Hello Blogging My Old Friend

Wow! I hadn't realized how long my hiatus was until I started working on this post. Thankfully, I've got the whole interweb thing figured out and finally working so I will not be away for so long again. Can I just say I really missed you?

So much has happened, too much really, that I'm just going to focus on the films shown at my eponymous movie club. I'm really trying to take it back to my original intention so we are alternating between older/classic films and more modern fare. This year, I'm also trying to focus on a different genre each month and choosing a film that perfectly encaptures it.

Where we left off:

"The Apartment" (1960)
Director: Billy Wilder (Seven Year Itch, Sunset Blvd., Some Like It Hot, legend)
Starring: Shirley MacLaine, Jack Lemmon, Fred MacMurray
Academy Awards: Best Picture, Best Director, Best Screenplay, Best Art Director, Best Editing. Nominations: Best Actress, Best Actor, Best Supporting Actor, Cinematography, Best Sound

"The Apartment" is one of my favourite movies. I can remember seeing it when I was fairly young (big shocker) and didn't know what it was about. Now, it amazes me that this movie was made at all and I wonder if it could still be made successfully today. What would it be rated? Surely not the PG it received from the Hays office.

"I'm too old for that sort of thing, I mean; in a VW."

Bud (Lemmon) is a young man trying to work his way to the top at work. Unfortunately, he's a bit misguided and lets executives use his apartment for their trysts. When his boss Mr. Sheldrake begins to use it, he brings over the colourful and carefree elevator operator Bud likes named Fran (MacLaine). Soon it becomes apparent that this scheme isn't going to work out and Bud must come to terms with the consequences of standing up for the girl of his dreams and potentially losing his career.

"The mirror is broken."
"Yes, I know. It makes me look the way I feel."

"The Apartment" is full of the typical bon mots we expect and love from Lemmon and MacLaine and McMurray (of My Three Sons fame) is deliciously evil as a boss and lover with few morals or ethics. It is a must see for fans of comedy and the actors, as well as a must for those who place a high emphasis on award wins.

"Tomie" (1998/1999)

Director: Ataru Oikawa

Starring: Miho Karro, Mami Nakamura, Yoriko Doguchi

I saw this movie for the first time after the cover art caught my eye at Blockbuster. It is the kind of movie you watch and when it's over ask yourself, "What the heck just happened?" I couldn't have told you the story or what it was about other than there was a head in a bag and it grew a body (as if you need to know anything more than that!). I must have watched it three times and could never say more than that! If you like it, there are also several sequels of varying success. Watching this again with the club made me feel a bit silly. The plot is not nearly as absent as I remember, but the film is still an easy entrance to the world of modern Japanese horror films and perfect if you have a group with members who are uncomfortable around anything scary.

Tsukiko is a troubled young woman who can't remember what happened in her past to make her so. She seeks the help of a psychiatrist who through hypnoses uncovers a name- Tomie. Who Tomie was and why she is haunting Tsukiko becomes the core of the movie. At the same time, a detective is investigating a rash of serial murders that also uncovers the name Tomie. A young man has the aforementioned head in the bag and talks to it. It talks back. I won't give away more for fear of ruining it, but the identity of the killer, Tomie, and what happened to our heroine as a child are all revealed.

Perfect for lovers of Asian cinema and Japanese horror especially. Also good for anyone looking for a good mystery with a bit of blood in it.

"The Searchers" (1956)
Director: John Ford (Grapes of Wrath, Stagecoach, How Green Was My Valley)
Starring: John Wayne, Natalie Wood, Vera Miles, Jeffery Hunter
Awards: DGA nomination, AFI #1 Western, AFI Top 100 Films #12

To agree with AFI is a bit redundant, but this is my favourite Western as well. It showcases the quintessential Wayne hero/curmudgeon and is beautifully shot, acted, and written. What else would you expect from the grandfather of Westerns, Ford?

"Ethan, I gotta ask you and Martin to take a ride to the State Capital."
"Is this an invite to a necktie party, Reverend?"

Shortly after Ethan Edwards (Wayne) comes home from the civil war, his brother's ranch is attacked by Indians (sorry P.C. people!) and everyone is killed except his youngest niece who is kidnapped. Ethan forms a search party and spends years looking for her. Finally, he finds her, all grown up, and played by Natalie Wood in what would normally be an embarrassing performance. Having lived with the Comanche for so long, can she be rescued?

