#30DayFilmChallenge - Day 7: MOONRISE KINGDOM (2012)

December 7, 2020 - October 20, 2021

Day 7: "A film you will never get tired of."

Jeez. This is tough.

I'm going to pick director and co-writer Wes Anderson's MOONRISE KINGDOM (2012).

There were so many candidates to consider:

GHOSTBUSTERS,

RED,

SCOTT PILGRIM VS. THE WORLD,

CITIZEN KANE,

KILL BILL, VOL. 1 (well, and VOL. 2, too)

JAWS,

THE GODFATHER,

RAIDERS OF THE LOST ARK,

MR. DEEDS GOES TO TOWN,

WHAT'S UP, DOC?,

IT'S A WONDERFUL LIFE, etc., etc.

GHOSTBUSTERS is a nod to when I worked in a video store(s). I used to work at Rosa's Home Appliances when they created a video rental store for their customers to promote selling VCRs. I also worked at Blockbuster and finally at Record Theatre. Ah, memories! Anyway, we used to play GHOSTBUSTERS over and over on the TV as well as THE SURE THING and a few others. Later, RED and SCOTT PILGRIM were compulsive watches for me at home when we had cable. Every time I happened to catch any of these films on the TV, I'd stay and watch them until the end, if I could. And, actually, MR. DEEDS GOES TO TOWN, too. Go, director Frank Capra and Turner Classic Movies!

But, MOONRISE KINGDOM was unique for me. I remember being very obsessive about it after I first saw it and when it was available on DVD, I bought it right away and I JUST KEPT WATCHING IT. I don't know why. There was just something about it, all of it. I just love that movie, man!

Thursday, March 25, 2021

So, one of the things I'm trying to do is simply finish this 30 Day Film Challenge which I originally started on Facebook last year. And no, I didn't finish it on Facebook either, but, this being my film blog, it seems appropriate to continue posting this here.

Anyway, I feel like I should elaborate a little more, either on MOONRISE KINGDOM itself or regarding those films I never get tried of, or both. So, I will, dammit!

Prior to first watching MOONRISE KINGDOM, I believe I had seen two other Wes Anderson films, RUSHMORE (1998) and THE ROYAL TENENBAUMS (2001). I liked them both very much, but I think it was with MOONRISE I articulated to myself that I was a definite Wes Anderson fan. I made a point of seeing his follow-up film, THE GRAND BUDAPEST HOTEL (2014).

I like Anderson's world building, usually an accumulation of details (and props!). I think that's what ultimately appeals to me about a Wes Anderson film: he creates these very specific worlds in his movies, which initially seem to be a reference or homage to very specific genres, time periods, cultures, nostalgia, whatever (for instance, THE LIFE AQUATIC OF STEVE ZISSOU seems more or less Anderson's tribute to Jacques Cousteau and/or at least inspired by him and his adventures. But Anderson takes very specific and careful, precise pains to create this world not only down to its specific references and particulars but to also to his subjective vision of it. I think that last aspect of it, the creation of his own world in each of his films is what's so compelling about his films for me. They're not just homages, they've become unique Wes Anderson worlds and films. That complete fictional world building is an ambition of mine to achieve within my own films and comics, etc.

Wednesday, October 20

Well, this post took forever to get finished, didn't it? I really am VERY lame at being a consistent blogger. Ah, well! At least I'm consistently inconsistent in the way I maintain ALL my ventures: blogging, filmmaking, creating art and comics, etc.

Anyway, let's see if I can put a bigger dent into this damn "30 Day" Film Challenge, shall we?

Onward!

#30DayFilmChallenge2020

#30DayFilmChallenge - Day 6: MY NEIGHBOR TOTORO (1998)

Wednesday, December 2, 5:18 pm

Day 6: "Your favorite animated film."

MY NEIGHBOR TOTORO (1988). The first Hayao Miyazaki (and Studio Ghibli) film I ever saw. I thought it was simply charming and wonderful. I saw it on VHS and I think I checked it out because of a positive pull quote on the cover, but I forget what it said or by who. Maybe Roger Ebert? Occasionally those pull quotes work. Quotes from Stephen King got me to read Thomas Harris' RED DRAGON and watch THE EVIL DEAD, but I digress...

Runner-up animated films, in no particular order: SPIRITED AWAY, AKIRA, Disney's PINOCCHIO. I saw the claymation (well, plasticene-mation) WALLACE AND GROMMIT: THE CURSE OF THE WERE-RABBIT and enjoyed it, but I have to say, I think the WALLACE AND GROMMIT shorts are nearly perfect, especially the first three I saw: THE WRONG TROUSERS, A CLOSE SHAVE, and A GRAND DAY OUT.

