Mogo on the Gogo

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“You have mogo on the gogo!” diagnoses Gregory Peck, mysteriously. Ingrid Bergman just laughs fetchingly. I’d have smacked him in the face. And then asked him what the hell that means.

There’s quite a bit of odd dialogue in SPELLBOUND, scripted by Ben Hecht from an Angus MacPhail adaptation of a novel by the pseudonymous Francis Beeding (in reality two different blokes), The House of Dr Edwardes. MacPhail, a drunken Scotsman, is no doubt responsible for the plethora of Scots names infecting the movie’s population: Gregory Peck is Ballantine, Leo G Carroll is Murchison, and Rhonda Fleming is Carmichael, Regis Toomey is Gillespie.

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My VHS copy of BON VOYAGE has some tracking problems, giving the titles an odd PSYCHO-like flavour.

MacPhail also worked on BON VOYAGE and AVENTURE MALGACHE, Hitchcock’s two war propaganda shorts, made in French in England. Both feature prolonged takes (AVENTURE is nearly all filmed in master-shots) of the kind Hitchcock was increasingly interested in, and which Selznick would try his best to discourage, since they interfered with his ability to tamper. Safely away from Selznick, Hitchcock indulged his interest in the sequence-shot. His producer on these shorts, Sidney Bernstein, would later collaborate with him on the production of ROPE and UNDER CAPRICORN, which pushed the technique to its limits.

BON VOYAGE strikes me as the superior of the two, for its fluidity, twisty story, and charming dope of a hero, played by John Blythe, a handsome young fellow who went on to a long but defiantly minor career. Though he was born in London, his character is a Scot, complete with throwaway drinking jokes. He’s also very concerned with eating — for a French Resistance drama, the movie focuses to a surprising extent on the need for quality sustenance. Very Hitchcock.

Like BON VOYAGE, SPELLBOUND features a couple on the run, fleeing from hotels, traveling by train, aided by colleagues and sought by the police. But there are differences.

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Dr Edwardes, taking over a swank psych clinic, is not really Dr Edwardes at all, but an amnesiac who may have killed the man he’s replaced. Dr Petersen falls in love with him and seeks to prove his innocence…

“Beeding’s” novel was a potboiler disdained by Selznick, but offering Hitchcock some interesting narrative possibilities. Unfortunately, Selznick had started undergoing psychoanalysis himself, and brought his doctor on as advisor to the film. (“Selznick’s shrink? She must have done a great job!” exclaimed Fiona) This meant that Hitchcock once again faced considerable interference from his producer, compromising many of the film’s most promising sequences — especially the famous dream. In the end, though it utilizes Dali’s designs, the sequence was largely directed by design genius William Cameron Menzies (responsible for the look of GONE WITH THE WIND, although his work here calls to mind the magnificent THE LOVE OF ZERO), with Peck’s voice-over rather ruining the uncanny atmosphere with a prosaic description of everything we see.

I also have issues with the dialogue. Hecht is a very important screenwriter, but his psychiatrists are rather clunky creations — and nearly all the characters are psychiatrists. It’s a similar problem to the priests in I CONFESS, they don’t talk like people, and the more Hecht tries to give them a jovial approach to their profession, the less convincing they are. Everything they say has some kind of psychoanalytic slant: “And may you have babies, not phobias,” says Professor Littleoldman Dr Brulov.

And then there’s all the stuff about Ingrid Bergman being a woman, as if we needed to have it continually pointed out to us. And always in such insulting ways. “As a doctor, you’re a genius, but as a woman… I hate smug women… Women make the best psychiatrists, until they fall in love, then they make the best patients… Nothing is so stupid as a woman in love… stupid… woman… stupid woman… stupid woman!!! Alright, most of those lines aren’t actually in the film, but many others just like them are.

Am I alone in thinking there’s a strange resemblance between Green Manors Psychiatric Hospital for the Very Very Nervous and the Selznick Studios?

