The Surprising Link Between Home Alone and Straw Dogs
BY Kirstin Fawcett
December 7, 2017
Twentieth Century Fox Film Corporation
While it's a beloved (and family-friendly) holiday classic, there's still no denying that Home Alone's self-appointed vigilante, Kevin McCallister (Macaulay Culkin), kind of resembles a tiny towheaded version of mathematician David Sumner (Dustin Hoffman) from Sam Peckinpah's 1971 film Straw Dogs. Both characters resolve to defend their abodes at all costs, and in the absence of real weapons rely on makeshift ones to fend off their respective intruders.
Unlike lightning, great ideas can—and often do—strike Hollywood twice. But Home Alone wasn't created in a vacuum, production designer John Muto told Slate in 2015. In an interview, he acknowledged parallels between the two films, saying that, “I kept telling people we were doing a kids version of Straw Dogs."
Home Alone is notably less graphic than Straw Dogs, the latter of which contains sexual assault and plenty of blood. There aren’t any visible injuries in Columbus’s film, aside from a burn here and a glue-coated feather there. Still, Muto says he initially thought that a few of Home Alone's more cringe-inducing physical stunts wouldn't make the final cut. They did, thanks in part to Julio Macat, the film's director of photography. He, himself, appreciated physicality in movies, and gave Harry and Marv's painful comeuppances the go-ahead.
If you think about it, Sumner’s boiling oil and bear trap aren’t too different from Kevin’s tar and hidden nails, aside from the fact that they result in body counts. So no, you weren’t delusional if you ever compared the two films. Even still, you should probably refrain from pointing these similarities out to those who can't get enough of Home Alone’s fuzzy happy ending.
Charles Dickens never fully devoted himself to science fiction, but if he had, his work might have looked something like the present-day HBO series Westworld. As The Conversation reports, the author explored a very similar premise to the show in The Mudfrog Papers, a collection of sketches that originally appeared in the magazine Bentley's Miscellany between 1837 and 1838.
In the story "Full Report of the Second Meeting of the Mudfog Association for the Advancement of Everything," a scientist describes his plan for a park where rich young men can take out their aggression on "automaton figures." In Dickens's story, the opportunity to pursue those cruel urges is the park's main appeal. The theme park in Westworld may have been founded with a slightly less cynical vision, but it has a similar outcome. Guests can live out their heroic fantasies, but if they have darker impulses, they can act on those as well.
Instead of sending guests back in time, Dickens's attraction presents visitors with a place very similar to their own home. According to the scientist's pitch, the idyllic, Victorian scene contains roads, bridges, and small villages in a walled-off space at least 10 miles wide. Each feature is designed for destruction, including cheap gas lamps made of real glass. It's populated with robot cops, cab drivers, and elderly women who, when beaten, produce “groans, mingled with entreaties for mercy, thus rendering the illusion complete, and the enjoyment perfect.”
There are no consequences for harming the hosts in Westworld, but the guests at Dickens's park are at least sent to a mock trial for their crimes. However, rather than paying for their misbehavior, the hooligans always earn the mercy of an automated judge—Dickens's allegory for how the law favors the rich and privileged in the real world.
As for the Victorian-era automatons gaining sentience and overthrowing their tormenters? Dickens never got that far. But who knows where he would have taken it given a two-season HBO deal.
Today marks what would have been the 101st birthday of Ella Fitzgerald, the pioneering jazz singer who helped revolutionize the genre. But the iconic songstress’s foray into the music industry was almost accidental, as she had planned to show off her dancing skills when she made her stage debut. Celebrate the birthday of the artist known as the First Lady of Song, Queen of Jazz, or just plain ol’ Lady Ella with these fascinating facts.
1. SHE WAS A JAZZ FAN FROM A YOUNG AGE.
Though she attempted to launch her career as a dancer (more on that in a moment), Ella Fitzgerald was a jazz enthusiast from a very young age. She was a fan of Louis Armstrong and Bing Crosby, and truly idolized Connee Boswell of the Boswell Sisters. “She was tops at the time,” Fitzgerald said in 1988. “I was attracted to her immediately. My mother brought home one of her records, and I fell in love with it. I tried so hard to sound just like her.”
2. SHE DABBLED IN CRIMINAL ACTIVITIES AS A TEENAGER.
Fitzgerald’s childhood wasn’t an easy one. Her stepfather was reportedly abusive to her, and that abuse continued following the death of Fitzgerald’s mother in 1932. Eventually, to escape the violence, she moved to Harlem to live with her aunt. While she had been a great student when she was younger, it was following that move that her dedication to education faltered. Her grades dropped and she often skipped school. But she found other ways to fill her days, not all of them legal: According to The New York Times, she worked for a mafia numbers runner and served as a police lookout at a local brothel. Her illicit activities eventually landed her in an orphanage, followed by a state reformatory.