QUICK UPDATE: OMG! I completely forgot AN AMERICAN TAIL in my list of runner-up candidates!

Monday, December 7, 10:04 am

It's been awhile since I've seen MY NEIGHBOR TOTORO. I should re-visit it (the default movie-watching goal of my life). Although, I'm not sure if I'd be able to actually watch the version I originally saw. I saw an English-dubbed version, but I think they've re-dubbed it since.

Oh! Well, according to this Wikipedia page, Troma Films actually had something to do with original English language dubbing! Weird! Anyway, from what I gather from the article, I guess they had the rights to that version for only 10 years (1993-2003), and after that Disney wound up doing another English dub, this time with more famous actors. So, if I watch it again, the disney version will probably be the version I'll have access to. Although, maybe I'll watch the original Japanese language version, instead. Ugh! I'm digressing again, sorry!

Sunday, March 21, 2021, 10:50 pm

Okay, so a major update.

Even though I last added to this post in December, I think in November of 2020, I watched a documentary on Netflix about the Aardman studios, A GRAND NIGHT IN: THE STORY OF AARDMAN. It happened to be on Netflix and out of curiosity I checked it out. And boy, I really was charmed by this documentary!

In particular, it re-ignited my enthusiasm for things animator Nick Park and his Wallace & Grommit films. When I first started this post, I mostly remembered the W&G shorts, especially THE WRONG TROUSERS, my first exposure to the duo. But after seeing all three shorts, I highly recommend them all (as I mentioned above). As I also mentioned, I saw the feature film, CURSE OF THE WERE-RABBIT, but I had forgotten most of it. Anyway, seeing Aardman doc, and especially seeing Nick Park in person and talking about his famous creations made me want to check out all things Wallace & Grommit again, especially when I discovered there was a FOURTH short that was made!

I watched all three shorts again in order: A GRAND DAY OUT, THE WRONG TROUSERS, and A CLOSE SHAVE, and then, CURSE OF THE WERE-RABBIT. It was really wonderful getting re-acquainted with these films and really falling in love with them all over again. If you plan on watching the doc, just be aware that there are some spoilers for all the films mentioned from Aardman studios, just in case you're a purist. But I found it very enjoyable hearing some of the behind-the-scenes stuff about all the films, and especially Park's first film, A GRAND DAY OUT, that turned out to be much more ambitious than he expected, although it's larger scope made him come in contact with Aardman studios and they helped him finished the film. But, I was especially glad to have re-watched CURSE OF THE WERE-RABBIT. It was really quite delightful! I also had a great respect for Helena Bonham Carter and Ralph Fiennes' voice work. But, Bonham-Carter especially, who somehow made her ridiculous looking character with her Cheeto-hairstyle quite engaging and lovely (NOTE: all the human characters in these films are ridiculous looking). I can't believe I had forgotten so much of the film, so I'm glad I re-watched it. In fact, I watched it twice. I convinced my wife to re-watch it again as well (we both saw it when it first came out).

Finally, I saw the fourth Wallace & Grommit short for the first time, A MATTER OF LOAF AND DEATH, and it was really wonderful. I think of the five W&G films, THE WRONG TROUSERS is my favorite, followed by CURSE OF THE WERE-RABBIT and A MATTER OF LOAF AND DEATH tied for second. Oh, I'm really glad i saw that doc, because it really revived my love and admiration for the creativity and humor that's injected in all of these films. I have to sit down and re-watch CHICKEN RUN, too. I've forgotten most of that feature and seeing clips from it made me long to see it again as well. The Aardman doc also got me to impulsively watch their feature THE PIRATES! IN AN ADVENTURE WITH SCIENTISTS! (aka THE PIRATES! BAND OF MISFITS!)(2012) which they showed a lot of clips from and with interviews with Hugh Grant and David Tennant who did voice work in it. I found it extremely entertaining and gleefully absurd, and I watched it a second time within a week. Really great, fun stuff.

The documentary on Aardman studios is a lot of fun and informative. Towards the end it feels a little self-congratulatory, but for the most part, it's a great introduction to a lot of wonderfully animated work they've done and I like seeing the creative people behind the scenes, especially Nick Park and Peter Lord (director of THE PIRATES! and more importantly, who co-founded Aardman Studios with David Sproxton).

