In the famous song "Anything You Can Do I Can Do Better" from Annie Get Your Gun, Frank Butler brags to Annie Oakley, "I can knit a sweater." To which she retorts, "I can fill it better." Turns out, Annie herself wasn't so bad with a needle and thread, as evidenced by a new acquisition on display at the National Cowgirl Museum and Hall of Fame.
The Fort Worth museum announced August 13 — which would have been Oakley's 159th birthday — that it has acquired a needlework belt created and worn by the famous female sharpshooter.
The belt is on display now in the "Hitting the Mark: Cowgirls and Wild West Shows" exhibition, which showcases female performers from these popular outdoor events.
The belt was created during Oakley's third European tour in 1891, the museum says in a release. Oakley would often do needlework in her tent between performances, they say, adding that the belt has the tour year, “1891,” and her initials “AO,” on opposite ends of the belt.
The belt measures roughly 33.5 inches in length.
“We have a few artifacts from Oakley that are singular in their ability to tie the public Annie Oakley to the private Annie Butler,” says Diana Vela, associate executive director, in the release. “This belt is one of the objects that she worked on in her private time while she was on tour.”
Oakley, born on August 13, 1860 is a Cowgirl Hall of Fame Honoree. The belt is one of several Oakley objects on display at the museum.
Of all the ways that movies depict people trying to steal money and other valuables, safe cracking is among the least exciting. By design, it’s a laborious process that only those with a very certain set of skills can do. While clever editing and the right music can enhance scenes of safes being cracked, there’s a reason that the method is among the least used in heist films.
In the new film Tuner, Niki (Leo Woodall) has a job and a condition that just happens to lend itself well to committing that specific crime. He works as an apprentice piano tuner for Harry (Dustin Hoffman), usually doing the hard work while Harry schmoozes the client. Niki is well-suited for the job because he has a rare condition called hyperacusis, which makes him both sensitive to loud noises and able to hear subtle things that others cannot.
When he runs across a trio of criminals trying to break open a safe at a house where he’s tuning a piano, he helps them more out of frustration than avarice. But when Harry goes into the hospital and racks up huge bills, Niki decides to join the group to make some quick money. They soon want more than he’s willing to give, and he must find a way to extricate himself from them without losing himself completely.
Written and directed by documentary filmmaker Daniel Roher (making his narrative feature debut) and co-written by Robert Ramsey, the film has a nice pace to it despite there being relatively little action. Roher and Ramsey spend the first third or so establishing Niki, Harry, and Harry’s wife Marla (Tovah Feldshuh) as characters, letting the audience understand their relationships and how they interact with each other.
The time they devote to the personal storytelling pays dividends when Niki starts to descend into crime, as his divided loyalties - not to mention the danger of the thefts - insert tension into the plot. That stress is heightened even more when Niki starts a relationship with piano student Ruthie (Havana Rose Liu), as getting closer to her necessitates a series of lies.
There comes a point, though, where the plot stagnates to a degree. Niki’s end goal, if he has one, is never clear, and it’s obvious that it’s only a matter of time before things start to fall apart. After starting strong in their character development, Roher and Ramsey take shortcuts as the film rushes toward its conclusion. This is most notable in a weird argument scene between Niki and Ruthie that comes out of nowhere and seems to serve no purpose in the story.
Woodall, who had a memorable turn in season 2 of The White Lotus, is on the cusp of breaking out, and this understated-but-compelling lead role should help him become an even bigger name in Hollywood. Hoffman has a small role, but he remains as interesting as ever despite the lack of screentime. Liu (Bottoms) is also an up-and-coming actor who should become a star with more roles like this one.
Tuner is a low-key thriller that succeeds because of the way the filmmakers approach the under-used method of robbery. Even if it doesn’t quite reach its potential, the film maintains a high quality throughout thanks to its storytelling and acting.
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Tuner will screen seven times, June 12-14, at the Modern Art Museum of Fort Worth.