"That'll be the day."

"The Searchers" is a long movie, but one with enough weight and importance behind it to make the time sail by. The male actors really shine as does Miles, as the young woman in love with a member of the searching party. The film holds true today with its themes of racism, family, and war. A must for Western lovers, but seriously; if you're a fan of Westerns you've probably already seen it. Otherwise, it is simply a must see for everyone.

[side note: A great drinking game- Drink every time Wayne says something snarky or acts like a smart ass. You'll be pleasantly buzzed before the end of the first reel.]

"La Haine (Hate)" (1995)
Director: Mathieu Kassovitz
Starring: Vincent Cassel, Hubert Kounde, Said Taghmaoui
Awards: Best Director (Cannes), Best Editing, Film, & Producer (Cesar Awards), Best Young Film (European Film Awards), Best Director & Film (Lumiere Awards), Empire Magazine 100 Best Films of World Cinema #32

Mathieu Kassovitz made a name for himself by making films that addressed social and political subjects in a youthful and fresh way. Most American movie goers will know him as the love interest in "Amelie" and I encourage you to seek out his French films as well.

"Jusqu'ici tout va bien..." ("So far, so good...")

Centering around the race riots in the Paris ghettos, "La Haine" follows the lives of three friends during a 24-hour period. The trio represent an almost unlikely alliance in France: Vinz- Jewish, Said- Muslim, and Hubert- African/French. Each responds slightly differently to the riots and police brutality effecting their community. They both try to go about their day as normally as possible and try to find someone to blame for the beating of their friend Abdel. The ending is one that you will talk about for years to come and the conversation that stemed from this film was one of the best in the clubs history.

"La Haine" doesn't pretend to have the solution to Frances difficulty, not does it delve to deeply into what caused this horrific level of hate amoungst the haves and have nots, the white protestant and everyone else. It does give you something to think about. The film regained the spotlight again in 2005 after Kassovitz criticized then Home Office Minister Nicolas Sarkozy (now President) made racist comments following another bout of riots in and around Paris. The transcripts of those conversations is priceless!

Millennium Trilogy Resolved

**** (4 stars)

I've been a bit preoccupied with life at the moment, so not a lot of time to sit at home and watch the Netflix collecting dust on top of my VCR/DVD combo. Last night I finally finished "The Girl Who Kicked the Hornet's Nest", the third film in the Millennium trilogy based on the best selling books of the same name. I reviewed the first movie on my older blog, but seem to have skipped the second one all together. Weird. If you haven't seen the movies or read the books you've probably been living in a distopian society that has outlawed all forms of entertainment. If that's the case, than congrats on escaping from the cult and let's get crackin' getting you up to speed.

**There Will Be Spoilers! (But, I'll try to keep them to a minimum)**

In the first film, "The Girl With the Dragon Tattoo", we are introduced to Mikael Blomkvist- rogue journalist and editor of a seemingly boring political magazine. Blomkvist has just served a short prison sentence for slander when he is recruited by a wealthy old man to help solve the disappearance of his granddaughter. Blomkvist's search is too long and tedious to do alone, so he enlists the help of a computer hacker named Lisbeth Salander to help.  Lisbeth is a bit of a genius but the government has kept her under control by declaring her incompetent and locking her up in a mental institution when she was a young girl. What's the angle? Of course everything ends happily but of course that's not true or there would be no need for two other movies.

Cut to the second film, "The Girl Who Played With Fire". Blomkvist moves on with life and begins investigating a possible sex-traffic ring. He would be lost without Salander's hacking skills and once again enlists her to help. Unfortunately for her, there is more than meets the eye in this case and she is soon the scape goat for several murders that occur during the investigation. Now on the run, she must rely on Blomkvist for help this time around. These events unfold along with, and sometimes in conjunction with, the story of Salander's painful childhood and years of abuse. It is revealed that her father, whom she tried to kill as a child, is actually behind everything that has happened to her in life and is now the one trying to shut her up forever. Unfortunately for him, she gets there first and tries to kill him again. Blomkvist to the rescue and roll credits.