Having said all that, I'm still leaving MY NEIGHBOR TOTORO as my favorite animated film. But I definitely have to re-watch that one, too. I should also really check out the Pixar films, those I've seen long ago (like TOY STORY and its first sequel) and those I've missed (like MONSTERS, INC., the other TOY STORY sequels, UP, WALL-E... there's a lot) and then re-watch those Miyazaki films I've watched already (besides TOTORO, there's also SPIRITED AWAY and PRINCESS MONONOKE) and those I've missed. And there are also other feature length anime out there, like GHOST IN THE MACHINE, which I started checking out and 15 minutes in I realized I was watching a "slightly updated version" of the original, so I stopped and decided to watch the original but I didn't get to it, yet, but what I saw was pretty damn cool and impressive.

So, there's probably going to be at least one more to update to this post...

#30DayFilmChallenge

#30DayFilmChallenge - Day 5: ED WOOD (1994)

Day 5: "A film where a character has a job you want."

Okay, I'm going with ED WOOD (1994, directed by Tim Burton, screenplay by Larry Karaszewski and Scott Alexander) and the title character (played by Johnny Depp) has the job of screenwriter/film director. There are probably other films with characters that have that job that I could have chosen, but I feel that Ed Wood in ED WOOD seems most appropriate. Wood's filmmaking efforts are arguably sincere but leavened with some limiting circumstances (like a lack of sufficient funds) and Wood's own dubious creative choices and tastes. The difference between Wood and myself is that he actually finished some projects.

Shot in black and white, Depp is quite wonderful as Ed Wood, boyish in his energy and enthusiasm, and determinedly positive in the face of difficulty. Martin Landau is terrific as Bela Lugosi (winning an Oscar as Best Supporting Actor) and the ensemble cast is also excellent. For me, the appeal of director Ed Wood, in this film and in real-life, is his insistence to make art despite circumstance and possibly even talent or skill. Arguably, I might have more directing skill than Wood (emphasis on arguably), but I lack his tenacity to follow through on projects, a quality I seriously need to develop and/or tap into.

Other possible films featuring the same job, this time on vivid display in two documentaries, AMERICAN MOVIE and HEARTS OF DARKNESS: A FILMMAKER'S APOCALYPSE.

AMERICAN MOVIE (1999) focuses on independent filmmaker Mark Borchardt (as well as his friend, Mike Schank) and his efforts to make his B&W horror film, COVEN (which Borchardt's determined to pronounce as "COH-ven"). At first glance, the film seems like a study of a not quite capable filmmaker trying to make a film. You hear some of his plans and ambitions and the way he describes his film and the scenes he intends to include, and well, his description sounds like wishful thinking and the audience feels already the execution will be far less than he imagines. As an example, we see him directing a scene in the woods. Borchardt's manning his own camera, and as he lies on the ground and has set up his shot, he tries to direct his handful of actors. He gives them a specific direction regarding blocking - a fine tuning of where they already are standing - and, if I remember correctly, no one moves at all in response. And, after a beat, he shoots the scene. I remember watching this film and my wife walked in and started watching it as well and then she said she had to leave the room, "This reminds me of you..."

Ummm...

HEARTS OF DARKNESS (1991) is the brilliant documentary of APOCALYPSE NOW (1979) with filmmaker Francis Ford Coppola as the subject of his troubled film and his efforts to get through the agonizing process of shooting, which was faced with many setbacks and delays, cost overruns and his near bankruptcy. What makes me embrace this film is the portrait of an artist trying to achieve something on an ambitiously grand scale, not only in physical scope but artistically. In one scene, he compares the original concept of APOCALYPSE NOW to an Irwin Allen film. Film producer Allen was known for his disaster films, like THE POSEIDON ADVENTURE and THE TOWERING INFERNO. Coppola's comparison is based on his idea that initially APOCALYPSE NOW was simply full of spectacular, crowd-pleasing scenes and exciting, thrilling (but arguably superficial) moments. BUT, now that he was in the middle of the production, he realized he was wasting an opportunity to properly consider the subject matter, the Vietnam war, and so he was re-writing and trying to figure out how to improve things as he went along. And he feared his efforts were going to be horrendous. In reality, Coppola ultimately made another cinema classic, but his process was typically difficult and perhaps, even self-destructive.

In all three of these films, I'm fascinated by the artist and his dreams and then the difficult reality of trying to achieve those dreams: lack of money, lack of assistance, lack of inspiration, the limits of one's own talent and persistence through hardship, the general difficulties of trying to shape an idea into reality.

