The Current Digital Divide–Instant Gratification Anyone?

When a link to my daughter’s online wedding registry was sent to some aunts and uncles, it created some confusion. They had never seen an online registry before and couldn’t figure out how to find the gift list or how to purchase something online. This made me start wondering–what is the digital divide between the young “worker bees” and their parents who have to become tech-savvy on the Internet?

The current trend in wedding planning is creating a website–a sort of mini-Facebook page dedicated to posting photos, registering gifts, mentioning the “Save the Date” and wedding reception site plans, as well as giving “updates”. This is how the betrothed communicates in more detail than merely the conventional wedding announcement by snail-mail (still in vogue), telephone calls and face-to-face communication. Now there is constant digital communication with everyone, provided everyone opts to go online to navigate the website.

Much has been said about social networking as an instant but impersonal connection to friends, associates, and strangers. In other words, being endlessly available but seldom really present. There is even a website –Grubwithus–which lets the Internet user browse through lists of dinners in cities, buy a ticket for a particular night, post a few personal facts, and then join strangers at a restaurant for dinner–all in the hope of meeting someone new. It’s “digital barhopping meets personal dining”. The concept fascinates me–picturing small groups of people drinking, eating around the table, all on smart cell phones tethered to the palm of their hands. Does this avoid striking up a conversation in person–a truly scary situation for the shy, and also the not so shy? Does a pre-arranged dinner date with strangers help force the socially awkward to the ultimate goal– face-to-face interaction, so precious and rare? Or does social networking really decrease opportunities for friendship by reducing everyone on your “friends list” to reading the same “updates” that strangers and mere acquaintances also see online?

Those who stubbornly refuse to play are increasingly isolated, the same way that someone without an answering machine or voice mail is (arrogantly?) announcing “stay away” if you can’t take the time to give me a call until you reach me. A new digital divide has been created– between a generation of Internet users and those who still want to go from store to store to buy their wedding presents, appreciate the teller’s smile at the local bank branch, and like the feel of turning the pages of a “real book”.

The upside of digital communications is that the response and the gratification are instantaneous. Our family and friends can know a lot about our daughter’s wedding, even those who cannot attend or were not invited. This lets them know we want to share our excitement. The downside is we are not sharing this information in a more personal way, but can we really do that except with only a very few? Hurt feelings perhaps are diminished with more electronic messages at the same time that a de-personalization of parts of our lives also is happening. An equilibrium still awaits.

“Bridesmaids”–Maid of Dishonor, Never the Bride

This is a female version of “Hangover” but much, much better. “Bridesmaids”, the new movie produced by Judd Apatow of “40 Year Old Virgin” and “Knocked Up” fame, has crisp, brilliant comic writing by Kristen Wiig and Annie Mumolo together with superb comedic timing by Wiig, Maya Rudolph and a perfectly cast team of supporting actresses –a hilarious, knockout performance by Melissa McCarthy especially. McCarthy dominates every scene she’s in with her over-the-top sexual and verbal attacks. For women who enjoy a “girls night out” to roar with snort-laughs that make you cry, and for all men who also enjoy raunchy unexpected gross-out scenes from some of the most talented comediennes today, this movie is for you!

Wiig plays Annie, who has not had much luck –in her love life, her work, her roommates, with her mother or her friends…except for her best friend from childhood, Lillian (delectably played by the winning Maya Rudolph.) The story is a rather simple one rehashed many times before –“girl rivalry”. This time it is the “new girl in town”–Helen (played to perfection by Rose Byrne) who represents change for Annie in terms of who she is and how she identifies herself with relation to her best friend. Comedy and pathos touchingly intermingle as we cringe to see Annie, Lillian’s designated maid of honor, try to compete on unfamiliar turf with Helen: couturier dress selection, fine dining, one-upmanship in gifts, to name only a few of the most hilarious, but also fiercely moving, scenes. The sweet Irish charm of a smitten cop (an endearing role by Chris O’Dowd), only underscores how hurt and out of control Annie really is.