Now, in the final movie, Salander is clinging to life and about to face trial for the attempted murder of her father. We all know by now what a bad guy he is, but he has deep roots and trusted allies with which to help him. This film is a lot slower than the previous two and that's saying a lot considering the shortest of the trilogy is 129  minutes. The problem isn't necessarily the filmmakers as it is the author. Steig Larsson traumatically died shortly after the first book was published. We know through his long term girlfriend that a forth book was in the works. Would it have continued the story of Blomkvist and Salander? Was is something completely different? We may never know as it is tied up in the malicious court case between her and Larsson's family. [side note: If you're with a Swede, get married. The country does not recognize girl friends or common law wives, and the family can contest the will and estate in such cases. Bummer.]

The book was able to do a better job at explaining the government's connection to Salander's father and herself since it is unrestrained from the confines of time. To shot the book as written would require the film to be almost 8 hours long. The writers did a fine job editing out additional back stories and characters, yet they seem to have forgotten the main ones. How is Blomkvist so smart in the previous films but so dumb in this one? Why would Sweden protect such a nasty individual as Salander's father? The book fixes both of these problems and for that reason, I suggest you read it first. Otherwise, you will be left in the dark about many things that will fill in the holes the movies creates.

It is a bit of a sad conclusion to such a fantastic series, but not so far gone as to warrant massive complaints or calls to avoid it. You should see it. If you've already watched the other two movies, it will be impossible to ignore it. Furthermore, the English language remake is being filmed now and I can already guess there will be more car chases, bare breasts, and swearing than the original. Such a shame.

Francophile is Not a 4-Letter Word

According to my father (The Walking IMDB, Sr), there are two types of people: Those who love French cinema and those who don't. We easily fall into the former category and lap up anything with a Gaulic twist. I'm always weary of those who fall into the later category. What do they have against the French? Is it simply because it's "cool" to dislike them? Did a Frenchman steal their mother away from their father? Did they go to France once and get sick on foie gras? What did France ever do to them?

I randomly think about this topic throughout the year. I guess you could say I'm a bit obsessed. I love foreign films. An early diet of Herzog, Wenders, Wargnier, Truffaut, Godard, Kurosawa, Antonioni, etc; has bred me to prefer subtitles to dubbing, the avant garde to the normal. My parents are wonderful people with few restrictions when it came to movies when we were children. Sex, drugs, rock and roll; all were okay with Mom. She was a bit protective about gratuitous violence, but if it served the purpose of the story...

I started reading "Everything is Cinema: The Working Life of Jean-Luc Godard" this week. Of all the nouvelle vague auteurs, he is my favorite. "Vivre sa vie" my favorite movie, "Breathless", "Le Weekend", "Pierrot le fou", "Alphaville". Each and everyone is brilliant. The book is not designed for the casual reader though. The in depth study of the birth of New Wave, it's colourful characters, it's politics, is a bit daunting if you are not deeply interested. However, as a portrait of a man from a professional point of view only, it's quite good.

My dad asked me if I had ever seen "The Last Metro". It was on TV the other day and he caught it again. Oddly enough, I had just taped it. Truffaut's story about the German occupation of France centers on a fading theatre run by Marion (Catherine Deneuve) and her husband who must now hide in the basement from the Nazi's. For my dad it was a testament to the wonder of Deneuve, an actress I have always been passionate about. In her earlier works, he believed her beauty got in the way of her true talent. Here, in a more mature performance, he could recognize her subtle ability to blend into any character. Yet one does not become the face of a countries cinema and it's reigning queen on looks alone. How difficult it must be to forget you are watching Catherine Deneuve! She has appeared in over 100 films (!!) and worked steadily in 6 decades. What prompted me to push my viewing up on my internal list was his claim that it, and her performance, was better than "Indochine"- Which I have long believed to be her most amazing work and a great film.

With Christmas around the corner, it's time to brush off those movies that sit sadly on the bottom of the pile, waiting for that one day a year in which we watch them. For the francophile, a great choice is Arnaud Desplechin's "A Christmas Tale" (now available on Criterion). What could have easily been trite and boring has instead breathed new life into if by an amazing cast. Four generations come together for Christmas, but dysfunction wins out and lives are forever changed. Led by family matriarch (Denueve), the typical becomes atypical. Also starring a who's who of French cinema: Jean-Paul Roussillon , Mathieu Amalric, Anne Consigny, Chiara Mastroianni (Denueve's real life daughter), Melvil Poupaud , Emmanuelle Devos , and Hippolyte Girardot . It is a depressing film for those of us who prefer Halloween to Christmas. 

