Skip to main content

Capitol - Brigham City

I had very reluctantly decided in Missoula to head south on Tuesday.  Instead of going all the way up to Glacier National Park,which was the original plan.  But there was little I could do at Glacier, aside from driving a small portion of Going to the Sun Road.  The park had only begun to thaw enough to allow for hiking into its interior.  It would be going north merely for the sake of going farther north, compelling enough reason for me.  But to insure that my last four days wouldn't be defined mainly by driving, I decided to get a lot of it out of the way and go south beyond Salt Lake City, as far as nearby Heber City.   

As interstate experiences go, one could do so much worse than the corridor of I-15 heading south from Butte, through Idaho and into Utah.  When I had come north a few days earlier I had hardly gotten the full effect of the landscape, obscured as it was by rain and grey skies.  Heading south I had a fair day and  a brilliant blue sky.  What clouds that were present seemed to be drifting along for the sake of contrast, for effect.  It was a spectacular show of mountains, a new act emerging just as one long in sight finally disappeared behind me.  Driving 80 miles an hour or so, I really felt as though something must be wrong with the speedometer.  I would look out the window at the edge of the highway, the shoulder beyond, and it looked as though the car were hardly moving.  At least partially a result, it would seem, of the vast and open vistas in all directions.    

To reward myself for all that driving, I held out for a late lunch in Brigham City, Utah, north of Salt Lake City.  This the Idle Isle Cafe, yet another solid recommendation from Road Food.  I found the Idle Isle on Brigham City's main drag in a mid-afternoon hush.  Appropriate to the decor, itself in a lovely mid-century hush.  










I was so taken with the downtown of Brigham City that I considered stopping there for the night.  The fact that the city had an operating old movie theater, The Capitol, settled the matter.  




I returned to downtown late afternoon, well in advance of the early evening screenings at the twinned Capitol.  I roamed north up Main Street.  Once clear of the central business district, the street is lined, as is the case to the south, with beautiful sycamores.  The trees serve as a kind of natural colonnade.  Coming into bloom just then, the trees with their lovely trunks, mottled and almost olive in color, reminded me of the plane trees past which I drove about ten years ago, plying the roads between perched villages in Provence.  Of such a perfect spring afternoon and evening, Brigham City seems quite a salubrious place, my friends.  I don't know what life is like for all who there reside, but it made for a very pleasant stop for me.  

I had not intended to have dinner after my big, late lunch.  But then I happened upon this charming old drive-in, The Peach City Restaurant.  Powerless against such places, I drifted in for a meal.  







What?  I had a salad for lunch.   Chicken tenders, waffle-cut
fries and 24 ounces of hard ice cream raspberry cheesecake
shake love at the Peach City.  Not even pictured - the two
pieces of buttered Texas toast that accompanied the meal.  







The right entrance doors to the Capitol maintain
their original bakelite handles.  
My unplanned dinner at the Peach City made me a bit late for the 6:50 screening of "Captain America," not entirely a bad thing since it was the second time in three days that I was seeing the film.  I was able to see both auditoriums as I entered, though the former balcony and main level rooms varied only in size.  Beyond the 30's/40's decoration of the facade and lobby, the Capitol with its walls draped with synthetic fabric and drop ceilings, is like any box theater opened in the 1960's or 70's.  

Watching Captain America in 2-D this time - I could actually see facial expressions - I was taken with the proportion of the larger auditorium and relatively huge screen.  It was bland, but otherwise a very good room in which view a movie.  

And I still didn't make it to the end of Captain America, entertaining though it was.  At some point before the two-hour mark, I quitted the theater and emerged into the welcoming twilight of Brigham City.     





db

Comments

Popular posts from this blog

Baby Driver

B-A-B-Y-DRI-VER!  Edgar Wright's sixth film has arrived in the summer of 2017 with all the insistence and irresistibility of a great pop song.  Already in his splashy career the Englishman has written better tunes than this. And yet Baby Driver pulses with more precision and originality of expression than most of his contemporaries can approach at their best.   Resist if you dare.  As summer fare goes, fast, furious and not lobotomized is hard to pass up. Wright has apparently had the notion for Baby Driver bouncing around in that energetic mind of his since the 1990s.  You can see a version of the film's first scene in a music video for Mint Royale's "Blue Song" Wright directed in 2003.  The super kinetic action is certainly a perfect fit for the writer/director's crisp editing, wit and inimitable unison of sound and action. Baby Driver both charges from the start line and yet saves it feeling for character and emotion for a bit later.  Here on

The Favourite

What-ho! Yorgos Lanthimos down some dark, rich, reimagined corridor of English history?  The Greek filmmaker has generally confined himself to the relative present.  Much as he has charted out unique little worlds in his films beyond the obvious grasp of time or place, each has occurred in an astringently modern setting.  You know - cars, electricity and whatnot.   Alps (2011) And yet Mr. Lanthimos has followed his most punishing work, The Killing of a Sacred Deer (2017) with a kind of dark comedy set, however fancifully, during the reign of Queen Anne (1702-1714).  But this being Yorgos Lanthimos, his latest film is nothing so simple as black comedy or period piece.  Through a fairly quick ascension of features - this is somehow only his seventh - Lanthimos has brought us characters that don't move side by side or passionately embrace so much as collide like bumper cars, even as they might be moving in for some needed bit of affection. Dogtooth (2009) In fil

The Paranoids

It's a recurring, if minor artistic theme:   the talented fuck-up languishes in obscurity while the glad-handing hack, inspired by if not blatantly ripping off the more talented one, enjoys success.   It was the conflict at the center of the documentary Dig, wth Anton Newcombe of the Brian Jonestown Massacre and The Dandy Warhols taking on versions of those respective roles.  The theme is picked up by Argentine director Gabriel Medina in The Paranoids, but this moody film tends to meander in all but expected directions.    The ability to enjoy The Paranoids rests, probably, in one's willingness to spend 90 minutes in the company of its main character, Luciano Gauna.   He occasionally ventures out  as a lavender-furred monster to  entertain children by day and struggles to complete a long-belabored screenplay by his near-perpetual night.   When it comes to the travails of a seemingly talented but underachieving man-child, I think I know several people who might say, "N