Best Seats in The House: Ambiguity And Paradox Mode of Cosmic Therapy

The Futile Stupid Unreasonableness of Trying to Hold onto a Familiar Identity and Comfortable Security

We work so hard to ‘establish and maintain’ a certain familiar distinctiveness in ourselves, according to how we inadvertently label success, financial freedom, recognizable sought after happiness/wealth/riches: ‘making it to the top.’

Which supposedly offers us a comfortable individual security, merited place of notoriety, including an emotionally attached favored ‘looked up-to’ identity of sorts? 

We are trying so hard to get it right, make our mark, ‘be somebody’, do it before the next guy cashes in; we tend to overlook and undervalue how much precious  time is sucked away in fueling our self-vested fabricated idolized misery.

Along with the desperately sought after unshakable security, [arriving at the place we believe to be significant and worthy of praise and recognition] a certain self-projected respect demanding ‘holier than thou’ foreboding energy attaches itself to the ‘one being in the know.’ 

The more we project we know, or have need to know anything, the less we are in the vicinity of finding out. In other words, we are always hopelessly lost; no matter the outer ‘toys of distraction’ we exploit to prove otherwise.  (Ambiguity)

Moreover, during the falsely saturated time of cherished self-intoxicated elevated position, we silently refute and resent the parroted place of fictitious harmony while, lacking in true peace, are superficially traveling incognito, defiantly in search of finding our ‘true selves’ in an attempt to fill the gaping hole we live with. (Paradox)

 “Surely true peace of mind can be had, IF only I knew how to do the right things to get it.”

“This cannot be all there is”, we silently reassure ourselves, as we once again succumb to our fractured mind’s taunting insistence; “Don’t Worry. Have hope. It’s going to get better. You won’t feel like this, always.”  

The relentless torrid mind ridicules us at every turn, as we try to calm our restless seething nature.

Nothing could be worse than for us to heed the deceitful luring words of hopeful resolution. (Ambiguity) There’s no peaceful resolution to be had for there’s nothing to resolve. (Paradox)  “This IS as good as it gets.”

 An absolute insidious mockery of the worst kind results when we arrive at the place where we think we should be, doing what we ought to be doing, saying what we need to say, performing the comparable expected majestic duties attached to the “IDEA” of success whether in marriage, career, education, and/or on a spiritual platform.

 If the truth be known, as unpleasant as it sounds to fragile ears:  to supposedly arrive at the situation where ‘We’ve made it” nothing short of drinking an 8 ounce bottle of absinthe laced cyanide can eradicate the infectious feelings of unutterable disdain and disgust.

We are living in complete ubiquitous ambiguity and indemonstrable paradox. To deny the reality of its liberating premise produces unalterable agony.

To declare with full certainty that we KNOW what to do and HOW to do and with WHOM to do it is a complete boldfaced lie! It would be like saying one path is better than another path. No. Impossible.

All roads lead home if you don’t KNOW where HOME is located!

Adjusting to the undeniable fact that things are constantly (appearing so) thrown out of order simply to be rearranged in a different framework, requires an ineffable courage and merciless determination not to be swayed by visual “human appetite suppressants.”

Whether these suppressants be in the form of relationships, spirituality, career, fame, prestigious positions in society, celebrity/sports recognition, accolade mastery, extended idolatrous vain attritions of celebrate honor, or simply ‘following someone else’ who has thoroughly convincingly marketed himself/herself and the ‘miracle fix products, programs, or processes’ as ones who ‘have the goods’, the end result is the same: melancholy.  

 Nothing could be further from road of acquiesced contentment than to believe we must be saved, rescued, set free, and/or bailed out.  Our real business remains obscured as long as we look for it and ‘who we are.’

We are to abandon the idea and any recognizable reference to hope. Hope implies doubt.  If we hope for a better tomorrow we are admitting our today is less than perfect.

 Our days are the immutable ledges upon which we stand to view the sun, rain, snow, winds and drought with uncompromising gratitude.  IF we could change our ledges, (we can’t) we would alter our indistinguishably programmed DNA molecules which comprise our celestially organized structured beings.