So, where do you fall? Lover of French cinema or hater? Pro-foreign films or against?  

Fright Fest: It's all in the gory details

With a little over two weeks until Halloween, now is the time to move all those horror movies to the top of your queue. Every year I watch "Beetlejuice" and "The Worst Witch" in honor of the day. "Beetlejuice" is one of my favorite movies (and arguably one of Burton's best) that I watched so often I erased the tape. Oh yea, we're talking VHS. When I bought a new copy, I discovered it had been edited. WTF?! The horror! The entire brothel scene was deleted. Dear Disney: That is not cool!

When I was very little, HBO played "The Worst Witch" every day, every year in October. I finally found a copy online and am sad to say it has not held up. Fairuza Balk goes to an all girls school of witchcraft (a la Harry Potter), where she is the worst student. Throw in Charlotte Rae as the headmistress and Tim Curry (I just LOVED Rocky Horror at the time too) as the grand wizard, a bit of impromptu song and dance, and you have a big 80s mess. Oh well, it's now hilarious and I can't help but watch it.

Whether you need a fright, have little ones, or love a good psychological thriller, I don't discriminate! Over the next week, I will give you my picks for this Halloween:

For the Gore Hounds:

"Hostel: Part II"- Eli Roth's gory sequel to his hit "Hostel", follows three girls studying abroad who decide to take a break in Prague. Poor Prague, it gets all the heat. They check into the same hostel and needless to say, chaos and death ensues. Roth sprinkles homages to some of horror's greats throughout (you can find out who and what in the bonus features), and plunges into what would entice another person to pay to kill.

Sure I fell asleep during part 1, I really am going to try and watch it again I swear; but I really loved part II. Maybe it's because we get to see the clients and their motives for the first time. Maybe it's because this time it's a bunch of female co-ed's getting tortured and regaining control. Whatever the reason, it's gross and bloody and I like it!

"Event Horizon"- Laurence Fishburne leads a rescue mission into deep space to track an SOS signal. Once aboard, he and his crew realize something sinister has happened and they must get home if they are to escape the same fate. Of course, Sam Neill is there to muck it all up.

Baby bear!!! God I love scary space movies. I saw this in the theatre with my Dad and sister and fell in love. So scary! My sister may still have nightmares. It's everything you love about "Alien" except here the monster is the human mind.

"The Ruins"- Again some co-eds (this time in Mexico) get into a world of trouble when they hike out to a mysterious Aztec temple that happens to be cursed. Trapped atop the ziggurat, the kids are taunted by local tribesman and picked off one by one by an unforeseen force. Based on the book of the same name by Scott B. Smith.

Who knew plants could be so scary? Director Carter Smith crafts an elegant and edgy movie from a premise that is laughable at best. Still, good performances and special FX can save anything. I expected this movie to be more gory based on what I was told by friends, but either I have no concept of gore anymore (quite possible) or they don't (also possible). There are moments when this movie could have turned into more traditional "torture porn", but instead they reigned it in and played it cool. PS- I heart Jonathan Tucker & Jena Malone. Who would have ever cast them in a horror flick? Someone pat the casting director on the back, please.

"House of 1,000 Corpses"/"The Devils Rejects" Double Feature- Musician Rob Zombie translates his Universal Studios Funhouse into two truly enjoyable homages to 70s grindhouse horror. In "Corpses", more co-eds (I see a theme here) pull over to Captain Spauldings fried chicken shack and gas station to visit his museum of oddities. Next thing they know, they've blown a flat and are taken to the dilapidated Spaulding mansion to wait out the storm (think "Texas Chainsaw Masacre"). There's always a storm, old house, and weird tow truck in these kinds of movies. Who will survive? In "Rejects", the Spaulding clan are on the run from the law following a shoot out at their house. The movie has more of a Western feel and casts the villains as the protagonist. It is a mark to Zombie's brilliance that you find yourself rooting for the serial killer by the end of the film.

Love. Love squared. I saw both in the theatre and remember being the only person impressed by "Corpses". If you grew up on these kinds of movies, you should too. With "Rejects", I went to an advanced screening and people got a lot more into it. It helps when you know what to expect I guess.

