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Old 10-12-2011, 07:32 AM
  #46
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But why would that rule out the dogs belonging to the school?
It doesn't rule that out, Sheida. But I think it does suffice to warrant a presumption that the dogs are Fleming family pets.
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Old 10-15-2011, 09:58 AM
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True, but they wouldn't have to be, if they belonged to the school then I'm assuming the responsibility of taking care of them would belong to the Dean at the time? then it's normal for her to be walking them.
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Old 10-15-2011, 10:21 AM
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if they belonged to the school then I'm assuming the responsibility of taking care of them would belong to the Dean at the time?
I would've thought the groundskeeper or someone else would have to take care of the dogs then, so that the Dean and his family can concentrate on doing the ...important work they do? I don't know
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Old 10-22-2011, 06:02 PM
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"Like Bogie in Casablanca"

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HAMILTON: Oh, for the Cotillion? I'm gonna do the dinner jacket thing. you know, like Bogie in Casablanca. -- YA, episode 4
Hamilton admires Rick Blaine, Bogart's character in Casablanca, enough to imitate him. What more is there to that? Both characters keep their own counsel, both are ambiguous and calculating. And this line seems to be foreshadowing: Hamilton in YA, like "Bogie in Casablanca," must let the girl go in the end.

Today, someone with whom I was discussing YA made me think there may be more to the "like Bogie in Casablanca" allusion.

Both "Bogie in Casablanca" and Hamilton Fleming are deceived about the women with whom they fall in love, and pay an emotional price. In Casablanca, Ingrid Bergman's character (Ilsa Lund) deceives Bogart's character about her marital status. In Paris in the spring of 1940, when Bergman's character and Bogart's fall in love, she can't tell him that she's been married, and that she (incorrectly) believes her husband to be dead. And she can't tell him when her husband reappears, alive; Ilsa just abandons Rick, offering an apology but no explanation.

In Casablanca, the martial status deception seems to play a role almost opposite to the role that a gender deception plays in YA: it makes a woman who is in fact off-limits seem accessible to the male protagonist. And the two deceptions seem different in that in Casablanca, the woman is no less deceived than is the guy who loves her.

But "Jake" Pratt is deceived about herself, about the root of the problems that cause her to cross-dress: as Hamilton tells her at the restaurant in YA 6, she doesn't know who she is; and as he tries to help her understand in the scene cut from the end of YA 5, she doesn't understand her relationship with her mother very well. Moreover, Pratt is less attractive, not more attractive, after her gender deception is dropped -- it takes even more guts for Fleming to go for her after he learns that she's a straight girl who's emotionally screwed up enough to pretend to be a guy at an all-boys' boarding school than it took for him to go for her when he thought she was a guy.
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Old 11-20-2011, 11:23 AM
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Moreover, Pratt is less attractive, not more attractive, after her gender deception is dropped -- it takes even more guts for Fleming to go for her after he learns that she's a straight girl who's emotionally screwed up enough to pretend to be a guy at an all-boys' boarding school than it took for him to go for her when he thought she was a guy.
Really? For someone who's less attracted to her after finding out, he surely doesn't act that way: forgiving her for the deception, dating her, telling her he loves her, enduring that everyone calls him gay, running away from Rawley with her....
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Old 11-20-2011, 01:22 PM
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re: "Like Bogie in Casablanca"

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Really? For someone who's less attracted to her after finding out, he surely doesn't act that way: forgiving her for the deception, dating her, telling her he loves her, enduring that everyone calls him gay, running away from Rawley with her....
Anja,

You're describing Hamilton's eventual response; I was describing his immediate response.

Fleming's initial response to learning that Pratt's not a gay boy but rather a straight girl pretending to be a boy at an all-boys' boarding school is (a) to flee with a look of horror on his face, then (b) to lie on his bed thinking for so long that when he finally gets up and goes to Pratt's room, she's writing him what seems to be a good-bye note, getting ready to leave Rawley. (If she weren't leaving, she wouldn't write, she'd speak -- Pratt's not the type to write notes when she can speak face to face.)