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Both institutions are bursting with neurotics, of course. Guilt-complex nut-job Norman Lloyd and mustache-biting weird-ball Rhonda Fleming (both happily still with us today) haunt the halls of Green Manors, while cop-phobic Hitchcock, speed-freak gambling addict Selznick and alurophobe Val Lewton, who couldn’t bring himself to shake hands, were all inmates of the studio. The film’s opening info-screed, explaining that psychiatry treats “the emotional problems of the sane” is rather baffling. Don’t insane people need treatment too? And what are Lloyd and Fleming? Their keels don’t seem entirely even to me. The additional information, that exposing the roots of the neurosis automatically cures it, is highly questionable: Hitchcock said he could never really believe in analysis, since he was quite aware of the source of his own fear of policemen, but knowing that did him no good whatsoever.

The other thing that beats me in Freud is the idea that the mind suppresses damaging, traumatic information, to protect itself. Of course, observation tells us this is not true: the traumatized are signally incapable of forgetting their traumas. But more than that, the idea seems inherently contradictory. The mind protects itself by suppressing the trauma, but un-suppressing it results in a cure? Surely exposing the root of the trauma would cause exactly the greater damage the mind was trying to protect itself from?

Hitchcock nevertheless realized that the “dream detective” was a fascinating narrative notion, one which he would invert in VERTIGO and return to in MARNIE. SPELLBOUND, his first go at the idea, is perhaps the clumsiest, since the script’s concern with clarity for an audience unused to psychiatric lingo tends to battle against credibility, subtlety and pace.

But there are many compensations. The wordless scene where Peck, “spellbound,” wanders Brulov’s home with a straight razor in his hand, is a classic suspense scene with superb blocking and framing –

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Peck is a good new leading man, although his discomfort with the film and Hitchcock shows a little in the early scenes, where he seems unsure how to play a man unconsciously pretending to be something he’s not. Bergman, of course, is a fine Hitchcock heroine, with a winning smile in which the corners of her mouth sometimes go up, sometimes down. Sometimes one goes up and the other goes down. I could watch it for hours. Hitch face Leo G Carroll is welcome again, and the man from Pittsburgh who bugs Bergman in the hotel lobby, and the hotel detective, are probably the best characters in the film. It’s a relief to find somebody who’s not either a psychiatrist or somebody who thinks they’re a psychiatrist.

There’s also the music, by Miklos Rosza, with its gorgeous love theme (overused, Hitch felt) and eerie/camp theremin. If only the Dali/Menzies dream dispensed with VO and relied on the power of music and image, it would be a bracingly vulgar fantasia. Mr. Theremin himself, the inventor of the electronic marvel, suffered a fate common enough in Stalin’s Russia, he was disappeared. Conventional wisdom has it that he perished, unrecorded, in Siberia, but I like to imagine him abducted by UFOs and delighted to find they’re playing his song.

And then there’s the climax, with the real murderer shooting himself in the face from an impossible angle. Two Hitchcockian tropes return here — the outsized prop, first seen in the form of EASY VIRTUE’s giant magnifying glass –

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– and the flash of red, an avant-garde device harking back to the deleted train wreck sequence in SECRET AGENT, in which Hitch had wanted to animate the effect of the film itself tearing in the projector and catching fire.

Incidentally, Leo G Carroll must have extraordinary, Mr Fantastic arms to be able to point a gun straight into his own face like this. I reckon if you turn your head sideways you can do it, but you’d definitely be able to see your arm as well as your hand. But this in no way harms the shot for me, in fact, it enhances it. Like all the daft stuff in the movie, it’s in keeping with the general delirious tone. I’d say that SPELLBOUND is quite a bit sillier than most of Hitch’s American thrillers — it’s not tongue-in-cheek, so it doesn’t have humour as an alibi — but it’s nevertheless a sophisticated entertainment.

Sidebar: as I think I mentioned before, sci-fi author David Gerrold (father of the Star Trek tribble) once suggested that a traditional story has three climaxes: emotional, physical and intellectual. SPELLBOUND conforms to this, and goes one better: it has two sets of three.

In the skiing sequence, Gregory Peck must figure out the guilt-causing episode from his past, emotionally overcome it, and avoid going into a crevasse with Ingrid. The Freudian investigation naturally combines the intellectual and emotional parts of a good climax, so that all Hitchcock and MacPhail needed to do was get the protags off the couch and onto the piste.

This is followed by a dramatic revelation that lands Peck in the slammer, so that Ingrid must take part in a second set of three challenges. Intellectual: figure out who the killer is. Emotional: force him into a confession but talk him out of killing again. Physical: get out without being shot.