"Tales from the Crypt: Demon Knight" - The Cryptkeeper's first movie (and only good one) is another Western-feeling film about a small town that unwittingly invites the Devil into their midst. At the old hotel, a wanderer stumbles in and soon after the Demon's appear. They're after a key, or a bottle really, that houses the blood of Christ. Oh yea, they went there. Billy Zane is the Collector, a demon/devil tasked with stealing this key and bringing it to Hell.

Let me tell you about my love for Billy Zane (bald Billy only please). He was probably the hottest Devil character until Viggo Mortenson in "The Prophecy". This movie is at times funny and gory, just like the TV series. There are some great actor's here to and hilarious one-liners. I was a bit torn whether to include this here or later in my Hilarious Horror post. I think the scene with the kid and the comic firmly places it here though.

"Book of Blood" - Based on a book by Clive Barker, "Blood" takes a page from "The Haunting" as we follow a paranormal expert and her team investigating a haunted house. Needless to say, the spirits are annoyed by this and start carving their story into the skin of one of the investigators.

Is this the best movie ever made? Not hardly. However, there is something mesmerizing about it. You have to leave your brain at the door, other wise you'll spend the who hour and a half yelling, "Just get the hell out of there idiot!" at the TV. There are some good gross outs and FX.

"In My Skin" - After an accident, a woman develops body dysmorphic disorder and begins mutilating her body in more and more dangerous a fashion. In French.

I don't know how I got turned on to this movie, it must have been on a best weird list; but it's not at all what I expected. Thank god it's only 93 minutes. I don't know if I could ever watch it again as it is deeply disturbing yet relatable. That's the scary (and brilliant) part of the movie. You identify with her psyche and rationalization of what she is doing to herself. Again, I thought this was going to be more gory, but like a great psychological thriller; you don't need it to be.

"Trick 'r Treat" - A series of vignette's silently narrated by a child in a scary pumpkin costume, everyone tries to stay alive on Halloween night.

It took forever for this film to make it to your house, but don't be quick to judge. While that is usually a bad thing, the circumstances here were different. While not necessarily scary, there is a lot to be disturbed by in this movie. A lot of people, children included, are killed in creative and bloody ways. I particularly liked the stories with Anna Pacquin and the one centered on a young gang of misfits.

"May" - In the vein of "Carrie", May has been bullied and misunderstood her whole life. She seeks solace and friendship in a toy doll and cannot maintain real human relationships. That doesn't stop her from trying though, with disastrous results.

I think I unfairly rated this movie (I gave it 3 stars) because I paid to see it in the theatre, promptly spilt wine on myself when I sat down, then saw it for rent at Blockbuster the next day. Ugh! Anyway, I remember a scene towards the end with Jeremy Sisto that totally creeped me out.

See Also: Dead Alive, Saw 1-3, Cannibal (2006), Hatchet, Dahmer, High Tension, Jason X, Anatomy, Black Christmas, Blood Feast, Demons, Dead Girl, Cube, Suicide Club

WWQTW?: Vivre sa Vie

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Last night was the 3rd meeting of my intro to film/movie club WWQTW? (You can check out previous installments by clicking on the tag below). I was SO excited about this meeting as we were going to watch what may in fact be my favorite film of all time. Usually, when asked what my favorite movie is, I demure and say I'm not sure. This is a lie. Sometimes, I say the name of a movie I think they would like or appreciate me saying is my favorite. This happens rarely. Usually, I pick one of two pre-set answers based on the person asking the question: "Heavy" or "Pulp Fiction". Now, I love these two films. "Pulp Fiction" was the first time I fully understood the film making process and what it meant to be a director. I can vividly recall the night I saw it at Collin Creek Mall. It was a Saturday... "Heavy" is my go to film with other film buffs. It's the first feature from James Mangold (Girl, Interrupted; Copland) and stars Live Tyler and Pruitt Taylor Vince. I can't watch the trailer for this movie with welling up with tears- and I never cry!

All this being said, my favorite movie is probably "Vivre sa Vie" or "My Life to Live (A Film in 12 Scenes)". I never mentioned it because it was out of print until this year and very difficult to find. It took me almost a year of searching online to find a legitimate print to order. It always seemes mean to say your favorite movie was one that no one could see; like wearing amazing boots you got from a trip to Tokyo just so you could say, "Oh them? Their Japanese". Now, thanks to Criterion, everyone can see this lost gem by Jean-Luc Godard.