3. SHE MADE HER STAGE DEBUT AT THE APOLLO THEATER.
In the early 1930s, Fitzgerald was able to make a little pocket change from the tips she made from passersby while singing on the streets of Harlem. In 1934, she finally got the chance to step onto a real (and very famous) stage when she took part in an Amateur Night at the Apollo Theater on November 21, 1934. It was her stage debut.
The then-17-year-old managed to wow the crowd by channeling her inner Connee Boswell and belting out her renditions of “Judy” and “The Object of My Affection.” She won, and took home a $25 prize. Here’s the interesting part: She entered the competition as a dancer. But when she saw that she had some stiff competition in that department, she opted to sing instead. It was the first big step toward a career in music.
4. A NURSERY RHYME HELPED HER GET THE PUBLIC’S ATTENTION.
Not long after her successful debut at the Apollo, Fitzgerald met bandleader Chick Webb. Though he was initially reluctant to hire her because of what The New York Timesdescribed as her “gawky and unkempt” appearance, her powerful voice won him over. "I thought my singing was pretty much hollering," she later said, "but Webb didn't."
Her first hit was a unique adaptation of “A-Tisket, A-Tasket,” which she helped to write based on what she described as "that old drop-the-handkerchief game I played from 6 to 7 years old on up."
5. SHE WAS PAINFULLY SHY.
Though it certainly takes a lot of courage to get up and perform in front of the world, those who knew and worked with Fitzgerald said that she was extremely shy. In Ella Fitzgerald: A Biography of the First Lady of Jazz, trumpeter Mario Bauzá—who played with Fitzgerald in Chick Webb’s orchestra—explained that “she didn't hang out much. When she got into the band, she was dedicated to her music … She was a lonely girl around New York, just kept herself to herself, for the gig."
6. SHE MADE HER FILM DEBUT IN AN ABBOTT AND COSTELLO MOVIE.
As her IMDb profile attests, Fitzgerald contributed to a number of films and television series over the years, and not just to the soundtracks. She also worked as an actress on a handful of occasions (often an actress who sings), beginning with 1942’s Ride ‘Em Cowboy, a comedy-western starring Bud Abbott and Lou Costello.
7. SHE GOT SOME HELP FROM MARILYN MONROE.
“I owe Marilyn Monroe a real debt,” Fitzgerald said in a 1972 interview in Ms. Magazine. “It was because of her that I played the Mocambo, a very popular nightclub in the ’50s. She personally called the owner of the Mocambo and told him she wanted me booked immediately, and if he would do it, she would take a front table every night. She told him—and it was true, due to Marilyn’s superstar status—that the press would go wild. The owner said yes, and Marilyn was there, front table, every night. The press went overboard … After that, I never had to play a small jazz club again. She was an unusual woman—a little ahead of her times. And she didn’t know it.”
Though it has often been reported that the club’s owner did not want to book Fitzgerald because she was black, it was later explained that his reluctance wasn’t due to Fitzgerald’s race; he apparently didn’t believe that she was “glamorous” enough for the patrons to whom he catered.
8. SHE WAS THE FIRST AFRICAN AMERICAN WOMAN TO WIN A GRAMMY.
Among her many other accomplishments, in 1958 Fitzgerald became the first African American woman to win a Grammy Award. Actually, she won two awards that night: one for Best Jazz Performance, Soloist for Ella Fitzgerald Sings the Duke Ellington Songbook, and another for Best Female Pop Vocal Performance for Ella Fitzgerald Sings the Irving Berlin Songbook.
9. HER FINAL PERFORMANCE WAS AT CARNEGIE HALL.
On June 27, 1991, Fitzgerald—who had, at that point, recorded more than 200 albums—performed at Carnegie Hall. It was the 26th time she had performed at the venue, and it ended up being her final performance.
10. SHE LOST BOTH OF HER LEGS TO DIABETES.
In her later years, Fitzgerald suffered from a number of health problems. She was hospitalized a handful of times during the 1980s for everything from respiratory problems to exhaustion. She also suffered from diabetes, which took much of her eyesight and led to her having to have both of her legs amputated below the knee in 1993. She never fully recovered from the surgery and never performed again. She passed away at her home in Beverly Hills on June 15, 1996.