#the fiddler jr

[hournites]

The Injustice Society of America + "Kill or be killed"

[docgold13]

Profiles in Villainy

Fero, the Fiendish Fiddler

The mysterious cad known as Fero, the Fiendish Fiddler possessed a magical fiddle whose notes could bend the properties of space and time.  Fero used this fiddle to attempt to transport the heroic Impossibles to another world.  Fortunately the heroes prevailed and The Fiendish Fiddler was defeated.  

The villain name and maniacal intentions were a play on the Ancient Roman Emperor, Nero. Fero was voiced by actor Don Messick and appeared in an episode of Frankenstein Jr. & The Impossibles that aired on October 8th, 1966.

[dailyjsa]

Who's Who Update 1987 #3

[rnettaunreeled]

Rest in power, Louis Gossett Jr.

[justforbooks]

The actor Lou Gossett Jr, who has died aged 87, is best known for his performance in An Officer and A Gentleman (1982) as Gunnery Sergeant Emil Foley, whose tough training transforms recruit Richard Gere into the man of the film’s title. He was the first black winner of an Academy Award for best supporting actor, and only the third black actor (after Hattie McDaniel and Sidney Poitier) to take home any Oscar.

The director, Taylor Hackford, said he cast Gossett in a role written for a white actor, following a familiar Hollywood trope played by John Wayne, Burt Lancaster, Victor McLaglen or R Lee Ermey, because while researching he realised the tension of “black enlisted men having make-or-break control over whether white college graduates would become officers”. Gossett had already won an Emmy award playing a different sort of mentor, the slave Fiddler who teaches Kunta Kinte the ropes in Roots (1977), but he was still a relatively unknown 46-year-old when he got his breakthrough role, despite a long history of success on stage and in music as well as on screen.

Born in Sheepshead Bay, Brooklyn, Louis was the son of Helen (nee Wray), a nurse, and Louis Sr, a porter. As a child he suffered from polio, but became a high school athlete before a basketball injury led to his joining the drama club. His teacher encouraged him to audition professionally, and at 17 he was on Broadway playing a troubled child in Take a Giant Step, which won him a Donaldson award for best newcomer.

He won a drama scholarship to New York University, but continued working, in The Desk Set (1955), and made his television debut in two episodes of the NBC anthology show The Big Story. In 1959 he was cast with Poitier and Ruby Dee in Raisin in the Sun, and made his film debut reprising his role in 1961. On Broadway that year he played in Jean Genet’s The Blacks, in an all-star cast with James Earl Jones, Cicely Tyson, Roscoe Lee Brown, Godfrey Cambridge and a young Maya Angelou; it was the decade’s longest-running show.

Gossett was also active in the Greenwich Village folk music scene. He released his first single Hooka Dooka, Green Green in 1964, followed by See See Rider, and co-wrote the anti-war hit Handsome Johnny with Richie Havens. In 1967 he released another single, a drums and horns version of Pete Seeger’s anti-war hymn Where Have All the Flowers Gone. He was in the gospel musical Tambourines to Glory (1963) and in producer Mike Todd’s America, Be Seated at the 1964 New York World’s Fair.

His plays became more limited: The Zulu and the Zayda and My Sweet Charlie; the very short run of Carry Me Back to Morningside Heights, in which he played a black man owning a white slave; and a revival of Golden Boy (1964), with Sammy Davis Jr. His final Broadway part was as the murdered Congolese leader Patrice Lamumba, in Conor Cruise O’Brien’s Murderous Angels (1971). Gossett had played roles in New York-set TV series such as The Naked City, but he began to make a mark in Hollywood, despite LAPD officers having handcuffed him to a tree, on “suspicion”, in 1966.

On TV he starred in The Young Rebels (1970-71) set in the American revolution. In film, he was good as a desperate tenant in Hal Ashby’s Landlord (1970) and brilliant with James Garner in Skin Game (1971), taking part in a con trick in which Garner sells him repeatedly into slavery then helps him to escape.

In 1977, alongside Roots, he attracted attention as a memorable villain in Peter Yates’s hit The Deep, and got artistic revenge on the LAPD in Robert Aldrich’s The Choirboys. The TV movie of The Lazarus Syndrome (1979) became a series in which Gossett played a realistic hospital chief of staff set against an idealistic younger doctor. He played the black baseball star Satchel Paige in the TV movie Don’t Look Back (1981); years later he had a small part as another Negro League star, Cool Papa Bell, in The Perfect Game (2009).