Nana: "I forget I'm responsible, but I am."

Released in 1962, "Vivre sa Vie" tells the story of Nana (Anna Karina- Godard's wife at the time), a young woman who abandons her husband and son to try to make it as an actress. Instead, she falls into a life of prostitution (coincidentally called "the life" in France) and self analysis. I chose this film not only because I love it, but also because I believe it best expresses the mission and aesthetic of the Nouvelle Vague movement. The French New Wave created one of the most influential movements in cinema of all time: The idea of director as "auteur", the alienation of the audience, the subtle winks at the knowledge that what you were watching is fictional, the lightweight movement of the camera and free flow of sound that makes you believe it may in fact be documentary (see: cinéma vérité). The New Wave strived to show real life in cinema, while never forgetting you are watching a movie.

[side note: When I grow up, I want to be Anna Karina. Just saying.]

Godard is considered by many to be the most provocative and extreme filmmakers in the genre. In "Vivre sa Vie" he uses title cards to separate the action ("Reminds me of a play," says Steph. We then digress into a discussion of the many versions of the bible!). The camera is kept in medium and close up shots with no real masters. At anytime in a conversation, it may wander/pan to the window, the street, the back of someones head. We are constantly put in the position of voyeur while being reminded that what we see is not real. At first, this camera movement was distracting (and somewhat nauseating) to many of last nights viewers. After a quick smoke break (Nana, as well as everyone in the film, smokes so frequently it's hard to refrain oneself), the movement was seen as another device created to capture the full attention of the audience. Even after repeated viewings, I find myself leaning to the right or left, attempting to see what is just out of frame. Godard also didn't believe in explaining his films to people. It is up to you as the audience to decide what they are about. In conjunction, the backgrounds of his characters are often omitted and we jump forward in time without warning or notice. Godard's refusal to explain the motivations of his characters creates the effect of alienating the audience, it "displaces you" (Word of the day Jennie). Yet, it is only in the coercion of the viewer to decide for themselves that he makes us an active participant in what is normally a passive experience.

Nana: "Escape is a pipe dream."
"Why"
Nana: "That's life."

Godard's ability to write for women should also not be overlooked. Just as in "Breathless", he creates a modern woman who elicits confusion, anger, sympathy, and recognition from the audience. We end up identifying with Nana, especially after Chapter 11 when she meets the philosopher in the cafe. In him she finds a kindred spirit, a good listener who is not interested in her for money or sex. She dreams of a bigger and better life, of the power of love and words, of the question of happiness and life itself. It is a decidedly human experience wrapped around a rather unusual circumstance. After her meeting with the philosopher, "it gave me more insight into her thoughts and feelings. Before, I didn't like her... Then she became a real person" (Steph Too). Much is said about the Edgar Allan Poe story read to Nana by her lover, but I saw little online that mentioned the story from "The Three Musketeers" that was told to her by the philosopher. While the Poe story ("The Oval Portrait") may convey the feelings of the auteur to his muse, it is in the Dumas story that we learn more about the muse. That everything that has happened before led us to this quite and short moment, that the final chapter of the story that follows sums it up; is testament to the power of words, the lack of them, and for keeping your cards close to your chest. The audience is stunned when the film ends, I know many of the club was, and it is only moments after it ends that the conversation starts flowing. Steph Too points out here that "in current American film, [knowing Nana's background] would have given us more closure. Here, that's not the point. That's not what I'm used to."

The Philosopher: "An instant of thought can only be grasped through words."

Suggested viewing:
also by Godard: "Breathless", "Weekend", "Pierre le Fou"
Francois Truffaut: "The 400 Blows", "Jules et Jim"
Alain Resnais: "Last Year at Marenbad"
Claude Chabrol: "Le Bonne Femmes"
Jacques Demy: "The Umbrellas of Cherbourg"
Spike Lee: "She's Gotta Have It"

Quentin Tarantino: "Reservoir Dogs" [side note: Tarantino's production company is called A Band Apart after Godard's film "Bande a Part" about a heist gone wrong.]
Bernardo Bertolucci: "The Dreamers" (NC-17)
Jean Cocteau: "Orphee", "la Belle et la Bete"
Jean-Pierre Juenet: "Amelie", "Delicatessan"