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Late the other night after devouring a third of MICHAEL CUNNINGHAM’s scintillating 2010 novel, “By Nightfall” (I seem to be going through an intense rush of catch-up reading this summer), I found myself with a curious, inexplicable need to put a specific 1951 Hitchcock film into the dvd-player, once in bed.

There’s no exact connection between the Cunningham novel and the Hitchcock film, except general themes of identity-subterfuge and latent (perhaps taboo) desires. That’s evidently enough.

Where Hitchcock puts the camera is a constant revelation (of course), starting from the very first Title Card image of the train station, emerging us into an immediate world of Freud. The brilliant film is all about the penis, after all.

(Although I’m only 1/3 thru) the Cunningham novel is too, now that I think about it. Or maybe, due to subjectivity, absolutely everything is.

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I’d forgotten that “Strangers On A Train” was Patricia Highsmith’s first novel. And that the Hitchcock screenplay was mostly written by Raymond Chandler.

The story goes that, supposedly, Hitchcock hid behind an unknown entity with no credits, a go-between, in order to purchase the rights to the book for a lowball price, thus cheating the very young and new writer, Highsmith, out of a big payday. Few have called Hitchcock “nice”.

I’d forgotten that “Strangers On A Train” was Patricia Highsmith’s first novel. And that the Hitchcock screenplay was mostly written by Raymond Chandler.

The story goes that, supposedly, Hitchcock hid behind an unknown entity with no credits, a go-between, in order to purchase the rights to the book for a lowball price, thus cheating the very young and new writer, Highsmith, out of a big payday. Few have called Hitchcock “nice”.

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Salvador Dalí’s costumes for Leonid Massines ballet “Bacchanale”, 1939.
Photo by Horst P. Horst (courtesy of Conde Nast)
Exhibition

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Photo taken in 1902 by Anne Brigman, titled “The Heart of the Storm”.
The J. Paul Getty Museum, Gift of the Michael and Jane Wilson Collection.

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"New York", Photo by Garry Winogrand, 1965. 
Estate of Garry Winogrand, courtesy of Fraenkel Gallery.

"New York", Photo by Garry Winogrand, 1965.
Estate of Garry Winogrand, courtesy of Fraenkel Gallery.

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Fantastic shot of Tennessee Williams at a diner in NYC, 1948.
(Photo credit unfortunately unknown)

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The brilliant choreographer Gustavo Sansano, who I worked with at Chicago Opera Theatre last year, is conceiving a new ballet with Bale Teatro Guaíra in Brasil, "Cinderela". The photos I’ve seen would confirm, Not your pseudo-Disney Cinderella.
Production Photo by Sergio Vanalli

The brilliant choreographer Gustavo Sansano, who I worked with at Chicago Opera Theatre last year, is conceiving a new ballet with Bale Teatro Guaíra in Brasil, "Cinderela". The photos I’ve seen would confirm, Not your pseudo-Disney Cinderella.
Production Photo by Sergio Vanalli

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Polaroid of Spike Jonze (December 2009) taken behind Band Of Outsiders' studio on N. El Centro Ave. where it crosses Santa Monica Blvd.