such a strong supporting cast with almost nothing of substance to do, but almost all of them are wasted, including Danielle Brooks in a blink-and-you'll-miss-it cameo. The lone exception is Longoria, who is a blast in the few scenes she gets.

    Oh. What. Fun. is far from the first movie to try and fail at becoming a new holiday classic, but the pedigree of Showalter and the cast make this dismal viewing experience extra disappointing. Ironically, overworked and underappreciated moms deserve a much better story than the one this movie delivers.

    ---

    Oh. What. Fun. is now streaming on Prime Video.

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