After his Oscar, he played another assassinated African leader, in the TV mini-series Sadat, reportedly approved for the role by Anwar Sadat’s widow Jihan. Though he remained a busy working actor, good starring roles in major productions eluded him, as producers fell back on his drill sergeant image. He was Colonel “Chappy” Sinclair in Iron Eagle (1986) and its three dismal sequels.

But in 1989 he starred in Dick Wolf’s TV series Gideon Oliver, as an anthropology professor solving crimes in New York. And he won a best supporting actor Golden Globe for his role in the TV movie The Josephine Baker Story (1991). He revisited the stage in the film adaptation of Sam Shepard’s Curse of the Starving Class (1994).

Gossett twice received the NAACP’s Image Award, and another Emmy for producing a children’s special, In His Father’s Shoes (1997). In 2006 he founded the Eracism Foundation, providing programmes to foster “cultural diversity, historical enrichment and anti-violence initiatives”. Despite an illness eventually linked to toxic mould in his Santa Monica home, he kept working with a recurring part in Stargate SG-1 (2005-06). A diagnosis of prostate cancer in 2010 hardly slowed him down.

Most recently, he played Will “Hooded Justice” Reeves in the TV series Watchmen (2019), in the series Kingdom Business, about the gospel music industry, and in the 2023 musical remake of The Color Purple.

His first marriage, to Hattie Glascoe, in 1967, was annulled after five months; his second, to Christina Mangosing, lasted for two years from 1973; and his third, to Cyndi (Cynthia) James, from 1987 to 1992. He is survived by two sons, Satie, from his second marriage, and Sharron, from his third.

🔔 Louis Cameron Gossett Jr, actor, born 27 May 1936; died 28 March 2024

Daily inspiration. Discover more photos at Just for Books…?

[ausetkmt]

Vulture: Louis Gossett Jr Dead: Oscar Winner and 'Roots' Star Was 87

[uvmagazine]

Louis Gossett Jr., the first Black actor to win supporting role Oscar for playing the drill instructor in 1982’s “An Officer and a Gentleman” a few years after winning an Emmy for his role as Fiddler in “Roots,” has died, the AP reports. He was 87.

Photo Credit: Canadian Film Centre from Toronto, CA.

---------

#lougossett #louisgossetjr #unheardvoicesmag

[realllyrandommann]

AMfP Paintings Part 1

This is the first part of my file on the paintings and a couple of other images found in the game. I haven’t been able to identify all of them, since some are obscure (I’m looking at you, Mr Herring), but the majority are relatively well-known paintings. For the second part see here.

Title: Highland Scene near Dalmally Artist: Myles Birket Foster Year: c. 1885

Title: Spring Morning Artist: William J. C. Bond Year: 1863

Title: Dalton Collecting Marsh-Fire Gas Artist: Ford Madox Brown Year: 1887

Title: Applicants for Admission to a Casual Ward Artist: Luke Fildes Year: 1874

Title: A Special Pleader Artist: Charles Burton Barber Year: 1893

Title: The Blind Fiddler Artist: David Wilkie Year: 1806

Title: The Babylonian Marriage Market Artist: Edwin Long Year: 1875

Title: Farmyard Friends (Farmland Friends?) Artist: John Frederick Herring Jr

Title: The Bean Feast Artist: Jan Steen Year: 1668

Title: The Turnip Cart Artist: John Frederick Herring Jr

Title: The (Great) Tower of Babel Artist: Pieter Bruegel Year: 1563

Title: New, Old Pig on the Block Artist: Ian Schoenherr Year: 2012 About: a remake of Schoenherr's earlier picture ‘Young Pig Lincoln’, based on a photo of William Wallace Lincoln

Title: The premature burial Artist: Antoine Wiertz Year: 1854

Title: The Death of Sardanapalus Artist: Eugène Delacroix Year: 1827

Title: Triptych of the Temptation of St. Anthony Artist: Hieronymus Bosch Year: c. 1501

Title: Hunger, Madness, Crime Artist: Antoine Wiertz Year: 1853

Title: The Greeks and the Trojans Fighting over the Body of Patroclus (Ver I) Artist: Antoine Wiertz Year: 1836

Title: The Greeks and the Trojans Fighting over the Body of Patroclus (Ver II) Artist: Antoine Wiertz Year: 1836

[madamlaydebug]

Happy 87th Birthday to Louis Gossett Jr.