I suspect the three parts of a climax usually come in this sequence, for inescapable narrative reasons. One, figure out the solution. Two, make the emotional leap needed to achieve it, sometimes involving sacrifice, generally involving the change required by the “character arc” of convention. Three, act upon this new understanding. But there are other ways to order it, especially if the climaxes occur in three separate scenes. Hitchcock felt that villains needed to combine three distinct traits: brains, brawns and wickedness. In NORTH BY NORTHWEST he divided these qualities between three characters, the mastermind, the thug and the sadist. He doesn’t dispose of each baddie in a separate climax, but he could have. Richard Lester and George MacDonald Fraser do at the end of THE FOUR MUSKETEERS.

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BANG! A few frames of red. Since the gun firing into the audience recalls Edwin S Porter’s THE GREAT TRAIN ROBBERY, I’m also reminded that that movie features hand-tinted red flames during the safe-blowing sequence, and I wonder if Hitch was inspired, directly or indirectly, by this venerable movie?

Next: NOTORIOUS, probably the most famous Hitchcock film I’ve never actually seen all the way through. I know, you’re shocked. I’m shocked. Time to rectify the situation.

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37 Responses to “Mogo on the Gogo”

  1. Re Leon Theremin – he didn’t die in Siberia, but was the subject of a terrific documentary, Theremin: An Electronic Odyssey, http://www.imdb.com/title/tt0108323/ – the climax of which brought him back to New York City for the first time since he was kidnapped from there by the KGB at the peak of his fame (he led an, I think, FIFTEEN PIECE theremin orchestra to the US and not surprisingly they were the toast of Manhattan!).

  2. Wow! A happy ending. I knew he had a disappearance, I didn’t realize he came back. Should’ve done my research.

    I guess if you have 15 theremins going at once you have to space them pretty wide apart otherwise each guy would end up playing his neighbours’ instruments as well as his own.

  3. I remember seeing a scene from SPELLBOUND when I was very young, and until I was well into adulthood I never knew the source. It involves the flashback that explains Peck’s trauma, where he slides down the stone bannister, kicking his brother off the base which results in him being impaled on the fence. THAT is some very dark trauma, and even now I would hesitate to let a child see that sequence, especially as it’s depicted by Hitchcock. Very creepy.

  4. And very FAST, unprepared-for by anything except the knowledge that there’s a hidden trauma. A relative of mine died that way, long before I was born. It’s not the spikes — falling onto spikes is survivable because the’re blunt enough that your major organs can shift out of the way. It was the infection afterwards that got him. Perhaps preventable today.

  5. I am duly shocked. Notorious is indescribably wonderful. It was Truffaut’s favorite Hitchcock and among other things contains the msot famous kiss in the history of the cinema.

    Love the giant gun!

  6. Yeah, I want a giant gun like that. and the finger and phone from Dial M For Murder and the giant eyeglass from Easy Virtue.

    I think I’ve seen 90% of Notorious but not all at once or in the right order. So I have no idea how it plays out. In a way it’s quite good that I have one or two Hitch films still to experience for the first time this year. And then there will be non left!

    Never made it through The Paradine Case, Torn Curtain or Family Plot, but Notorious might be the last classic H unwatched.

  7. AnneBillson Says:

    You more or less quoted my favourite line, but here it is anyway: “You’re an excellent analyst, Dr Peterson, but a rather stupid woman.”

    And didn’t Romy Schneider’s 14-year-old son die impaled on railings? Which presumably may have led, indirectly, to her own premature death (suicide?) a year later.

  8. Arthur S. Says:

    I rather like Spellbound. In terms of psychoanalysis it is silly but it has a lot of good scenes. One good scene is the first kiss between Ingrid Bergman and Gregory Peck with the dissolve to the doorsopening to more doors and more doors. Truffaut who didn’t care for Spellbound liked the scene very much and felt it was very good.

    Freud believed that knowing the source of one’s neurosis allowed people to be more rational and learn to live with oneself. He didn’t think psychoanalysis really cured people of their neurosis though he felt that some people were capable of transforming themselves completely. Repression, according to Freud, begins at childhood and continues all through adult life affecting one’s personal and sexual development in all sorts of ways. Luis Bunuel, who is more Freudian than any film-maker, attests to this in his films. Psychoanalysis is not about solving human mysteries or finding solutions but only a rational exploration of irrational attitudes that’s part of being human.