"Alright, let's shoot this fucker!" - Bela Lugosi (as played by Martin Landau) in ED WOOD.

#30DayFilmChallenge

#30DayFilmChallenge - Day 4: 2001: A SPACE ODYSSEY (1968)

DAY 4: "A film with a number in the title."

I had a tough time trying to pick a title for today, but the winner is… 2001: A SPACE ODYSSEY (1968).

Some runners up:

16 BLOCKS, the Bruce Willis/Mos Def film that I happened to catch on cable a few years ago, got hooked enough to stick with it, and ultimately found it surprisingly affecting, which I’m chalking up to my strong sentimental streak;

SUPER 8, which I found enjoyable throughout, although the actual main storyline I found forgettable. This film has one of my favorite sequences, when the kids, amateur filmmakers, are shooting a scene for a Super 8 film at the train station and the boys suddenly realize the girl they cast in the film (for perhaps other reasons) can really act, but then suddenly the train comes and crashes and we’re back to the main story (whatever)…;

1941, Steven Spielberg’s first flop, an expensive and critical flop which he made up for in spades with RAIDERS OF THE LOST ARK, but I still like this extremely loud and unsubtle comedy;

1900, a Bernardo Bertolucci film that I saw years ago in a theater (in Pittsburgh?). I remember finding it vividly directed, but I’ve forgotten lots of it, too… I’ll need to revisit it;

THE ADVENTURES OF BUCKAROO BANZAI ACROSS THE 8TH DIMENSION, because, well, what a great title, and a wonderfully goofy movie… Jeff Goldblum and his furry, white cowboy chaps! And I still occasionally say, “I don’t give a flying handshake..!”;

And another film that I’ll actually use later in this challenge…

But back to 2001: A SPACE ODYSSEY (directed by Stanley Kubrick, screenplay by Kubrick and Arthur C. Clarke (based on Clarke's novel).

Love that this is a merger of sci-fi film and art film, arguably an experimental film as well. Years ago I had a book edited by Jerome Agel, THE MAKING OF KUBRICK’S 2001. Full of cool articles and topics related to the film, among them audience and cultural reactions. Included was an outline analyzing the film, breaking down scenes and considering the meanings, which was written by a female high school student. Kubrick actually read it (either she or a teacher of hers mailed it to him?) and he was impressed by her thoughts on the film. If I’m remembering correctly, the student had plans to do scientific research and one scientific question she considered was whether or not the soul can be located in one’s DNA, like an actual element, which was a fascinating idea. Anyway, at some point years ago, I misplaced the Agel book, but somewhat recently, I was delighted to discover another copy at a used bookstore.

One of my favorite film transitions of all time is the understandably famous one from 2001, from the prehistoric past of the DAWN OF MAN sequence to the futuristic year of 2001 with a bone as murder weapon (well, tool) thrown up into the air, “flying” in slow motion and then the sudden cut to the Pan Am space clipper heading to the moon, a clever combination of visual images and intellectual ideas.

I did see 2001: A SPACE ODYSSEY in the theater once and I’m wondering if that was my first time watching it. It’s quite possible. It was at the Four Seasons in Niagara Falls and I remember my mom took me (us? I think one or two school friends came as well... Steve? Peter? NOTE: Steve and Pete and myself went to the movies fairly regular during high school, hence...). During the sequence when the astronaut, Bowman (played by Keir Dullea), is traveling through the atmosphere of Jupiter and it starts getting way psychedelic, even psycho-delic, my mom started grabbing my arm really hard, because the posterized aerial shots of the landscapes started getting to her and she was trying not to scream.

I know a guy who is a writer for the Washington Post (yes, I’m pseudo-name dropping without, uh, actually dropping a name) and he’s an eloquent cinephile, but he is NO fan of 2001. I think he described it once as equivalent to “looking at a rock.”

Too bad for him, but I think 2001: A SPACE ODYSSEY is great from beginning to end and I love how it strongly elevated and expanded the sci-fi film genre in terms of what other kinds of stories could be told in that genre beside pulpy escapism. A very inspirational work on several levels.

#30DayFilmChallenge

#30DayFilmChallenge - Day 3: "A film that has more than five words in the title." - FRIENDS DON'T LET FRIENDS DATE FRIENDS (2014)

A version of this post was originally published on May 28, 2020 on my Facebook page.

DAY 3: "A film that has more than five words in the title."