The more we try to change any aspect of our delicately magically ordered selves, relationships, careers, education, physical bodies, and variegated lives the less productive and contributory we experience ‘pure raw authenticity’ in our existence.

In addition, by inaccurately assuming when we arrive or have arrived that we would not lash out at those who have loved, supported and connected with us on our renowned journey is pointless. 

The more successful we think of ourselves, the more unsuccessful we tend to view others.  By reason of comparison and measurement, we must have a podium of reference for our advantageous highly coveted awarded singled out accomplishments.

So what are we to do?  Cease striving, measuring, tabulating, competing and planning! Relax by facing each moment honestly with no glamorized emotional reaction. “If at any moment we think we know what we are doing and why we are doing, cease immediately.”

 Invite ambiguity and paradox into the grand ballroom. Put on our finest attire. Offer them the better of the best we have in our closets.  Allow the reality of death’s encroaching reality as the parade of victory to be celebrated and enriched.

 Pretend not that he will stay his hand until we have finished our business. We have no business except for living/laughing/loving each moment of our soapbox infused lives unconditionally and rapturously content just to be here.

Don’t hold back.

 Do what we sacredly sensually sexually passionately creatively love to do all the time.  Look for no beneficial result, applause or appreciation.

Now and forever with no hope of excuses, defense, explanations, or recognition, breathe in the moment of self-generated ecstasy and release every single mouse dropping bit of it with the exhale.

 Start afresh uncertain not having or wanting a clue. Live without security and destination. It’s the only way we do.

Written by PaulaAndreaPyle

Find More Hope For Best Articles

Bob Hope and Marilyn Maxwell in The Lemon Drop Kid (1951)

Damon Runyon’s The Lemon Drop Kid

The Lemon Drop Kid is based on the short story of the same name by Damon Runyon (1884-1946). The story, which first appeared in the February 3, 1934, edition of Collier’s, had been inspired by characters Runyon had met at Saratoga Racetrack in Saratoga Springs, New York.

On September 28, 1934, the first screen adaptation of The Lemon Drop Kid hit movie theaters. Directed by Marshall Neilan, the film starred Lee Tracy, Helen Mack and William Frawley.

Paramount Pictures Remakes The Lemon Drop Kid

Paramount Pictures viewed the remake of The Lemon Drop Kid as an opportunity to recapture the magic of a previous Bob Hope picture, Sorrowful Jones (1949). Both Hope and Paramount had high hopes for The Lemon Drop Kid, believing it could be a big moneymaker if done correctly.

Robert L. Welch produced The Lemon Drop Kid, with Edmund L. Hartmann, Robert O’Brien, Irving Elinson, Edmund Beloin and Frank Tashlin all contributing to the screenplay. Sidney Lanfield and an uncredited Frank Tashlin directed and Jay Livingston, Ray Evans and Victor Young served as the film’s music maestros.

Jay Livingston and Ray Evans wrote “Silver Bells” for the production. Originally titled “Tinkle Bells,” the song later took the country by storm, racking up an astounding 1,643,687 copies in sheet music sales and 31,800,000 in records sold.

The Lemon Drop Kid Cast

Bob Hope (Sidney Melbourne a.k.a. The Lemon Drop Kid) and Marilyn Maxwell (Brainey Baxter) head the fine cast. Other players include Lloyd Nolan (Oxford Charley), Jane Darwell (Nellie Thursday), Andrea King (Stella), Fred Clark (Moose Moran), Jay C. Flippen (Straight Flush), William Frawley (Gloomy Willie), Harry Bellaver (Sam the Surgeon), Sid Melton (Little Louie), Ben Weldon (Singing Solly), Ida Moore (The Bird Lady), Francis Pierlot (Henry Regan), Charles Cooley (Goomba), Tor Johnson (Super Swedish Angel) and Tommy Ivo (Boy Scout).

Bob Hope had originally wanted Jan Sterling as his female co-star, but when she became unavailable due to production delays, Hope went with his favorite backup and fellow USO performer Marilyn Maxwell.