    As for whether undergoing analysis actually helps, that depends on the quality of the analyst, if he is too arrogant and too much of a pig than it’s a waste of a lot of money. If he isn’t, and the patient is strong then it can help.

    The giant gun is of course a class-A Freudian device.

    Hitchcock didn’t personally engage himself in Freud until he met Joseph Stefano who during the period of working on PSYCHO and the first draft of MARNIE was undergoing analysis which he talked about with Hitchcock, who listened eagerly.

  9. Yes Romy’s son died that way. She never got over it — and no wonder.

    Surprised about your (non?) reaction to Family Plot. It’s a complete joy. Hitch had a great time with the brilliantly insane Barbara Harris.

  10. good call on the nuthouse/Selznick logo connection–and a fine a appraisal of the film… I agree with you on just about every particular, although I think I like the dream sequences, as presented, quite a bit more than you do–there’s something about Peck’s strained voice over that actually amplifies the weirdness for me (although of course it was clearly thrown in to domesticate and explicate the surrealism)

    it IS a deeply misogynistic film though–with both Hitch and Hecht giving into the worst angels of their respective natures in this regard… this is one area that might have been mitigated with a little more interference from Selznick (whose oeuvre, on the whole, lends itself quite readily to a proto-feminist interpretation)

  11. robert keser Says:

    Apparently, the source novel — THE HOUSE OF DR. EDWARDES [sic] — concerned itself with a cult of Satan-worshipers, a subject already treated satisfyingly in Val Lewton’s THE SEVENTH VICTIM in 1943. Hence, the change in plot and turn toward psychoanalysis. Selznick planned the original cast to star Dorothy McGuire, Joseph Cotten, and Paul Lukas, which would have made an acceptable group in an alternate Hollywood reality. Incidentally, the red gunshot was accomplished by having studio technicians hand-paint four frames scarlet on each and every single release print. The plot has also been described as the struggle of Bergman’s character’s to reconcile herself in relation to the various father figures and a stunted boy (Peck).

  12. Arthur S. Says:

    I like FAMILY PLOT a great deal. Not a masterpiece but a beautiful piece of film-making that would not be possible from any other film-maker.

  13. As you’ve brought up Adventure Malgache and Bon Voyage, it seems an apposite time for me to bring up Alfred Hitchcock Presents… which we’ve been rewatching on DVD. Are you going to have a look at some of the Hitch-directed episodes as part of your complete retrospective? There are some remarkable, terrifyingly dark pieces of work to be unearthed, the opening episode (“Revenge”, with Ralph Meeker), the downright nerve-wracking Joseph Cotton vehicle, “Breakdown”, as well as the disturbing “Case of Mr Pelham”, with Tom Ewell, are all worthy of examination.

  14. Great! Imagine what film club will be like — everyone having just seen the same film. Spellbound is obviously one many of us know extremely well. Fiona has a weird amnesia about it — she always forgets how it ends. Appropriate really.

    I’m certainly going to TRY to see ALL the Hitchcock TV work. Love Ralph Meeker. That Cotten piece is extraordinary.

    I’m looking forward to Family Plot (although I expect a certain melancholy at the end of Hitchcock Year), I’m sure I’ll enjoy it this time.

    Would love to read Dr Edwardes, but it’ll have to wait. Have ordered the playscript of Rope (I’m a Patrick Hamilton fan) so I can compare it to the film.

    It was Milos Forman who dropped Romy Schneider’s son outside her flat and left without seeing that he got in OK. An easy mistake, but I bet that’s caused him a few sleepless nights.

    My hope at the end of Spellbound is that Ingrid will keep her job, at least. She has a better chance of earning a living than loony surgeon Peck. One thing that’s never addressed in the film is where they’re both getting the money for their travel and hotel bills!

  15. “Mogo on the Gogo” sounds very W.C. Fields.

    Norman Lloyd was show runner on “Alfred Hitchcock Presents.” He was blacklisted but Hitch insisted on hiring him — and Hitch got what Hitch wanted.