I'm sort of making this up as I go along through this 30 day challenge, but I'm excited that I managed to name early on in the process a locally made film, FRIENDS DON'T LET FRIENDS DATE FRIENDS (2014), written and directed by Rhonda Parker. It happens to be one of my favorite features made in WNY, and as an added bonus, I became friends with Rhonda and her husband, Mark (who was the director of photography) after I saw their film at the Buffalo Dreams Fantastic Film Festival. Our friendship has been cemented since then by the fact that I not only created the poster/DVD cover designs to two subsequent feature films they made, MESSAGE IN A BOTTLE and A CHRISTMAS MONSTROSITY, but I did so well after the deadlines they gave me - ah, yes, the personal Kimmel touch! Yes, "Better late than never" is perhaps the worst professional freelance artist motto to have...

But getting back to FDLFDF (that's the movie title for short, not my tongue flapping in the breeze): it's delightful, has strong performances from the three leads (Adam S. Dixson, Erin Stamp, and especially Rhonda's cinematic alter-ego, Amelia Favata) and a solid ensemble cast supporting them. But, most importantly, the film is personal, wearing its John Hughes inspirations unabashedly on its sleeve, but not in a derivative way. Rhonda tells her story in her own way, citing Hughes' past films as part homage and part affectionate template to carve out her own storytelling path.
Okay, some of the jokes are corny, and a scene or two perhaps could have been shot more effectively (a sign of the low-budget strain on a tiny crew wearing multiple hats simultaneously). But Rhonda's empathy for the characters is genuine, and the ending is affectingly told, managing to be both sentimental, yet not saccharine, and cautiously optimistic.
The soundtrack also boasts an excellent collection of songs from the Lonely Ones, a band out of Rochester, NY.
Some day I hope to do a bonafide review of the film. Stay tuned.

Check out the trailer:

#30DayFilmChallenge2020, Day 3

Found on Google from twitter.com

#30DayFilmChallenge - Day 1: The first film you remember watching (and maybe some understandable nostalgia and revisiting of the past...): ONE MILLION YEARS B.C. (1966)

A version of this was originally posted May 25, 2020 on Facebook.

DAY 1: "The first film you remember watching."

My first film memory was ONE MILLION YEARS B.C.
I had to check the release year because it was a toss-up between ONE MILLION YEARS B.C. (1966) or PLANET OF THE APES (1968). I remember seeing both of them at the now defunct Sheridan Drive-in (two screens!) and my parents and I arrived late to both of those movies. In fact, I think we usually arrived late to the drive-in. I'm imagining that any time we went to the drive-in it was a very impulsive, spur-of the-moment decision just as the sun was setting. Whatever. As far as I can tell, images of these two films are my earliest memories.
For ONE MILLION YEARS B.C., we came in as authentic specimens of early man were fighting a giant sea tortoise. Fortunately, after the drive-in played the double feature, they repeated the first feature, so we'd stay around and see what we missed. I don't think they repeat the first feature at the drive-ins anymore, do they?
I would've been 6 years old when I saw it.

So, I'm thinking Raquel Welch was probably the first film (and female) celebrity whose name I remembered and where I began my fondness for attractive actresses and making a point of learning their names. Elke Sommer was probably the next actress, first seeing her in A SHOT IN THE DARK, although I also remember Peter Sellers. I don't know how old I was when I was aware of director Blake Edwards but I'm pretty sure my first association of his name with a film was this first Pink Panther sequel. Although, I'm surprised to see A SHOT IN THE DARK came out in 1964. I saw it on TV while we still lived in Buffalo on E. Oakwood Pl. (ca. 1964(?)-1969). Maybe a later rerun? And as I try to dredge all these memories up, it just occurred to me that non-film female celebrities also made an impression on me, such as Petula Clark, because we had her Greatest Hits album. 
Oh! How can I forget Diana Rigg as the often cat-suited Mrs. Peel on THE AVENGERS TV show!? Jeez! I can't believe I DID forget her, especially since I watched her weekly! [NOTE: This blog's author clearly has a defective brain.] But getting back to the subject of remembering names associated with films, I don't know when I first made note of Ray Harryhausen's name. I remember seeing JASON AND THE ARGONAUTS on TV in Buffalo, too, and I want to say I knew his name by the time I was nine (i.e. in 1969). Of course, Harryhausen was responsible for creating and animating a number of the dinosaurs and prehistoric creatures in ONE MILLION YEARS B.C. (although, there is at least one giant lizard and an enormous tarantula which were both created through trick photography). Name-wise, I knew Alfred Hitchcock directed THE BIRDS by the time I was nine, because I first saw it on the TV back then, too, and I want to say I knew who Hitch was when I watched it, and that may have been because of his TV show, too? Although, no, that only ran until 1962. I don't think we watched it when it was first on, at least I don't recollect it. And if I did, that would've been when we were living on Humboldt Pkwy at the time, and I would've been 2 at the oldest (if Alfred Hitchcock Presents ended in 1962). I do remember watching the show later with my mom when it was in syndication on channel 29, but this was after 1969.