The Lemon Drop Kid Filmed in Hollywood

Just a few days before Bob Hope and company began filming The Lemon Drop Kid, North Korean troops crossed the 38th Parallel on June 25, 1950, triggering the start of the Korean War. Almost immediately, Hope was on the telephone, making arrangements to take his USO show to the Far East.

Although filming was completed before Hope departed on his overseas tour, the comedian was not satisfied with the finished product. Barney Balaban, the head of Paramount Pictures, wanted a final cut made, telling the star, “Let’s get it out for the holiday trade.” Hope, however, who had a partnership in the picture, stood his ground, suggesting that Frank Tashlin be hired to rewrite portions of the screenplay. Tashlin subsequently agreed to do the rewrites, but only if he be allowed to direct the retakes as well.

By this time both Hope and Marilyn Maxwell were unavailable to do the retake work because of his planned trip to the Far East and her upcoming East Coast tour with Dean Martin and Jerry Lewis. Thus, The Lemon Drop Kid was put on hold until November 1950, pending the return of its two stars.

Bob Hope and Marilyn Maxwell later completed their respective tours and reported to Paramount Pictures in Hollywood upon their return. Hope was especially pleased with Frank Tashlin’s rewrites and the restaging of the Christmas sequence featuring “Silver Bells,” and the picture was finally finished.

The Lemon Drop Kid: Racetracks, Gangsters and the Christmas Spirit

The Lemon Drop Kid opens with a magnificent scene of Times Square in New York, with the camera panning in on a huge Christmas tree. As strains of “Silver Bells” play in the background, the movie’s credits are presented via holly-decorated cards, leaving little doubt that this picture was originally intended for the holiday season.

The action begins in Florida where Sidney Melbourne, known as “The Lemon Drop Kid,” gives a bum tip to gangster Moose Moran’s girlfriend at a racetrack. The way Moose figures it, the Kid now owes him ,000 for his girl’s losing bet on a nag called Lightning Streak. The Kid is a little short on cash, and convinces Moose to give him until Christmas, now a mere 23 days away, to come up with the money.

Arriving back in snowy New York, the Kid gets down to business, borrowing from his old girlfriend, Brainey Baxter. He then tries to negotiate a ,000 loan with Oxford Charley, who has the Kid tossed out of his nightclub. “Communist,” the Kid mutters outside.

The Kid then hatches several schemes to raise the needed dough. The first involves panhandling while dressed as Santa Claus, which earns him ten days in jail or a fine. Brainey Baxter pays the , with the Kid launching another plan to raise money, this time for the fraudulent Nellie Thursday Home for Old Dolls. The Kid’s army of Santas hit the streets, collecting almost ,000.

Oxford Charley learns of the Kid’s new racket and tries to muscle in on the operation. But the Kid eventually gets the upper hand, relieving Charley of a stolen ,000 and making good on his debt to Moose Moran.

The Lemon Drop Kid Opens in New York City

The Lemon Drop Kid opened at New York City’s Paramount Theater on March 21, 1951.

“William Frawley and J.C. Flippen are a couple of the several grotesque mugs who assist in the madcap conniving, and Lloyd Nolan and Fred Clark are the thugs. All of them act as straight accessories to Mr. Hope’s eccentric show under the snappy direction of Sidney Lanfield. But it is all Mr. Hope, on the nose,” reported Bosley Crowther of The New York Times (3/22/51).