    Family Plot is a complete break with the spy thrillers that preceded it and a return to the mode of The Trouble with Harry. Leonard J. Souht — Robert Burks camera operator, was promoted to DP. Hotch had wired with Bruce Dern before on Marnie. Everyone else was new. He very patiently explained everything he was doing and why, and showed the actors that within certain necessary visual confines (due to the way the film would be cut) they had a lot of fredom. For example he showed Barbara Harris the space she had to move in as Madama Blanche goes into one of her phony trances, but told her she could do whatever she liked in creating the “trance” herself. As a result she had a great time — and Hitch gave her the film’s (and his career’s) last shot.

  16. Bill Krohn, researching Family Plot, was intrigued to find that Hitch abandoned his shooting plans and basically improvised the coverage as he went along, the only time in his career he did this. Since this would be harder work than simply following the plan, one wonders if Hitch was trying to reinvigorate himself with a whole new approach…

  17. I suspect you’re right. Moreover Hitch was Hitch. He’d been making films the way he wanted for quite some time and he knew what to do to get the effects he needed. I also suspect he was trying to make the shoot more fun for himself. He always complained that he foudn the shoots “boring” because he’d worked everything out so precisely beforehand.

  18. If he’d gotten to make Kaleidoscope, as detailed in Alfred Hitchcock’s Notebooks, his reputation might have been very different. I’ve always felt that the self-created myth of the man who plans it to within an inch on paper is, while often literally true, just as often beside the point.

  19. Arthur S. Says:

    Hitchcock I think wanted FAMILY PLOT to be a lighter affair than FRENZY, a return to England. And also he was working with a new generation of actors. Interetingly, three of the actors are actually from Altman’s crew – Barbara Harris, Karen Black from NASHVILLE, William Devane from McCabe & Mrs. Miller. Hitchcock of course hired Altman to direct episodes for his TV Show after seeing The Delinquents, starting Altman’s brief career in TV.

    Among the films Hitchcock enjoyed making were REAR WINDOW which he felt was the most fun he had in making a film(and it shows) and THE TROUBLE WITH HARRY.

  20. Christopher Says:

    …Maybe for the red,Hitch was inspired by the 1932 Bela Lugosi film,The Death Kiss,where green smoke emits from fired Pistols..pretty good film of its kind..and a chance to see that David Manners was good for something afterall,,
    Yeah…Mogo on the g-go go..Fields did say that first….come to think of it..too bad Fields didn’t do a Hitchcock picture…He could have stood in for Hitch’s cameo at least..

  21. Hitchcock hired Altman, and Joan Harrison, his producer, fired him. Altman told the story that he was vocally tearing apart a script he thought was lousy, and then he realized she wrote it. I suspect Altman would have problems with a woman producer anyway, purely based on his work (which I love, but he can be a bit sexist). Hitch, for all the talk of misogyny, liked to be surrounded by strong, supportive women.

    I would LOVE to read the full script of Kaleidoscope, to see what the fuss is about. The moments I’ve seen from the tests he shot suggest something like Argento filtered through Antonioni. The thought that he may have been taken with Nashville is an intriguing one. Or maybe Dern, Black and Harris all had the same agent?

    David Manners is awesome in The Last Flight, directed by — William Dieterle. It’s an odd performance but an appealing one.

    So Peck is quoting Fields? Reminds me of the various references to Will Hay in Hitch’s British films. He did like to reference pop culture occasionally, it makes the stories more real if they’re not unfolding in a sealed environment.

    Altman really had a rather long TV career, since he went back to it at various times, notably for Tanner 88, his favourite of his own works. During that initial period, Combat! seems to have been the high point. Just obtained a couple of episodes of that.

  22. David Boxwell Says:

    Septimus Smith is impaled on iron railings in his suicide in Mrs. Dalloway.

    Notorious has Claude Rains drooling over the “good looks” of the masochistic Cary Grant, while being bitched out by the one mother even more terrifying than Norman Bates: what’s not to adore?

  23. Looking forward to it! Actually, I have to pick up a good copy of it too (avoiding cheapo editions capitalizing on its apparent copyright-free status).

  24. I just happened to watch a recent TCM airing of Spellbound, and the suicide scene was un-tinted. That’s surprising, as TCM is usually on top of these things.

