I haven't seen any of the movies, but I'm DVR-ing the show and will dip in from time to time. You can talk about it here and I might say something now and then.
What was the motivation to pull the old reputedly-greatest-movie-ever-made down off the shelf? Some conversation about putting together a story by interviewing various people who knew a specific individual one had never met and wanted to try to understand. I said that's the famous, highly praised narrative structure of "Citizen Kane," you realize, but you didn't realize that because you'd never seen "Citizen Kane." How do you get through life without seeing "Citizen Kane"? People are always pushing "Citizen Kane," which you rightly pointed out is a reason to resist it. So thanks for not resisting it when I pushed it, which I did not because I'm shocked that you'd failed to take in the greatest movie blah blah blah — in fact, I admire resistance to that sort of pressure — but because it had to do with an idea we were already talking about that had nothing to do with the irritating pseudo-accomplishment of seeing all the things you're supposed to see.
"Citizen Kane" questions for discussion:
1. Why did you see "Citizen Kane," or how have you managed to avoid it? Have you been bullied into seeing it, or are you one of the bullies? Do you feel like there are movies you're supposed to see, and do you see them or avoid them?
2. If you've seen it, do you like it? What don't you like about it? Do you like that kind of extreme visual composition where one actor is right up against the edge of the frame and the other actor walks away into the set and looks about one tenth the size of the other guy? Do you like that stagey acting? Do those special achievements in makeup from 1941 drive you crazy or do you find them heart-rendingly touching evidence of striving after Art?
3. With all this snow we've been having, we could make a list of movies with important snow, and "Citizen Kane" belongs on that list. What else? "The Shining"...
You can buy the book — "Half Empty" — here. I highly recommend the audio version. His reading style is very funny — and also easy to sleep to (which is 2/3 of the reason why I buy audiobooks).
I discovered that book after watching David Sedaris on "The Daily Show" and going off to buy "Squirrel Seeks Chipmunk" — which you can buy here. Again, the audiobook is highly recommended — but "Squirrel Seeks Chipmunk" isn't easy to sleep to because it's tricked up with a lot of music... and also actors read some of the stories and actors try so hard. It's wakefulness-provoking.
ADDED: Why don't we see the text of more casting calls for political ads? This can't be the most embarrassing one, can it? Was it "leaked" to hurt the GOP? [Yes: "The casting material was provided to POLITICO by Democrats.] Doesn't the leakage with the intent to hurt the GOP embody the belief that the people of West Virginia are so backward that they think commercials like this are made with real people and will be offended to find out that slick ad men concoct these things to persuade them? Think about it. What is more offensive: the GOP using an ad agency that blatantly presents "hick" stereotypes when trying to persuade West Virginians or GOP opponents who think that West Virginians are so simple and naive that they'll be wounded to learn how ads are made?
IN THE COMMENTS: Pogo said:
I call bullshit.
I don't believe it, not without a copy from the casting folks. They had a pdf of the script. Where's the pdf of the casting call?
Yeah, well, maybe it's fake but accurate. Ever considered that? You know how much the GOP has been wanting to appeal to these people in these small towns, people who've lost their jobs and think that somehow their communities are going to regenerate, people who've gotten bitter — it's not surprising — and cling to guns or religion or antipathy to people who aren't like them or anti-immigrant sentiment or anti-trade sentiment as a way to explain their frustrations.
... except Roger Ebert (kind of), who gave it a terrible review, which everyone else did too. So now, the director (Casey Affleck) is trying to claw his way back into respectability by taking the stage to tell us it was a Borat-ish fake, except that no one cares anymore, because the film wasn't entertaining, partly because it made the few people who saw it feel bad about the druggy dissolution of a once-great actor.
Well, so maybe it could become entertaining now that Affleck has unburdened us of the sadness we felt to see Phoenix fall — a burden, Affleck had to know, hit people with the additional weight of reminding them of the death of Joaquin's brother River — and we know that Joaquin is acting!
But when Joaquin was traveling about making the film, clips leaked out, people suspected it was an act, and the clips weren't funny then, which I suspect is why they decided to put the film together in a way that deprived the audience of the ability to confirm that it was an act. Make it a puzzle. Stir people up. But that didn't work.
It's so pathetic to try to get a second chance at attracting attention to your movie. But we're all glad, I take it, that Joaquin's okay. Now, will somebody give the actor a script?