Arghhhh! Man, it's stuff like this when I wish I kept a diary back then to see when I kept track of certain details, etc.!

Anyway, I find it interesting that when I think back on ONE MILLION YEARS B.C., my initial embrace of that movie is prehistoric hottie, Raquel Welch. As a 6 year-old boy, one would think that the film's biggest impact on me would be the dinosaurs, etc. So, my emphasis on Ms. Welch now is probably because I'm a juvenile sexagenarian. Although, Harryhausen's humanely animated creatures did make its mark on me and I loved the other movies he worked on: the aforementioned JASON AND THE ARGONAUTS, THE MYSTERIOUS ISLAND, MEN IN THE MOON, 7TH VOYAGE OF SINBAD, THE GOLDEN VOYAGE OF SINBAD, SINBAD AND THE EYE OF THE TIGER, THE VALLEY OF GWANGI, and CLASH OF THE TITANS. But, still, there was that irresistible combination of fantasy, horror and lovely ladies, even in PLANET OF THE APES. She didn't say anything, but I remember Linda Harrison as Nova.

[NOTE: And speaking of PLANET OF THE APES, we came in as the astronauts were escaping their space ship as it was sinking in the water.]

LONG-WINDED NOSTALGIA NOTE: Our house on Humboldt Pkwy was set in the back of a sort of apartment complex, I think. We lived in an upstairs apartment in a building that had car garages for the other apartments, or maybe not. I'm vaguely remembering this, and I remember garages, and also the notion that my dad was employed or partly employed as a caretaker for this complex? I'm not sure. I think the apartments were in other buildings, one or two of them, and all these buildings framed a parking lot probably for the other tenants' cars? Ah, I was too young to recollect all this clearly now. Although, before we moved to E. Oakwood Pl., I do remember knocking down our Christmas tree because I "chopped it down" with a plastic toy axe. I can see it in my head (decorated, too?) as I knelt down in front of it and saying "Timberrr....!" and pushing the tree over. Hahaha! Am I making this shit up??? Anyway, sadly, that apartment and all the apartments around it on Humboldt Pkwy (near Delaware Park and the NY 198/Scajaquada Expressway) no longer exist. Within a year after we moved, the whole complex somehow caught fire and it all burned down. It was during the winter, less than a year after we moved to E. Oakwood Pl. And equally unfortunate, the E. Oakwood house (a duplex and we lived upstairs) is gone, too. About ten years ago (longer?) I happened to be in the neighborhood with a friend and I thought I'd drive by just to check out the old place. I made the turn off Main St., less than a block away from P.S. 54 (in the 60s, although I think it became a Childhood Learning Center at one point, but according to my Google map, it's P.S. 54 again?). I drove down E. Oakwood, which is only one block long, but it doesn't dead-end, it stops at a low wall and an open alley (Canton Alley) that ran along that wall connecting to Leroy and Dewey, the streets parallel to E. Oakwood, although at some point in the last two decades half of the alley got closed off, so you can only get to Dewey now. If you looked over the wall, you saw railroad tracks, but it was, like, one story down, not level with our street. Anyway, while driving down the street I saw that the house of one of my childhood friends, who I haven't seen since the 60s, was being worked on, a Habitat for Humanity home, and then when I got to our house... it was gone! Just an empty space with a grass lot! That was a shock. The last time I was there was in 1997. Even though my parents and I left in '69, my dad was actually the landlord and he owned the duplex until, well, at least 2000, I think, maybe a little later? Anyway, I actually moved into the lower apartment in the 80s when I moved out of my parents' house after college and eventually I moved to Lockport in '97. My dad finally sold the duplex to our remaining tenant who lived upstairs, an elderly gentleman and his wife, and I never really kept contact with him. I think I heard of his death sometime later and then... well, it was all gone. 
As if it happened a million years ago...

#30DayFilmChallenge