The Lemon Drop Kid Notes, DVD

Director Sidney Lanfield hated the song “Silver Bells” and shot it in a very static scene that he knew would be cut from the movie. Producer Bob Welch later intervened, and the “Silver Bells” sequence was reshot in a more favorable light by Frank Tashlin.
Both Bob Hope/Marilyn Maxwell and Bing Crosby with Carol Richards and the John Scott Trotter Orchestra recorded “Silver Bells.” But it was Bing’s original 1950 duet version on the Decca label (#27229 with “That Christmas Feeling” on the flip side) that received the most air play and attention.
Bob Hope and Marilyn Maxwell reprised their roles for the CBS Lux Radio Theatre, which broadcast its version of The Lemon Drop Kid on Monday, December 10, 1951.
Inside joke: When a cow crashes the party at the end of the film, Bob Hope tells the mooing animal, “Quiet, Crosby,” a little dig at his good pal Bing Crosby.
Best supporting performance in a minor role: Andrea King as Stella, the naive gal pal of mobster Moose Moran who accepts a bum tip on a racehorse from “the nice man” in the white suit with a southern accent – a.k.a. the conniving The Lemon Drop Kid.
Bog Hope in drag: The Kid dons a wig and dress and masquerades as “Mrs. Herbert Beasley.”
On DVD: The Lemon Drop Kid (United American Video, 2000).

“Santy Claus don’t drink,” Bob Hope declares, confiscating a bottle of whiskey from street Santa William Frawley.

“Oh no? Well, how come he’s always falling down chimneys?” Frawley replies.

The Lemon Drop Kid and the incomparable Bob Hope. Thanks for the memory…

Written by William J. Felchner
Professional Writer

More Hope For Best Articles

Ten Best Boxing Movies

Prof. Langtry’s Boxing School is recognized as the granddaddy of boxing films. Released by S. Lubin in 1903, this comedy short features pugilist “Fatty Langtry” and his hilarious bout with a boxing instructor.

The now-forgotten Prof. Langtry’s Boxing School paved the way for a plethora of subsequent boxing movies. Here are ten boxing pictures that no Hollywood fight fan should ever miss.

1. Raging Bull (United Artists, 1980)

Robert De Niro comes out swinging as middleweight champion Jake La Motta in this powerful sports biopic. Paul Schrader and Mardik Martin wrote the screenplay and the violence-loving Martin Scorsese directed. Also appearing in the cast are Cathy Moriarty (Vickie), Joe Pesci (Joey La Motta), Frank Vincent (Salvy Batts), Nicholas Colasanto (Tommy Como) and Theresa Saldana (Lenore).

Raging Bull chronicles the bloody rise and fall of pugilist Jake La Motta. De Niro is absolutely brilliant as the 1940s/’50s fighter – nicknamed “The Bronx Bull” and “The Raging Bull” – battering opponents as he slugs his way to the top of the fight game. The best scenes come in the ring, with De Niro furiously trading punches with the likes of Johnny Barnes as the great Sugar Ray Robinson and Louis Raftis as Marcel Cerdan.

Oscar wins: Best Actor (De Niro), Best Film Editing (Thelma Schoonmaker)
First-run box office gross: ,334,953 (#27, 1980)
DVD: Raging Bull Special Edition (MGM, 2005)
Great line: “Come on, hit me. Harder. Harder.” – Robert De Niro to Joe Pesci

2. Champion (United Artists, 1949)

Kirk Douglas has the title role, playing fighter Michael “Midge” Kelly in producer Stanley Kramer’s gritty tale of the 1940s fight game. Carl Foreman penned the screenplay and Mark Robson directed. Joining Douglas in the cast are Marilyn Maxwell (Grace Diamond), Arthur Kennedy (Connie Kelly), Paul Stewart (Tommy Haley), Ruth Roman (Emma Bryce) and Lola Albright (Palmer Harris).

The athletic Douglas is riveting as Midge Kelly, a former hobo who is unable to distinguish friend from foe as he battles and bludgeons his way to the middleweight boxing crown. A nice treat are the realistic boxing scenes, expertly staged by former middle-welterweight champion Mushy Callahan.

Oscar wins: Best Film Editing (Harry W. Gerstad)
DVD: Champion (Republic, 2001)
Great line: “I can beat ‘em, the fat bellies with their stinking cigars!” – Kirk Douglas

3. The Set-Up (RKO, 1949)

Robert Ryan stars as Bill “Stoker” Thompson, an aging, decrepit fighter whose days in the ring are coming to an end. Ex-sportswriter Art Cohn wrote the screenplay, with Robert Wise in the director’s chair. Also in the cast are Audrey Totter (Julie Thompson), George Tobias (Tiny), Alan Baxter (Little Boy), Wallace Ford (Gus), Percy Helton (Red) and David Fresco (Mickey).