"The French have a word for what I am and it's called 'manqué,' meaning a failure of desire.… I am everything 'manqué.' An actor manqué, a philosopher manqué, a writer manqué, and consequently an intolerable bore. (Not manqué, I'm afraid.)... The place I like to be best in the whole world is back in my village in Wales, down at the pub, standing with the miners drinking pints and telling stories. One drinks because life is big and it blinds you. Poetry and drink are the greatest things on earth. Besides women. There's something to death and something to truth, and we're after them all our beautiful lives on earth. Liquor helps."
A clip from the excellent documentary "Joan Rivers: A Piece of Work":
We saw this movie last night at Sundance in Madison. I have a special love for the documentaries in this niche. Show this new one as a triple feature with "The Eyes of Tammy Faye" and "Grey Gardens." Here's the trailer for "Joan Rivers." Watch for the insult to Wisconsin, which got a huge laugh here in Wisconsin.
There was a line I tried to memorize, for me, the most interesting line in the movie. It was something like: "I am an actress — an actress playing the role of a comedian." When she was in high school, Joan was in all the plays. We see her in Shakespearean costume. She still sees herself as an actress. She says: You can say anything about her as a comedian, but don't criticize her acting. That's the one thing that hurts. That may seem very odd, because do you think of her as an actress (other than in the sense that when she's doing her comedy she may conceive of herself as playing a character that isn't really her)? She had a dramatic role in the movie "The Swimmer" (with Burt Lancaster)? And in the 90s she starred in (and co-wrote) the Broadway play "Sally Marr ... and Her Escorts" (a play about the woman who is mostly famous for being Lenny Bruce's mother). The NYT said:
Is Ms. Rivers also a great actress? No, she is not. But she is exuberant, fearless and inexhaustible. If you admire performers for taking risks, then you can't help but applaud her efforts. "Sally Marr" asks her to dig down deep and dredge up some elemental emotions. Ms. Rivers backs off from none of them. In her portrayal of a gutsy woman who has hit the skids more than once in her 80-odd years, there is a childlike sincerity that exerts its own spell in the end. Between Ms. Rivers and Ms. Marr an understanding obviously exists.....
[E]arly on, when Sally goes into her theory of comedy. "You don't start with funny and make it funnier," she explains. "Comedy comes from pain."...
It is the play's contention that without Sally Marr... there would have been no Lenny Bruce. Her outspokenness blazed the way for his iconoclasm; from her hatred of hypocrisy sprang his. She was even there when he made his first tentative steps as an M.C. in strip joints to coach him on the intricacies of comic timing and lend him some of her material. "Lenny Bruce opened the door for every modern American comic, right?" she says, putting her checkered past into perspective for us. "So, in a way, you could say I gave birth to George Carlin and Richard Pryor and Eddie Murphy and Lily Tomlin and Robin Williams and Bill Cosby and Gilda Radner and David Letterman."
So is she an actress, and if so, who is the real person? I don't think you get the answer in the "Joan Rivers: A Piece of Work." There's a scene where she's doing a radio promotion for her new book — "Men Are Stupid . . . And They Like Big Boobs: A Woman's Guide to Beauty Through Plastic Surgery" — and the interviewer goes on about how, whatever a woman does to herself to try to look beautiful, she must, in the end, want to be loved as the person she really is. Joan's response: Who is the real me? Perhaps when the real person is an actor, there is a hollowness that must be filled with a written character.
***
Note to commenters: Please say something more interesting than that you don't like her surgically destroyed face. We can take that as a given. Don't be boring. It's worse than being ugly. Around here.
1. There were several points in this movie where, if I didn't know it was a true story, I would have turned it off. It's incredibly melodramatic. But if it's true, it's not incredible. It's credible.
2. I loathe movies about children in danger, both because I don't enjoy seeing children suffer and because I don't want to watch an actress ham it up pretending to be a mother who is agonizing over her suffering child. But I shielded myself from knowing what the story was going to be because I was told — by my son Chris — that the movie contained the greatest acting performance of the last decade and once I decide I will see a movie, I avoid reading anything about the plot.
3. I'd never seen an Angelina Jolie movie before. Looking at the list of movies she's made, I can see why. Although she seems like the biggest movie star in the world, she hasn't made many movies, and they aren't very good. She's done genres that I don't much follow (anymore). For example, she did one of the voices in "Kung Fu Panda." When I think of "Kung Fu Panda," I think of the Joshua Ferris short story "The Dinner Party":
“They just got their dates wrong, is all,” he said, “and tomorrow, when they call, they’ll tell you how sorry they are. They had to turn their phones off during the late showing of ‘Kung Fu Panda’ or something.”