Of course, after Fleming finally finds -- by lying abed and thinking -- whatever it is he needs to deal with the fact that Pratt's been deceiving him, and that she's even more screwed up that he had previously understood (and, I think, that she can't stay at Rawley -- I can't imagine him not seeing that immediately), then, yes, she's more attractive to him than she was before (even though she obviously must leave and it will hurt like hell) -- both because she's a girl, not a boy, and because he sees that she needs him even more than he had thought .

Fleming's metamorphasis from "horrified" to "even more in love" as he lies on his bed, thinking, is what makes that scene, the most enigmatic scene in the drama, also the most interesting one.
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Old 05-15-2012, 04:52 AM
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The clocks of YA

Is a clock ever shown in any scene of YA?

I can't recall any.

And if there aren't any, isn't that odd? Schools, gas stations and diners tend to have clocks, in my experience. One might expect a nice grandfather clock in the boys' school common room or corridor, and a wall clock in Finn's and Kate's classrooms, as well as one in the gas station office and inside the diner.

One wouldn't want to infer too much from this, but the absence of clocks might be deliberate, another subtle way of hinting at the ambiguity of the time-setting.
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Old 05-15-2012, 02:29 PM
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One might expect a nice grandfather clock in the boys' school common room or corridor, and a wall clock in Finn's and Kate's classrooms, as well as one in the gas station office and inside the diner.
Well, from personal experience, I find that there are rarely clocks in classrooms or restauraunts/diners/whatever, at least here. Probably to make sure that people don't realize how long they've already been there? I don't know.

If I recall correctly, we see the exact time on the clock in Ryder's car at the end of Gone. But that's the only time I remember.
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Old 05-15-2012, 06:06 PM
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RE: The clocks of YA

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Well, from personal experience, I find that there are rarely clocks in classrooms or restauraunts/diners/whatever, at least here.
If Punktlichkeit is in the genes, I suppose one can do without clocks. But in the USA, virtually every classroom has one. And diners let the workers know when it's time to get back to their workplaces. Leisure-class restaurants tend not to have them.

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If I recall correctly, we see the exact time on the clock in Ryder's car at the end of Gone. But that's the only time I remember.
Thanks, Anja, I'd forgotten that. Yes, there's a time constraint illustrated with a clock at the end of episode 6.
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Old 05-16-2012, 06:37 PM
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TWO 1930s Coke coolers at the gas station

Even after having watched Young Americans countless times, one still spots new details:

In episode 1, there are not one but TWO Westinghouse Standard Coca-Cola coolers (manufactured roughly 1935-1945) at Charlie Bank's gas station.

One, of course, is inside the gas station office. It's the one from which Scout Calhoun takes two bottles of Coke in the first scene of Young Americans.

But there's also a second such cooler outside the gas station, under the 1920's-style canopy. It's seen most clearly in the "establishing shot" for the scene in which Charlie Banks tells Scout Calhoun that Scout and Bella have the same father. That's from 5:54 to 5:58 minutes into this clip.

And that second cooler is in the same place, outside under the canopy, in the first scene of episode 1, the same one in which Scout takes the Coke bottles out of an identical cooler inside the filling station office. It's not so clearly visible as in the later scene. But you can make it out. That's 1:19 to 1:22 minutes into this clip.

Of course, Antin may have used a single machine for shots both inside and outside the office, giving the impression of having two while only having one. But we're clearly supposed to see a 1930's Coke machine first outside, then inside, the filling station.

Along with the 1920's-vintage filling station architecture and neon sign, the 1940s gas pumps, the 1950-vintage pickup trucks, and the long-unobtainable-in-the-USA Coke in glass bottles, TWO 1930s coke machines -- all in the first scene of Young Americans. Quite a collection of anomalous anachronisms. Hard to believe it's not deliberate, and intended to make us question the ostensible time setting, summer 2000.
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Old 05-17-2012, 06:29 AM
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It seems so odd that he would go to the trouble of buying two coke machine, even buying just one and then moving it in between shots,
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Old 05-19-2012, 06:47 PM
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RE: TWO 1930s Coke coolers at the gas station

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It seems so odd that he would go to the trouble of buying two coke machine, even buying just one and then moving it in between shots.
Yes, Sheida, it's very odd. All the many anachronisms in the first scene are odd -- a conspicuous display of things anomalously old.

