A Real Hat

After a morning that saw me put a bid in on a spacious two bedroom apartment with a formal dining room in Bay Ridge – $10,000 down with 75% financing and a very adult activity, if ever I engaged in one – I decided to go shopping for a new hat. I’ve been wearing hats for a little over a year now: a straw hat followed by a light felt black fedora. Fashionable as it might otherwise be, a black hat clashes with the navy blazer I’ve taken to wearing lately. This is another dubious sign of maturity. As the Clash song goes, “You grow up and you calm down / You start wearing blue and brown.” A grey hat seemed in order, so I made my way to Bencraft Hatters.

Bencraft has two locations in Brooklyn. The original is located in Williamsburg, not far from where my paternal grandfather lived when he married my grandmother. It’s probably where he purchased (or, more likely, rented) the top hat he wore on their wedding day. The other, which I frequent, is in Borough Park. Inside of Bencraft, you will find the kind of intense debates, measurements and arguments over hats that made most American men heave a sigh of relief when J.F.K. attended his inauguration bare-headed. Being a Sunday, I found a dozen Jewish men (customers and salesmen) engaging in heated debates over coloring, brim size and the ever-ephemeral quality of “quality.”

A family – two older brothers and their father – fretted over the difference of a quarter of an inch of brim for the youngest of their clan. A 10-year-old girl rejected her father’s new hat as “not as good” as his last one, and chastised him for losing his yarmulke inside of a display hat and thus exposing his chrome dome to Yahweh. At the sales counter, an agitated little man complained of a barely detectable “bump” in the crown of his new hat. “I wouldn’t complain, except that this is the fourth hat I purchased from you this week,” he explained. The salesman countered, “In every hat in this store, could I find an imperfection? These are handmade hats, they will never be 100%” Finally, though, the salesman agreed to steam the hat in an attempt to work out the bump, although, he complained, Sunday was a bad day for it. He gestured to the long line of Hassidic men waiting to have their hats steamed and cleaned.

As for me, I meekly requested a grey hat in the same cheapo style as the “lite felt” fedora I was already wearing. None in my size, the salesman apologized. He did find a slightly-more-expensive Stefano. “It’s a real hat,” he explained, “as we say in the business.” Almost thirty, a real home and a real hat. How could I refuse?

Woody Allen’s Later, Darker Ones

“Vicky Christina Barcelona” is the most thoroughly enjoyable hour and a half you could spend at the movies this season. At what point does Woody Allen’s “comeback” (as each of his last few movies have been hailed by critics) get to stick? Liberated from the upscale Manhattan locations that his characters could no longer afford, as well as from the crutch of casting himself or a famous impersonator as the romantic lead, Allen’s films have been consistently thoughtful, sober and darker than his proverbial “early, funny ones.”

Bankrolled by the Spanish tourism industry, the film is set in a clearly booming Barcelona (note the construction cranes that dot the skyline), which gets top billing along with the two American tourists (played by Scarlett Johansson and Rebecca Hall) whose summer in the city fuels the plot-line. Vicky and Christina are propositioned by painter Juan Antonio for a weekend of art, wine and sex. Javier Bardem is charming as the oddly well-rounded and soulful lothario (particularly for a Woody Allen film). Hall’s Vicky opens her mouth and Woody incredulously rejects Bardem’s proposition (though she thankfully spares us an impersonation). Johansson’s Christina, however, is intrigued and accepts. Johansson is a very spotty actress, but she usually acquits herself in roles such as this, that are basically variations on the 20-something ingenue set adrift that she played in “Lost In Translation.” Like all mid-summer night’s sex comedies, everyone eventually sleeps together. This includes a refreshingly non-judgmental open relationship between Bardem, Johansson and Bardem’s tempestuous unstable ex-wife, Penelope Cruz (who’s a wicked delight every moment she’s on the screen).

Ultimately, every winds up alone with a little less faith in perfect love. This is a consistent theme in Allen’s movies. Remember, his best-loved romantic comedy is wistfully narrated after his break-up with Annie Hall. Love rarely lasts in Allen’s movies. And lust, particularly lust for a passionate but unstable lover, usually ends badly – either in murder (“Match Point,” “Crimes and Misdemeanors”) or institutionalization (“Stardust Memories”). Here, Penelope Cruz stabs and shoots at Javier Bardem. This is a comedy, mind you, and a very funny one.