“So they went to see ‘Kung Fu Panda’ tonight,” she said.
“Or something like it.”
“And they turned their phones off so they wouldn’t ring during ‘Kung Fu Panda.’ ”
“Or,” he said. “Or.” He put his finger up. They were standing near the bedroom doorway. There was dim light coming from the dark room and he was suddenly irrationally afraid, as he had been as a child, that if anyone stepped inside, if she stepped inside, she would plummet to the center of the earth. He lowered his finger. “I’m sorry,” he said. “I don’t think they went to see ‘Kung Fu Panda.’ ”
One wouldn't see "Kung Fu Panda."
4. Jolie emotes. That's for sure. It's what's called for and she does it. She goes all out and does it. She's the female Jack Nicholson. And this movie has a good dose of "One Flew Over the Cuckoo's Nest" in it. Now, take your medication. Or we'll give you an electroshock treatment. "Changeling" also made me think about another great Jack Nicholson movie, "Chinatown." Lots of L.A., lots of corruption.
5. Did Jolie out-act Kate Winslet? Winslet won the Oscar that year — for "The Reader." "The Reader" is also a melodrama, but it presents itself in less of a melodramatic style. Although "The Reader" is set in the Holocaust, the character is fictional, and her story is presented in a more dignified Oscar-worthy vehicle.
6. Quite oddly, there is a scene in "Changeling" in which the main character is listening to the Oscars presentation on the radio and rooting for her favorite movie to win. The movie is "It Happened One Night," and Jolie's character expresses her fondness for Claudette Colbert, who won an Oscar for her role. "It Happened One Night" swept the top 5 categories at the Oscars, and it wasn't until "One Flew Over the Cuckoo's Nest" that another movie swept the Oscars. I wondered what Clint Eastwood thought he was saying to the Academy by putting that Oscars scene in "Changeling." I don't think he was kissing their ass trying to get Oscars. Maybe it was a way to say Oscars are amusement for the people and they don't really matter to me anymore. But it would be pretty funny for Jolie to win an Oscar for a role where we'd have a clip of her in character getting excited about an Oscar win. It would be cute. Maybe she got some votes from Academy members who liked that.
7. Like "The Reader," "Changeling" has a scene that depicts
a hanging and uses a closeup of the hanged person's dangling feet — or is it just the shoes on the floor in "The Reader"? I forget.
(Mouse over Highlight to reveal spoiler.)(I think that's the first time I've used HTML that way.)
8. If you like red lipstick, this is the ultimate red lipstick movie. You've got, first of all, Angelina Jolie's famous, immense lips, and then you've got red red lipstick — of the historically accurate matte texture. And it looks like it was put on amateurishly by the character.
9. You like cloche hats? You will see cloche hats. Angelina Jolie's character seems to require a cloche hat — and gloves. (I couldn't figure out how she avoided getting red lipstick all over her gloves.) This is the ultimate cloche hat movie. What does the cloche hat mean? It speaks of the character's vulnerability and need for armor, which makes it
especially painful for us to see her without its protection when she's thrown into the psycho hospital.
11. Jolie calls Clint Eastwood "very much the ideal man":
Maybe it's generational, but I think we could use more of it. People look up to him. He is absolutely who he is. He doesn't apologize to anybody. He has very, very strong, decisive opinions and is very gracious as a man, as a friend and somebody on set as a director, too.
She tags on the wifely niceness — "Brad knows that he's my ideal man" — but, reading that, I hear the emphasis on "my." Brad may be her ideal man, but Eastwood is the ideal man.
Oh! I went to 11. I thought it would be hard to get to 10. Ha. I guess I enjoyed that movie. Maybe I'll watch it again with somebody who hasn't seen it before. Back in the 80s, we used to love showing "The Terminator" to people who hadn't seen it yet. All the surprises would be new again. Last week, I was flipping channels and came to rest on "From Dusk to Dawn," which had just started. I'd seen it before, but Meade hadn't. Great vicarious fun for me.
Another entry in the debate about whether gay actors can "play straight."