I'm pretty sure that's deliberate, that it's intended to make us question the ostensible time frame, to make us feel something's wrong with the time setting, to get us started on the path to figuring out that YA is the mature Krudski's dream of a perfect youth.
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Old 05-25-2012, 11:59 AM
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It seems so odd that he would go to the trouble of buying two coke machine, even buying just one and then moving it in between shots,
I suppose if he did buy one, and then moved it around between episodes/scenes, you could say they did that so at least they'd get good use out of that prop they bought (probably for a decent amount of money) so you'd see it more than once?
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Old 05-26-2012, 03:54 PM
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RE: TWO 1930s Coke coolers at the gas station

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I suppose if he did buy one, and then moved it around between episodes/scenes, you could say they did that so at least they'd get good use out of that prop they bought (probably for a decent amount of money) so you'd see it more than once?
Seems likely, Anja. We never see two at once -- we're just supposed to think that there's one inside and another one outside the gas station.

Consider, too, that the 1948-50 vintage green trucks and the late 1940's vintage gas pumps are in the unaired pilot as well as in YA as aired. Antin actually hauled those props from Georgia to Maryland, then added the 1920's gas station architecture and the 1930's Coke cooler, which are not in the unaired pilot.

Another odd thing that occurs in both the unaired pilot and YA as aired is Scout Calhoun's fraternity sweatshirt. In the unaired pilot, he wears it when he first faces Bella thinking he's her half-brother. And in YA as aired, he wears in in the final scene of episode 3, when he resigns himself to relating to Bella as her sibling. "Fraternity" = Latin for "brotherhood." Get it?

My point is that the props and costumes are carefully chosen with an eye to their symbolism. Otherwise they wouldn't have been hauled from Atlanta to Maryland and stored for six months. That all costs money. So, as you point out, do 1930's vintage Westinghouse Standard Coke coolers. The Coca-Cola company will sell you a newly-made replica for about $800 now -- they're advertised online, I've posted the link before.
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Old 11-09-2012, 03:00 AM
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The air pump at Bella's garage - from the 1950s

Add another to the list of conspicuous anachronisms at Bella's garage in Young Americans:


The red air pump, conspicuously shown in the Scout-meets-Bella scene of episode 1, at 1:52 to 2:27 minutes into this clip, is an "ECO Tireflator" air meter pump, either a Model 97 or a Model 98. These models were made from 1947 into the 1950s; they dominated the US market for gas station air pumps. The hand crank on the side was used to set the desired air pressure (in pounds per square inch) for a tire.

One such air meter pump, in excellent condition, is now being offered online for $1,100.

For more on these devices, see: ECO Air Meters

The Scout-meets-Bella scene in which we first see the 1950-vintage air pump is the first non-narrative scene in YA. In it, we also see the following conspicuous anachronisms:
-- a conspicuously labelled "FULL SERVICE" gas station with 1920s-style canopy architecture;
-- late-1940s gas pumps, replete with collars for gas globes;
-- a 1930s-vintage Westinghouse Standard Coke machine;
-- Coke in glass bottles (not readily available in the USA after 1994);
-- two 1950-vintage green pickup trucks.
(In the Jake-talks-with-Bella scene in episode 7, we also see a 1950s-vintage radio at Bella's gas station.)

That's a total of six conspicuous anachronisms thrown at us in the first non-narrative scene of Young Americans. So large a conjunction of anachronisms is clearly deliberate. None of these antiques was easy to find in 2000,

I continue to think that the purpose of this is to muddle the time-setting, to give the viewer a clue, in the very first scene, that although YA ostensibly is narrated in the present and about the present, it's not really -- as the change in the tense of narration from present to past at the end of the drama indicates. I think they're intended to underscore that YA is a dream, timeless -- and that anyone, even someone as old as the 1920s gas station canopy, can "go to Rawley."

P.S.: Next anachronism for investigation: The Pennzoil sign.
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