Being confined to the apartment for the past ten days has revived the homespun diversions of my youth. Nothing like a global pandemic to call for unpretentious entertainment. I was never a fan of Mister Rogers. Perhaps the Presbyterian ministerial history worked against him. He wouldn’t be the first man of the cloth whom I encountered making a 90-degree shift to the profane – though certainly not smutty or disrespectful. I do however recollect with fondness Clarabelle the Clown (the mute partner of Howdy Doody), Mickey Mouse (and to a lesser extent Donald Duck), Dick Clark and American Bandstand, Annette Funicello, Father Knows Best, Leave it to Beaver, Lassie and My Three Sons. Middle-class American boyhood set a high standard! As apparently did Maurice Chevalier for my parents. It was the fifties in Washington, DC. We lived a block from then Vice President Richard Nixon whose daughter Julie and I were in Mrs. McGee’s class together at Horace Mann Elementary School on Newark St NW.
“His heavy French accent, melodic voice and Gallic charm made Maurice Chevalier the prototype of the gallant French monsieur in the American cinema of the 1930s. Before he went to Hollywood he worked as a farmer, circus acrobat, cabaret singer and, starting in 1908, a comical actor in French films, a few times even with the celebrated Max Linder. Chevalier fought as an infantryman in the French army during World War I and was taken prisoner by the Germans in 1914, spending two years in a POW camp. After the war he returned to the entertainment field, and eventually tried his luck in Hollywood. He made his first American movie in 1929, The Love Parade (1929). The film was a success, and Chevalier made more successful films with directors like Ernst Lubitsch (The Merry Widow(1934)). He retired from films in 1967, his last few roles being mainly friendly patriarchs.“

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