This is a strange debate, because we don't know the sexual orientation of every actor. Since there are many more roles for heterosexual actors and since the perception of straightness occurs in the mind of the viewer, a gay actor who is good at playing straight has a strong motivation to keep his sexual orientation secret. And actors are actors. I assume when we see them outside of roles, as themselves, they are playing the image of themselves that they want us to see. An actor who chooses to be known as openly gay isn't quite the same as your gay friend or acquaintance in life outside of the world of acting. An actor is a performer who is to some extent always acting. If he's openly gay, he's performing the part of an actor who is openly gay. Doing that, he can shape our ideas about what homosexuality looks like, which will affect how we determine whether an actor playing a part seems gay. Similarly, a gay actor who hides his sexual orientation is doing some sort of performance too, and what he does represents some kind of conception of what straightness is. If we never find out he's gay, he never contributes to our knowledge base about whether gay actors can play straight. And straight actors are also part of the knowledge base. They too perform in roles and as they present themselves as themselves, acting out whatever they think will work well for them and make us want to see them pretending to be characters we find authentic and worth caring about. They've shaped our perception of what straightness looks like. Is it Clint Eastwood and John Wayne? Can we even begin to shuffle through the layers of reality and pretend and discover what really is?
We need to step back and acknowledge the complexity of what we are perceiving before we can contribute anything useful to the debate about whether gay actors can "play straight."
Said Michael Douglas... at the sentencing of his 31-year-old son Cameron, who received a 5-year sentence. Or... wait... no... Michael Douglas wrote that. He didn't show up in person. [ADDED: No, Michael Douglas was there. He wrote a statement — 5 pages — and he also appeared. Sorry. I got the sense from that quote that MD was distanced, but that's not right. I'm genuinely sorry. I can't imagine the pain of seeing your son sentenced to prison.]
The pattern was set in the 1930s and ’40s by Edward G. Robinson (“Little Caesar”), James Cagney, George Raft, Humphrey Bogart and Paul Muni — all small men who usually played tough and cruel. Sometimes camera angles obscured the physical facts — Robinson looked absolutely huge as Wolf Larsen in “The Sea Wolf” in what can be called, without irony, a towering performance — and sometimes the camera just didn’t care as when, for example, Cagney regularly beat up men obviously twice his size.
Slightly later came John Garfield, and the smallest of them all, Alan Ladd who played big in “The Blue Dahlia,” “The Glass Key,” “The Badlanders” and who more than holds his own against Ben Johnson and a tree-like Van Heflin in “Shane.”...
Famously slight Paul Newman displayed his chest and pugilistic abilities in movies like “Somebody Up There Likes Me,” “Hud,” “The Long, Hot Summer” and “Cool Hand Luke.” James Dean would have made the list had he lived longer. Now aging tough guy-short guys (by short I mean under 5-foot-9) include Jack Nicholson, Dennis Hopper, Robert DeNiro, Harvey Keitel, Al Pacino, Mel Gibson, Jean Claude Van Damme and Sylvester Stallone, who created not one but two iconic American males, Rocky and Rambo.
And these days we have a bumper crop of undersized super heroes — Tom Cruise, Tobey Maguire, Mark Wahlberg and Robert Downey Jr., along with the occasionally macho Johnny Depp and Sean Penn.
Is there something comparable for women? Maybe we could make a list of women who have fairly average looks who play beautiful women on screen. My favorite example of this is Bette Davis in "Mr. Skeffington," where the raving over Bette's beauty occasionally crosses the line into the laughable. No man could resist her:
Ah, yes! I remember laughing out loud in the theater when she comes down the stairs and a man exclaims "Fanny! You look beautiful!" And check out that death-bed dialogue: "A woman is beautiful only when she is loved." That's what the plain women in the audience — next to the hubbies they dragged to the chick flick — long to believe.
“I was in London recently going through the airport and these new machines have come up, the body scans. You’ve got to see them. It makes you embarrassed – if you’re not well endowed,” said [Indian actor Shahrukh] Khan....
On the downside: Airport personnel are going to be looking at all of us naked and will have the power — if they choose to violate official policy — to print out pictures that could be distributed and displayed anywhere. On the upside: Shahrukh Khan is well endowed.
A brilliant bit from the Ricky Gervais sitcom — not to be confused with a "shitcom" — "Extras," the first 2 seasons of which we've been watching/rewatching on HBO Video on Demand.
... "perpetuating banality and contributing to the dehumanization of the industry."
"I feel I am an aristocrat in my field of endeavor... My being part of 'Bonanza' was like Isaac Stern sitting in with Lawrence Welk."
The gloriously prideful actor, Pernell Roberts — dead at age 81.
And now all the "Bonanza" actors are dead. I was 14 years old when Roberts left the show in 1965. Somehow, Adam — Roberts's character — was my favorite of the Cartwright brothers. Everyone had a favorite Cartwright brother. My older sister liked Little Joe. She also preferred Dr. Kildare, while I was for Ben Casey.