Born May 27, 1936, He is best known for his as role as Gunnery Sergeant Emil Foley in the 1982 film An Officer and a Gentleman, winning him the Academy Award for Best Supporting Actor. He also won an Emmy Award for his role as Fiddler in the 1977 ABC television miniseries Roots.

Gossett has also starred in numerous other film productions including A Raisin in the Sun, The Landlord, Skin Game, Travels with My Aunt, The Laughing Policeman, The White Dawn, The Deep, Jaws 3-D, Wolfgang Petersen's Enemy Mine, the Iron Eagle series, Toy Soldiers and The Punisher, in an acting career that spans over five decades.

[illuminatisalami]

I’m a theatre kid. And every show I’ve ever preformed or listened to or watched has taught me something important.

Shrek taught me to let my freak flag fly and to embrace my weirdness.

The Little Mermaid jr. Taught me that you should never try to keep dry ice in a crockpot (it cracks).

Fiddler on the roof taught me the importance of family and metaphors.

Les Misérables taught me to fight for what I think is right and to never back down.

Legally Blonde: The Musical taught me that giving up and going home isn’t always the answer.

In The Heights taught me that the pandemic was a blessing in disguise (it would’ve been whitewashed).

Argonautica taught me that albatrosses are huge.

Heathers taught me that everyone is struggling in their own way and suicide isn’t the answer.

Into the woods taught me that giants can be good and witches can be right, but it’s up to you to decide what’s good and what’s right.

Mean Girls taught me that you shouldn’t apologize for yourself or try to change yourself to fit other people’s perspectives.

If you think of more, feel free to add them.

[princesssarisa]

Character ask: Fezziwig (A Christmas Carol)

Tagged by anonymous

Favorite thing about them: What is there not to like about him? He's so jolly and full of zest for life, and such a good employer, who makes his employees happy and makes their work "a pleasure" instead of "a toil," as Scrooge says. He's everything that Scrooge should have been to Bob Cratchit, and being reminded of his goodness is essential to Scrooge's transformation.

Least favorite thing about them: That adaptations so often give him the short shrift. Dickens clearly meant him to be an important figure – an example of a kind, generous employer who serves as a role model for Scrooge. Yet so often the adaptations just give him a passing nod and use his party mainly as a vehicle for young Scrooge's romance with Belle, or worse, cut him out altogether. He matters and he deserves more attention!

Three things I have in common with them:

*I'm usually warm and generous to others.

*I love Christmas.

*I'm slightly overweight.

Three things I don't have in common with them:

*I'm not a business owner.

*I'm not married and have no children.

*I've never hosted a Christmas party.

Favorite line: “Yo ho, my boys! No more work to-night. Christmas Eve, Dick. Christmas, Ebenezer! Let’s have the shutters up before a man can say Jack Robinson!”

And then there's this speech not spoken by him, but about him by Scrooge, when the Ghost of Christmas Past asks why he should deserve such praise for spending only a few pounds on a party.

“It isn’t that. It isn’t that, Spirit. He has the power to render us happy or unhappy; to make our service light or burdensome; a pleasure or a toil. Say that his power lies in words and looks; in things so slight and insignificant that it is impossible to add and count ’em up: what then? The happiness he gives, is quite as great as if it cost a fortune.”

brOTP: His apprentices, his three daughters, and all the friends he surrounds himself with.

OTP: Mrs. Fezziwig.

nOTP: His apprentices.

Random headcanon: He's some type of merchant. I assume the fact that his workplace is described as a "warehouse" implies as much. I'm not sure what his merchandise is – in the George C. Scott version it's cloth, in Mickey's Christmas Carol it's tea, and in The Muppet Christmas Carol it's rubber chickens, which I assume is slightly anachronistic – but he seems like the type of man to deal in actual goods, not just cold cash like Scrooge and Marley. I don't think the Alan Menken musical's portrayal of him as a banker is accurate. I don't mind it, per se, but it's not how I imagine him.

