Tag: Sam Houston State University

A Day on the SHMM Grounds

Throughout the summer, the Sam Houston Memorial Museum and Republic of Texas Presidential Library offers “Spotlight Saturday” programs (10am-2pm), with each one highlighting different aspects of 19th century life.

This past Saturday, LEAP enjoyed one of our many visits to the Museum to learn about spinning, home-made ice cream as made during Sam Houston’s time, and the art of dueling, an interestingly complex artifact of another time.

The ice-cream, always a significant draw, wasn’t quite ready when we arrived, so we walked the Museum’s grounds (approximately 18 acres), enjoying this rustic retreat nestled in the heart of the community. There were waterfowl…

…squirrels, and turtles, including one that had a special need for attention.

When we returned, they were still churning the ice cream.

So, we ventured into the gift shop, which, in many ways, is a typical gift shop for a historical site. There are t-shirts, mugs, magnets, and the like.

But a few things distinguish the Wigwam Neosho. They have a nice book collection, including one written by Mac Woodward, one illustrated by Wade Dillon, and one written by an assemblage of students and staff, as well the excellent Houston biography written by James Haley. Moreover, Neosho has soap and pottery made on the Museum grounds, a nice touch.

We purchased one, this one made by Grady Mangum, who worked at SHSU.

Some of the bowls were a good size for ice-cream, but as it turns out, the ice cream wasn’t yet ready.

Accordingly, we checked out the spinning, which drew a full house.

After roaming the historic buildings on site…

…we managed to catch the leadup to one of the docents’ dueling sessions.

Phillips discussed some of the preparation work…

…including showing off the weapons used (which are also on display in the Museum).

Tim Ross and Matt Phillips discussed the finer points of dueling “etiquette,” which involved the use of seconds/mediaries, how to extricate yourself from an impending duel, and the negotiations over the specifications of the duel (weapon choice, number of paces). Timed for exactly “high noon,” the duel took place in front of us; Ross and Phillips did a realistic enactment of the contest–without, of course, real bullets–taking their paces, aiming, and firing, and without hurting anyone.

With the suspense over and the heat of the day bearing down, we turned back to the porch for ice cream. Unfortunately, it wasn’t ready.

After more than two hours on the grounds and feeling the heat and the pangs of hunger, we prepared to leave, having enjoyed the structures, the nature, and the gift shop, albeit without the ice cream.

Discovering the Dizzying Magic of “Vertigo” at Houston’s River Oaks Theatre

By Brian Aldaco

In classic LEAP fashion current students and LEAP alumni joined forces in Houston for a viewing of one of Hollywood’s most celebrated films, Alfred Hitchcock’s Vertigo. The screening is part of The Summer of Hitchcock, a joint literary venture between Brazos Bookstore and River Oaks Theatre.

As part of this summer project, Houston-area Hitchcock fans are invited to read “The Lady Vanishes,” “Vertigo,” and “Psycho,” and watch the film adaptations directed by the Master of Suspense at the newly re-opened River Oaks Theatre.

With its glistening art deco marquee, this 1939 theatre is nestled on West Grey St. in one of the most emblematic Houston neighborhoods, for which the theatre is named. Following a post-pandemic closure of the theatre, which many Houston area cinephiles feared would be permanent (this writer included), the theater finally re-opened last October. While it retained its screening of classic, contemporary, and independent movies, the interior has been renovated to adapt to the new movie-goer expectations, while also offering seat-side meal service.


For most of the group members that joined us at the showing, it was our first time watching this adaptation of Pierre Boileau and Thomas Narcejac’s French novel “D’entre les morts” (“Among the Dead”). Released in 1958, Vertigo follows a mysterious investigation led by a recently retired San Francisco detective. Tasked by an old college friend to follow his wife who is feared to be obsessively replicating the actions of a mysterious ancestor, the former detective, played by Jimmy Stewart, along with the equally intrigued audience, tour the city of San Francisco while trailing the college friend’s wife, played by Kim Novak.

The film has been widely praised, and in fact, was ranked as the greatest film of all time in a 2012 poll of international film critics (it “slipped” to #2 in 2022). Nonetheless, the craftsmanship managed to impress and surprise. In Hitchcockian fashion, the narrative is told through expertly orchestrated POV and over-the-shoulder shots, evoking a sense of voyeurism of which the movie’s protagonist extensively takes part in throughout his investigation.

The film showcases the costume design of Hollywood legend Edith Head, which complements the equally impressive cinematography of Robert Burkes, whose striking use of color film stock (and color theory), impressive panoramas of San Francisco and San Francisco Bay, and a subjective camera contribute to the film’s beauty and psychological themes.

Such cinematic feats are perhaps most famously illustrated by the “Vertigo Zoom,” engineered by second-unit cameraman Irmin Roberts. Ask by Hitchcock to create a visual metaphor for the protagonist’s vertigo, Roberts used a subjective camera (from Stewart’s perspective) and dollied the camera toward the ground level of a staircase while simultaneously zooming the lens out (or away) from the ground level.

This effect has since been used in countless films, most famously in “Jaws,” “Goodfellas,” and “The Lord of the Rings.”

Vertigo, as with many of Hitchcock’s works, is a testament to the range of emotions that can be transmitted to an audience through stellar acting, a vivid imagination, and plethoric cinematic techniques implemented by an auteur director with a clear vision.

The whole experience reminds the viewer that this piece of cinematic literature deserves contemplation in a proper movie theatre. In the Houston of 2025, Star-Cinema-Grill owned or not, it’s difficult to think of a better site than River Oaks Theatre, and even more difficult to think of a better group of people with whom to see it.