Word: hotel
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Dates: during 1990-1999
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Because they were so famously gutsy, the FM executive board of 1992 have a lot of wild memories. Phil Rubin, then magazine co-editor, remembers the time he went to a chintzy hotel lounge in Dedham for a singles' mixer party. He and his companion were hunting down material for that week's Scrutiny. He recalls, "After partying with the singles, then we returned, marching through the snow. We came back to The Crimson and wrote it the same night. Drunk...
...cross the Mississippi while it was frozen. Today's travelers can cross by bridge in any season and, heading southwest, end up 100 miles later in Burr Oak, Iowa--forward in time to 1876, when Laura was nine and her family arrived there to help run the Masters Hotel. Laura's account of their sojourn in Burr Oak has never been published, and true fans will not want to miss it. The hotel is the only one of Laura's girlhood homes that remains on its original site. It has been restored and outfitted with furnishings authentic for the late...
Toole's insouciant, larger-than-life "suspicious character," Ignatius J. Reilly, memorialized in bronze, loiters in perpetuity outside the former D.H. Holmes department store, now the Chateau Sonesta Hotel. The nearby Palace Cafe, once Werlein's for Music, where Reilly bought his lute string, is a good place to lunch. The cafe's player piano will entertain small fry, and the food will please the grownups. True Toole aficionados will buy a hot dog on the street in homage to Reilly's brief, catastrophic career as a vendor of frankfurters made of "rubber, cereal, tripe. Who knows...
Parents with big purses may want to stay--or dine at least once--at the Plaza, well known to the younger set as the residence of Kay Thompson's mischievous Eloise, whose portrait (by Eloise illustrator Hilary Knight) overlooks the hotel's Palm Court. There, modern-day urchins can order kid-friendly delectables like Home Alone Sundaes and s'mores...
That happens to Beth Cappadora (Michelle Pfeiffer) in The Deep End of the Ocean, adapted by Stephen Schiff from Jacquelyn Mitchard's novel. In a crowded hotel lobby, she leaves little Ben in the care of his seven-year-old brother for a few minutes, and when she returns he has wandered off--or fallen off the end of the earth. A kidnapping scenario has the makings of melodrama or piety, but this carefully complex movie, directed by Ulu Grosbard, finds urgency in more ambiguous family vectors...