Unpopular opinion: I don't think it's likely that Belle is his daughter. Not that I mind it when adaptations like Scrooge (1970) portray her as such, especially since Fezziwig does canonically have three daughters who are charming and popular with young men. But the fact that Belle describes herself as poor and lacking a dowry makes it unlikely that her father was a successful business owner whom Scrooge once worked for. Unless he eventually went bankrupt and lost his company, as in the 1951 film or the Alan Menken musical, which Dickens never implies happened.

Song I associate with them:

"Sir Roger de Coverly," a dance song the book specifies as being played by the fiddler at the Fezziwig party, and which often makes it into the adaptations too.

"December the 25th" from Scrooge.

"Mr. Fezziwig's Annual Christmas Ball" from A Christmas Carol: The Musical.

Favorite pictures of them:

This classic illustration by John Leech:

This illustration by Sol Eytinge Jr.

Forrester Harvey in the 1938 film.

Laurence Naismith in the 1970 musical Scrooge.

Fozzie Bear as "Fozziwig" in The Muppet Christmas Carol, 1992.

Ian McNeice in the 1999 TV film.

Brian Bedford (whom some of us know best as the voice of Disney's Robin Hood) in A Christmas Carol: The Musical, 2004.

Motion-captured Bob Hoskins in Disneys 2009 CGI film.

[salvadoerena]

hey! this is chance & here’s week 2’s prompt. pick one of your ocs. are they open to other people’s perspectives? do they go out of their way to learn new things?

I'll go ahead and talk about William since I'm writing a sort of origin story for him right now!

So William Byrne Jr is the son of William Byrne Sr, a fairly successful lawyer/notary in Rosemead. He was raised in a very traditional and conservative manner, but had an incident in his young teen years that really amped up that conservative upbringing (plot twist: it was a gay thing). So, naturally, he ended up being more closed-minded and comfortable with the status-quo.

Outwardly, at least.

Inwardly, William is livid. He's angry at himself and his family and his hometown. He hates how others look at him and how he has to put on a facade in order for the townspeople to treat him normally/fairly. It's through his sheer forced normalcy and his father's business/reputation that William was able to scrape by with a fairly neutral reputation. Once he started picking up his father's work and became a notary/lawyer himself, people started viewing him a teensy bit better.

Okay now that all that context is out of the way, onto the meat of the question:

William loves forgery.

He developed a strong sense of justice following the incident and isn't afraid to forge legal documents if he feels that the terms are unfair. He has a habit of going to taverns to listen in on gossip/idle chit chat and get to know the people in town both as a defense mechanism (how can I fit in here) and as a way to inform himself of what the situation is. "Okay I'm here for the Richardson Ranch acquisition, but is Lorry dealing with them fairly?"

While he's not going too far out of his way to learn new academic things like languages, history, art, etc, he's fairly invested in learning about the culture and laws (both legal and social) of where he's going. One, because it helps the business and two, because, again, youth trauma. He may be open to learning about new perspectives and the like, but it doesn't mean he'll agree with them. He might just nod politely and go "What an interesting perspective! I will be sure to not take that into account."

It's by doing this very thing that he ends up getting roped into becoming a pirate on the Ellina. When James and his crew dock in Stonesend, he ends up getting a taste of the "wild and reckless" freedom that Ellinacrew (as I affectionately call them) enjoy. For him, unapologetic and authentic self-expression was too intoxicating to turn down--as was Mr. Tall Dark and Handsome Emmanuel Cervantes. So, he does what any good 30yo repressed lawyer/notory Jr does: he runs away.

Anyways! Here's a little excerpt from the story:

