Now that spring is here, everyone’s getting out more. That means more people will be dropping into some of the small shops in the Gaslight District, so it’s time to highlight some of them. When Lentz and Company opened on Ludlow Avenue a year and a half ago, its “carefully curated collection of kitsch” added a colorful touch to the neighborhood. Mad Men may be about to call it quits, but its spirit lives on at this nostalgic store. Recently I dropped by and snapped some photos of some of the latest items for sale there. As the pictures below show, along with vintage goodies the store sells interesting new art by local artists. Here’s a link to Lentz and Company’s Facebook page; “like” it and keep up with the latest news from the store at 339 Ludlow Avenue!
A new vintage shop has opened in the Gaslight District. Located at 339 Ludlow Avenue, Lentz and Company adds a splash of color to the neighborhood, with an emphasis on cool-looking mid-Century home goods as well as local art. In its own words, “You’ll find retro kitchenware and bar accessories, chic to cheap vintage furniture as well as a carefully curated collection of kitsch.” Tentative store hours are 1pm to 8pm Wednesday through Saturday. They have a Facebook page, and the owner of the store, Leigh Ann Lentz, can be reached at email@example.com.
In other news, last night I attended the film Capital at the Esquire Theatre. As was the case with the now-departed Capital, some Esquire movies come and go in a week, so it pays to check the Esquire’s website. The film was directed by Costa-Gavras, the Greek-born French filmmaker who got worldwide attention when he released Z in 1969. There’s a lot to love about Z, including the cinematography, the suspenseful plot, the soundtrack, and the fact that the Irene Papas appears in it. The semi-fictionalized account of the assassination of a Greek politician, Z laid bare the widespread corruption in the Greek government.
Capital focuses on corruption of a different nature: the upper echelon of the financial world. Initially while climbing the corporate ladder the main character is less ruthless than many of his colleagues, and even as he becomes more cutthroat he does so with a sense of detachment. Although the French bank he works for finds plenty of opportunity to play dirty, American financiers who bully him into making ruthless decisions take nastiness to a whole nother level. Here I’m reminded of a film I saw at the Esquire in 2001, Eloge de l’Amour (In Praise of Love), in which fellow French director Jean-Luc Godard depicts Americans as monsters spreading their tentacles worldwide. Near the end of the film the main character turns nasty to three women—his wife, the supermodel he rapes, and an idealistic fellow executive—suggesting that the energy behind amoral corporate interests is a beefed-up form of hyper-aggressive and mindless masculinity.
During the film the question arises whether there’s any way to fight against such forces. The answer appears in the last scene, when the main character turns to the camera for the first time and announces in a matter-of-fact manner that even if he tried to expose corruption everything would turn out the same in the end. He predicts that the system will explode. History may prove him wrong, but there are plenty of folks working night and day to prove him right.