Set in seedy Paradise City, The Set-Up is a film noir/sports film triumph, populated by mobsters, crooked fight managers, sleazy dames and warring pugilists bearing such colorful monikers as Tiger Nelson and Gunboat Johnson. The boxing scenes – expertly choreographed by former welterweight John Indrisano – are both bloody and barbarous.

DVD: The Set-Up (Warner, 2004)
Great line: “Stoker hit him with everything but the bucket.” – David Fresco

4. Requiem for a Heavyweight (Columbia, 1962)

Anthony Quinn plays Louis “Mountain” Rivera, a 17-year veteran of the square jungle whose fighting days are coming to an end. Rod Serling wrote the screenplay, based on his original October 11, 1956, Playhouse 90 teleplay, with Ralph Nelson directing. Other cast members include Jackie Gleason (Maish Rennick), Mickey Rooney (Army) and Julie Harris (Grace Miller).

Requiem is a powerful sports drama, thanks in large part to Rod Serling’s literate, no-holds-barred screenplay. As an added treat, Requiem features Cassius Clay [Muhammad Ali] as the young, lightning-quick fighter who beats Mountain Rivera senseless. Also making cameo appearances are ex-champions Jack Dempsey, Barney Ross, Willie Pep and Gus Lesnevich.

DVD: Requiem for a Heavyweight (Sony, 2002)
Great line: “Mountain Rivera was no punk. Mountain Rivera was almost Heavyweight Champion of the World!” – Anthony Quinn

5. Somebody Up There Likes Me (MGM, 1956)

Paul Newman excels as Rocky Graziano, who reigned as middleweight boxing champion of the world from 1947-48. Ernest Lehman scripted the film, with Robert Wise directing. Other players include Pier Angeli (Norma), Everett Sloane (Irving Cohen), Eileen Heckart (Ma Barbella), Sal Mineo (Romolo) and Courtland Shepard (Tony Zale).

Somebody Up There Likes Me – originally intended as a starring vehicle for James Dean (1931-1955) – is a marvelous sports biopic. Paul Newman, who whipped himself into peak condition and sparred with top professionals, plays Graziano with brutal determination and streetwise charm. The best scenes come in the ring, where Graziano’s titanic battles with arch rival Tony Zale are brilliantly recreated for the screen.

Oscar wins: Best Art Direction-Set Decoration, B&W (Cedric Gibbons, Malcolm Brown, Edwin B. Willis, F. Keogh Gleason), Best Cinematography, B&W (Joseph Ruttenberg)
DVD: The Paul Newman Collection (Warner, 2006)
Great line: “You know, I’ve been lucky. Somebody up there likes me.” – Paul Newman

6. The Great White Hope (20th Century-Fox, 1970)

James Earl Jones plays Jack Jefferson, a thinly-disguised pseudonym for former heavyweight champion Jack Johnson. Howard Sackler wrote the screenplay based on his own hit Broadway play, with Martin Ritt in the director’s chair. Other cast members are Jane Alexander (Eleanor), Lou Gilbert (Goldie), Joel Fluellen (Tick), Chester Morris (Pop Weaver), Robert Webber (Dixon) and Larry Pennell (Frank Brady).

The Great White Hope chronicles the rise and fall of Jack Jefferson, who becomes the first black heavyweight champion of the world in 1908. The racist boxing establishment searches for “a great white hope” in its desire to dethrone the controversial Jefferson. The movie’s boxing scenes are outstanding, especially the climactic bout pitting Jefferson versus Frank Brady — or Jack Johnson versus Jess Willard in the history books.