    I’m also surprised that no-one’s mentioned one of the film’s worst features, the skiing scene. Hitch always seemed to like the process screen, but he never did it worse than in Spellbound. How on Earth Peck and Bergman get as far downhill as they do without bending or turning their bodies, I don’t know! Though their hair DOES become a little tussled…

  25. As for “Mogo on the Gogo,” it doesn’t sound Fields to me so much as it sounds like ’40s comic nonsense syllables. Sorta like one of the characters in a Warners cartoon — late ’30s? early ’40s? — describing the questioable sanity of Daffy be saying that he’s “OOFty ma-GOOFty.”

    One moment in Hecht’s questionable dialogue here that appeals to me is in the picnic shared by Peck and Bergman, when Peck asks her what kind of sandwich she wants and Bergman, all dewy-eyed, responds “Liverwurst!”

    For questionable Freudianisms, there’s always that shot of the opening doors superimposed on Peck and Bergman. Also, of course, the nightclub babe in the dream with the giant scissors (cf. outsized props).

  26. John, you’re right, and I should have had some fun with the rear projection. The biggest problem is that Bergman and Peck are way too close together! I know Hitch was fond of Swiss holidays but I guess he didn’t venture out onto the slopes much…

    I do like the FX shot of the valley and crevasse though, a lovely matte painting.

    I don’t mind Bergman’s opening doors. Corny but nice. Truffaut particularly liked the love at first sight moment between Peck and Bergman, but Hitchcock shuddered as he remembered how the music swells…

  27. One of Altman’s Hitchcock episodes, “The Young One,” starring Carol Lynley, is quite good and seems remarkably personal in retrospect. It’s about a beautiful and insanely destructive solipsist, thus foreshadowing similarly insane and destructive solipsists in films like That Cold Day in the Park (Sandy Dennis), Images (Susannah York), Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (Dennis, again), Secret Honor (Philip Baker Hall – not beautiful, but definitely a solipsist), and even the late Ms. Fawcett in Dr. T.

  28. Arthur S. Says:

    Hitchcock according to McGilligan’s biography made sure to watch all of Altman’s 70s films but apparently he didn’t like NASHVILLE. One of his last unmade films was THE SHORT NIGHT, which would have starred Elliot Gould. So, I’d say he was reasonably interested in Altman’s films.

  29. It’s tempting to imagine that by throwing away the storyboards Hitch was having a go at being Altman for one film.

  30. Christopher Says:

    my fave Hitch TV episode is the one where Joseph Cotten gets in a car wreck and is paralyized to the point of seeming dead,but instead of helping him everyone comes and steals from his car..

  31. That’s Breakdown, a very smart piece of writing, brilliantly realized by Hitch. One of the great exercises in POV.

  32. Breakdown, even more than Rear Window, is Hitchcock’s ultimate explication of the Kuleshov effect. Close-ups of Joseph Cotten’s face, absolutely rigid (because he’s paralyzed behind the wheel of a wrecked car), are intercut with POV shots of what is happening around him. It works – the viewer is compelled to identify with him. And there is an astonishing moment of catharsis when someone finally realizes Cotten is still alive, and Cotten’s tears – in another POV shot – stream down the camera’s lens. It may be less than 25 minutes long, but it is still major HItchcock.

  33. Christopher Says:

    Breakdown was the first Hitchcock tv show I watched in high school days with the intention of seeing how good they were and it blew me away like none of the others did.I haven’t seen it since.I assume the car wreck and the events surrounding it were an ironic twist of fate for Cotten’s character?..

  34. Yes, he’s a hard-nosed businessman who fires a long-term employee at the start, and is disgusted when the man cries. And only when he himself breaks down is he recognized as alive. Brilliant.

  35. It’s very nice too, in that the ironic juxtaposition with the earlier scene isn’t overworked (in fact I only made the connection after watching the show). The Tom Ewell one I mentioned above is even more interesting in a way, as it’s a full-on engagement with The Uncanny, an area that Hitch rarely dabbled in.

  36. Sounds fantastic, I can hardly wait! Tom Ewell had little to do with the uncanny as a general rule also.

  37. Hey you hosers:

    “Spellbound” was released in ’45; back in 1940, W.C. Fields in “The Bank Dick” utters those famous words to the veterinarian doctor treating Franklin Pangborn (bank examiner). “He’s got ‘mogogo on the gogogo!” says Fields.

    Attribution is everything.

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