| A story of elitism, re-framed as an iconoclast's courageous stand to save a child; in truth, Mame is a survivor but not terribly heroic. | |
| Last Edit: Delvino 10:24 pm EDT 05/13/18 | |
| Posted by: Delvino 10:18 pm EDT 05/13/18 | |
| In reply to: Mame in Mothballs - Jax 06:02 pm EDT 05/13/18 | |
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| Amen to everything you said, so succinctly, and with spot-on accuracy. This material is special, priceless, and old school gay culture defining with Russell, but it couldn't survive a revival. The whole philosophy of Mame Dennis is just too inherently oppositional -- in many ways at war with itself -- in 2018. She's tolerant and inclusive, socially, but also privileged, snobbish, an upper East Side denizen who slums more than she fully participates in anything but her own cocktail party-driven elitism, and doesn't really respect work. She aims to marry for money, but luckily falls in love, but then frets mightily about the startling idea that her nephew likes, well, entitlement and privilege. Two things she must have herself to survive (no one wants to admit that; she's just funny, not selling roller skates well.). No, we don't expect her to be a paragon of progressivism. But she's a tad self-absorbed and conveniently Bohemia-embracing only when it's affordable rather than a true practicing iconoclast. Her attempt to rescue adult Patrick from a fate worse than death -- a Manhattan life of rich white male privilege -- results in his living a life of ... straight white male privilege. If Patrick at least ended up bisexual, and Pegeen a guy, or what the hell, Jewish, or a woman of color (how nice that she's Irish) well, something might feel less hypocritical about "Live Live Live!". But Patrick just ends up as rich but kinda nicer. I don' t know, she is so superior to Eisenhower-era conservatism, and of course, loathes the Jew bashing in the CT suburbs. But what is her socioeconomic reality? Stay a floating 2 percenter at any cost. It's not terrible, it's just not exactly heroic in 2018. |
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