DVD: The Great White Hope (20th Century-Fox, 2005)
Great line: “Hey, look, man, I ain’t fighting for no race, I ain’t redeeming nobody. My mama told me Mr. Lincoln done that. Ain’t that why you shot him?” – James Earl Jones

7. Body and Soul (United Artists, 1947)

John Garfield plays Jewish prizefighter Charlie Davis, who returns to boxing in order to support his widowed mother. Abraham Polonsky wrote the screenplay and Robert Rossen directed. Other cast members include Lilli Palmer (Peg Born), Hazel Brooks (Alice), Anne Revere (Anna Davis), William Conrad (Quinn), Joseph Pevney (Shorty Polaski) and Lloyd Gough (Roberts).

Body and Soul has it all: organized crime, crooked fight managers, good girls/bad girls and realistic boxing scenes. Regarding the latter, cinematographer James Wong Howe donned roller skates, traversing the ring with a hand-held camera while he filmed the action. Look for Canada Lee – a professional boxer from 1926-33 – who plays fighter Ben Chaplin.

Oscar wins: Best Film Editing (Francis D. Lyon, Robert Parrish)
DVD: Body and Soul (Republic, 2001)
Great line: “There’s only one thing I know how to do, fight.” – John Garfield

8. Rocky (United Artists, 1976)

Sylvester Stallone plays Rocky Balboa, a nobody who gets his big chance to fight for the heavyweight championship of the world. Stallone wrote the screenplay and John G. Avildsen directed. Other players include Talia Shire (Adrian), Burt Young (Paulie), Carl Weathers (Apollo Creed) and Burgess Meredith (Mickey).

Excellent character studies populate Rocky, with the Oscar-nominated Sylvester Stallone turning in a grand performance as the big lug from Philadelphia. The training scenes are outstanding, featuring Stallone doing one-armed push-ups, pounding slabs of a hanging meat at a slaughterhouse and running the pre-dawn streets of Philly. The big fight with the flashy Apollo Creed is almost surreal, as the battered Rocky tries to prove that he isn’t “just another bum from the neighborhood.”

Oscar wins: Best Picture, Best Director (Avildsen), Best Film Editing (Richard Halsey, Scott Conrad)
First-run box office gross: .525 million (#1, 1976)
DVD: Rocky – The Complete Saga (MGM, 2007)
Great line: “This is who I’m looking for. The Italian Stallion.” – Carl Weathers

9. The Champ (MGM, 1931)

Wallace Beery has the title role, playing down-and-out fighter Andy Purcell who trains for his big comeback in sleazy Tijuana. Leonard Praskins, Frances Marion, Wanda Tuchock and Don Marquis scripted the film and King Vidor directed. Other cast members include Jackie Cooper (Dink), Irene Rich (Linda) and Roscoe Ates (Sponge).

The Champ – now 79-years-old – is showing its age, but this Depression-era pugilistic tearjerker still has the power to move audiences. The best scene is saved for last, when a battered, yet victorious Beery dies in young son Jackie Cooper’s arms.

Oscar wins: Best Actor (Beery), Best Writing/Original Story (Frances Marion)
DVD: The Champ (Warner, 2006)
Great line: “The Champ and I ain’t fixed up swell as this, but our joint’s more lively.” – Jackie Cooper

10. Fat City (Columbia, 1972)

Stacy Keach plays Billy Tully, a one-time contender who at 29 contemplates a return to the ring after a bout with the bottle. Leonard Gardner wrote the screenplay based on his own novel, with John Huston manning the director’s chair. Other players include Jeff Bridges (Ernie Munger), Oscar-nominated Susan Tyrrell (Oma), Candy Clark (Faye) and Nicholas Colasanto (Ruben).

Filmed in Stockton, California, Fat City is the designated sleeper in the boxing movie genre. It’s a tough, gritty look at the underbelly of the fight game and the working class people who occupy it. Both Stacy Keach and Jeff Bridges look like fighters, pummeled by both life and “the sweet science,” with their wild women along for the rocky ride.

DVD: Fat City (Columbia Tristar, 2002)
Great line: “Before you get rollin’, your life makes a beeline for the drain.” – Stacy Keach

Image Source

Heritage Auction Galleries

Written by William J. Felchner
Professional Writer