They were knocking over the drinks without a care in the world, and William found himself once again enraptured. By now, the musicians had joined in as well, drumming and fluting away while the crowd supplemented it all with cheers and claps of their own. He fingers itched for his own fiddle to join in, and he cursed himself for leaving it at the inn. They weren’t supposed to be here anymore, so what were they doing still here and leaping from table to table? He looked around their original table, hoping for some sort of explanation. There were four others still in their seats: a man with brown hair who seemed to hate the song just as much as William did, his seemingly-amused friend who pat the poor man’s shoulder in apology, a taller man with a shaved head that lamented his spilled drink, and lastly— William wanted to throttle himself for not bringing his fiddle. Emmanuel was sitting at the table as well, hands clapping along and his face somewhere between fond, exasperated, and unsurprised. He seemed to be watching the fiddler more intently than the singer, or the boy, and something akin to jealousy, or desperation flared up in William. He looked around, searching for anyone that may have had a spare fiddle, or flute, or—or gods’ offcuts he would have even settled for a piano! Out of the corner of his eye, William saw the bartender put some cutlery away and, without thinking, he nearly lept over the bar and snatched two spoons from him. He ignored the bartender’s angry shouts and, steadying himself, quickly downed the rest of his cider. If he made a fool of himself, well, he wouldn’t be coming back. Taking the spoons in his hands, he took a moment to find the rhythm quietly to himself, before he began to play them loudly, in earnest. A few heads turned towards him, and he felt himself flush, but more importantly the table—Emmanuel’s table—still had not turned. He braced himself. ‘Oh gods William you must have dined with Seamus tonight,’ he thought to himself. Then, he leapt onto the nearest table and continued to play. Both the woman and the fiddler stopped, briefly, surprised that some outsider had joined their revelry, but William had almost forgotten about them. Emmanuel was looking at him, now, hands frozen just before a clap.  William kept the rhythm. Emmanuel let out an errant laugh, and began his clapping once more. That seemed to tear the others out of their brief stasis, and their singing and dancing started up once more with even greater fervor.

[snack-o-ween]

I thought I’d share some fanfic recs from last year’s Fandom Snowflake Challenge, so we’ll see how long I remember to do this. [This is being scheduled in January 2023.]

Title: Fiddler’s Green

Author: Gadhelyn. Transformative Works Policy: Not known as of this posting.

Complete or In Progress: This fic is a work in progress. Dated: This started to post in October of 2021, and the current chapter [as of scheduling this post] was posted in December 2023.

Chapters: Currently 13. Word Count: Currently 62,792.

Technically, this is Part Two of a series - Farther From Hell - where Sirius/Severus is established during Sirius' post-Azkaban time in Part One.  Personally, I don't think you absolutely need to read Part One in order to understand this; see note below the excerpt.

When Sirius goes through The Veil, he travels back in time to his teen body and has to try to not mess up the future too much by changing the events of the past. It's interspersed with Severus' POV in the future until Severus joins him in the past after being bitten by Nagini. As of chapter 13, Sirius and Severus are both trying to get back to their present day slash future time.

Note that there are some references to past and/or teen relationships; currently, Sirius/Remus and Avery Jr/Severus. Because the Sirius/Severus relationship was established in Part One and there’s the whole time travelling premise, some readers might feel like this fic is a bit lighter on the Sirius/Severus ship. I suspect this impression might change in the last two expected chapters, though.

Excerpt:

Because, Sirius Black realised just now, that’s where he was. Back at Hogwarts. With his friends. Sitting around under an alder tree, books carelessly scattered near them on the grass, surrounded by crowd of other chattering students: some were playing, one group tossed around a broom they were practicing flying with, girls trying on new colour-changing lip-glosses and holding mirrors up for one another by the lake… Few orange leaves on the trees, so it might have been September, early start of a new schoolyear.

So, this was his afterlife, then.

School.

To be honest—it was kind of a bummer.

Note: Part One is called "Dead Reckoning"; it's ten chapters and has 42,797 words. It has the Archive Warning of Rape slash Non-con and definitely starts out with what one could at the very least call hate sex - if not a rape to consensual sex arrangement - in the first two and and a half chapters. (While it's perhaps not entirely unrealistic to have "I'm not retarded" in 1990s dialogue, that may be something some readers want to prepare for in Chapter 4.)

The arc of animosity to not hating each other isn't easy, but it feels cathartic. Personally, the descriptions of 'this feeling' as inconvenient or peaceful at certain moments (from Severus) and struggling to say the word 'love' feels oddly satisfying, in a quoiromantic way. However, the first half of the fic might require a particular mental space in some readers.

[brookstonalmanac]

Birthdays 3.6

Beer Birthdays

John Bird Fuller (1801)

Conrad Windisch (1825)

Herman Lay (1909)

Bump Williams (1954)

Bill Coffey (1970)

Five Favorite Birthdays

Michelangelo Buonarotti; Itallian painter, sculptor (1475)

Will Eisner; cartoonist (1917)

Moira Kelly; actor (1968)

Rob Reiner; actor, film director (1947)

Bob Wills; fiddler, bandleader (1905)

Famous Birthdays

Tom Arnold; actor (1959)

Marion Barry Jr.; politician,, D.C. mayor (1936)

Cyrano de Bergerac; poet (1619)