I thought “Bridesmaids” would be silly, maybe even stupid, but the script proved to be brilliant in the most unexpected moments. The screenwriters were astute in not playing only for laughs. The opening sex scene with Kristen Wiig and a wonderfully clueless cad (Jon Hamm) was enough to put this viewer securely on Wiig’s side of the story for the rest of the film, while simultaneously laughing so hard tears rolled down my cheeks so I consequently missed the next set of zingers. Will have to watch this movie a second time to get the full dialogue! The incredibly fast pace of slicing morsels of humor is extraordinary!

This movie is not for everyone. It has vulgar, physical comedy that doesn’t appeal to anyone who cannot channel their “inner teenage self”. However, if you want to see a comedy that heals wounds while making you laugh and watch Kristen Wiig give the performance of her lifetime, then make sure you see this movie. Her brilliant comic talent (and writing) needs to be in more challenging venues than her current long-time gig on “Saturday Night Live”. It’s time for her to move on…to more creative adventures following her debut in this comic gem!

“Midnight in Paris” – That Was Then, This is Now

Written and directed by Woody Allen, this romantic comedy is vintage Woody Allen. I love Woody Allen, but I don’t really, really, really love Woody Allen to the point that I think everything he does is brilliant and witty. He has had some real dogs. How many people have suffered through “Cassandra’s Dream”, for example, as I have? Nonetheless, there is a lot to like about “Midnight in Paris”.

The story opens with a young couple, Gil Pender (brilliantly played by Owen Wilson), and his fiancée Inez (believably played by Rachel McAdams in an unsympathetic role), traveling to Paris with her parents on a business trip. It is obvious from the outset that the couple is not suited for each other. Gil, a successful but dissatisfied Hollywood screenwriter, hopes to give up his Hollywood gig to write his first novel. Inez does not understand why.

At midnight Gil leaves his fiancée and her family to walk alone on a starry, rainy moonlit night saturated with golden hued tones the camera lovingly lingers onto the City of Light. Gil gets into a vintage 1920s roadster when some friendly partygoers beckon to him and is transported to the golden of cultural icons: F. Scott Fitzgerald, Gertrude Stein, Ernest Hemingway, Picasso, Dali, Man Ray to name only a few.

“Midnight in Paris” is, most of all, a comic walk down memory lane, for those viewers who can catch literary and artistic allusions to the period. A few examples: Hemingway speaks in sentence structures characteristic of his prose. Dali and Man Ray are called “not normal” surrealists. Gertrude Stein is the matriarch of a cultural elites’ salon with her lover Alice. Adriana, mistress of Picasso, played by the radiant Marion Cotillard, thrusts the pivotal lunge into the heart of this film when she asks Gil why he loves the 1920s. Gil utters the mantra embedded in all of Woody Allen’s movies–“Maybe the present is a little unsatisfying because life is a little unsatisfying.”

Gil wakes up from his longing for a “golden age” through a series of overdone flashbacks. Like his mediocre movies over the past three decades, Woody Allen doesn’t seem to know when to stop the repetition. Unlike “Vicky Cristina Barcelona”, which I loved, this movie is the old Woody Allen genre, overwrought and lecturing like some old academic who has lost his audience. But this film is much better than most in the last ten years or so, perhaps on a par with “Match Point”–that is to say, good but not great. Owen Wilson, who actually channels Woody Allen’s famously high-pitched whiny voice (if you close your eyes,) should star as Woody Allen’s alter ego in all his future work. Who knew Owen Wilson’s delightful voice in rom-coms is an echo of Allen’s?

What, for me, saves this film is that “Midnight in Paris” is a palpable love letter to Paris, not only cinematic clichés of the Eiffel Tower, the River Seine, and the Louvre, but shots filled with so much affection for narrow street cafes and even the bookstore, Shakespeare & Company. This nostalgic tour of Paris together with some of the literary scene of the 1920s is worth the price of the movie ticket!