Connie Britton; actor (1967)

Elizabeth Barrett Browning; English writer (1806)

Pavel Chekov; Star Trek officer

Gordon Cooper; astronaut (1927)

Lou Costello; actor (1906)

Kiki Dee; pop singer (1947)

Dick Fosbury; high jumper (1947)

David Gilmour; rock guitarist (1946)

Stewart Granger; actor (1913)

Alan Greenspan; former chairman of the federal reserve (1926)

Robert "Lefty" Grove; Philadelphia Athletics/Boston Red Sox P (1900)

Merle Haggard; country singer (1937)

D.L. Hughley; comedian, actor (1963)

Kiri Te Kanawa; opera singer (1944)

Tony Klatka; rock musician (1946)

Ring Lardner; sports reporter (1885)

Stanislaw Lec; Polish writer (1906)

Lorin Maazel; orchestra conductor (1930)

Gabriel Garcia Marquez; Colombian writer (1928)

Ed McMahon; television announcer, sidekick (1923)

Wes Montgomery; jazz guitarist (1923)

Shaquille O'Neal; Orlando Magic/L.A. Lakers/Miami Heat C (1972)

Cookie Rojas; Kansas City Royals 2B/OF (1939)

Willie Stargell; Pittsburgh Pirates 1B/OF (1941)

Mary Wilson; Motown singer (1944)

[whatilistenedtoatwork]

From October 29th to November 2nd 2024

29-10-2024

THE SAINTS “Eternally Yours”; TOM ANDERSON & ALY BAIN “The Silver Bow”; JOHN LENNON “Imagine”; MERCURY REV “Boces”; MODEST MOUSE “Good News For People Who Love Bad News”; STAR TRIP “Velocidad”; SLY & THE FAMILY STONE “Dance To The Music”; NICOLETTE “Let No One Live Rent Free In Your Head”; SPIERS & BODEN “Vagabond”; CHUMBAWAMBA “ABCDEFG”; THE PASTELS “Sittin' Pretty”; MUDDY WATERS “Folk Singer”; CARNABY STREET POP ORCHESTRA “A Taste Of Excitement”

30-10-2024

THE FAT BOYS “Big & Beautiful”; SNOOKS EAGLIN “New Orleans Street Singer”; JOHNNY FLYNN “Country Mile”; SEPULTURA “Beneath The Remains”; R.E.M. “Automatic For The People”; GANG STARR “Daily Operation”; SAM & DAVE “Hold On, I'm Comin'”; CHUMBAWAMBA “Anarchy”; BELA FLECK “Tales From The Acoustic Planet”; RED HOT CHILLI PEPPERS “The Uplift Mofo Party Plan”; THE LA'S “The La's”; FIDDLER ON THE ROOF: ORIGINAL BROADWAY CAST “Fiddler On The Roof Original Broadway Cast Recording”

31-10-2024

APHEX TWIN “Drukqs”; SZA “S”; FRENZAL RHOMB “Meet The Family”; THE JAM “In The City”; RAINBOW “Rising”; ELLA FITZGERALD & LOUIS ARMSTRONG “Ella & Louis”; PHISH “Hoist”; BUZZCOCKS “Another Music In A Different Kitchen”; THE WEDDING PRESENT “Live In Valencia Arena, 18-11-1988”; WIRE “154”; FAIRPORT CONVENTION “Unhalfbricking”; ABBA “Super Trouper”; GENERATION X “Generation X”

01-11-2024

THE BEASTIE BOYS “Hello Nasty”; PRIMAL SCREAM “Screamadelica”; GUIDED BY VOICES “Do The Collapse”; ICE CUBE “Lethal Injection”; AL GREEN “Call Me”; BECK “Mellow Gold”; THE SMALL FACES “Ogden's Nut Gone Flake”; MIKE OLDFIELD “Crises”; GEORGE HARRISON “George Harrison”; THE UNDERTONES “The Undertones”; DINOSAUR JR “Green Mind”

[haroldgross]

Without Arrows

[3 stars] Nearly 13 years of Delwin Fiddler Jr. and his Lakota family’s life quietly unspools for you, often without comment, during this film. And it’s surprisingly hypnotic. The Fiddler family allowed the crew rather impressive and unembarrassed access. The points being made are also mostly inferred, even with Fiddler’s self-examining comments that come at uneven intervals. The dedication of…