In His Shoes

Unless he somehow manages to commit suicide, Bernie Madoff is going to die in jail. That seems appropriate to me, but I’m wondering why he didn’t just run for it when he had the chance. He knew the Feds were on his tail and it was just a matter of time. I’m asking because something in me can’t help but sympathize with a caged bird, especially when he/she is looking at life in the slammer.

If I was Madoff I would have prepared for my escape and disappearance during my ponzi-scam days. All criminals need to face the fact that sooner or later they’ll be forced to lam it. I would have socked away massive amounts of cash in a few Swiss, Cayman Islands and Venezuelan bank accounts under fake names, with debit and credit cards attached to each account. And I would have hired pros to create several sets of first-rate fake IDs and fake passports. And I would have arranged in advance for plastic surgery with a first-rate specialist based in Moscow.

I would have slipped out of Manhattan before the Feds arrested me. I would have taken a private plane to northeastern Canada and then another to Iceland, and then a third to Belgium. I would then enjoy a leisurely car trip to Russia, my pockets and briefcase stuffed with several hundred grand in Euros, ready to bribe whenever necessary. I’d meet my plastic surgeon somewhere in the Ukraine — haven’t decided where.

After the operation I’d move to Tartu in Estonia and recover for six or seven weeks. Then I’d drive down to Moscow and hire myself a team of four elite bodyguards — two guys, two women — and invest in the finest electronic security systems and outfit all my homes with them.

Then I’d make my way to Vietnam. I’d probably build myself a high-security home in the Central Highlands and live in it for two or three months — no more. The eventual plan would be to have several “safe houses” but never stay in any one for very long. Always moving, never sleeping with more than one eye closed, “like Yassir fucking Arafat.”

I’d buy a 100-foot sailing craft and move around from port to exotic port like a wandering character in a Joseph Conrad novel. I’d hire three full-time prostitutes to travel with me, but they’d have to be prostitutes who know how to sail. I might smoke opium from time to time. I’d pay for even more hookers to drop by on weekends, but they’d have to be highly educated and well-read. No booze, no cigarettes. But I’d chill out with quaaludes from time to time.

I’d volunteer with Red Cross organizations to help the poor. I’d move to Darfur and try and use my money to try and purchase some level of comfort or protection for the poor who live there. I’d move the operation to the Amazon jungle from time to time. I’d see about getting to know Hugo Chavez (although he might not want to know me). I’d travel to the South Pole and then to South Africa, and then take a ferry to Madagascar. I’d catch plays in London twice a year. I’d buy a studio in Montmartre that I’d visit every four or five months for a week or two. I’d always stay inside days, reading and watching movies on my 52″ LCD flatscreen, and working out on a treadmill. I’d go out to dinner and for walks in the evenings, wearing shades and a fishing hat.

I’d eventually get pinched, of course. Sooner or later somebody would sell me out or spot me (even with my altered appearance). But I might stay free for two or three years, and at least I’d have a great adventure under my belt and many things to remember before spending the rest of my life in miserable confinement.

Boy Meets Boy

John Hamburg‘s I Love You, Man “cranks out the kind of lowball humor that makes you gag on your own laughs,” writes Variety‘s Todd McCarthy. “Ever alert for opportunities to drop dirty bombs — and compelled to repeat every below-the-belt joke at least one time too many — pic never surmounts a deeply lame central premise that makes most of the action seem fraudulent and thoroughly unnecessary.


I Love You Man‘s Jason Segel, Paul Rudd

“[It] is propelled by the perplexing notion that a young man isn’t properly prepared for marriage or life in general unless he has a best male friend and, in the bargain, a guy who merits being his best man at the nuptials. It’s a rare film that features an operating principle less compelling or credible than this, although the script by John Hamburg and Larry Levin makes use of it to put Peter Klaven (Paul Rudd) into a succession of awkward and embarrassing encounters that can easily be — and are — misconstrued in aspiringly comic ways.

“But the notion of sending him on ‘man-dates’ in search of a best friend proves preposterously contrived, as if such a confidential and symbiotic relationship could be formed anywhere near as quickly as falling in love, or certainly lust. Add the fact that Peter’s fiancee becomes completely and understandably alienated by the process and the annoyance level hits the red zone. All the picture lacks is a nudgy mother constantly asking, ‘So when are you going to get a best friend already?'”

Watchmen Is Over

Everyone expected Watchmen to experience a steep revenue drop (40% or 50%) on its second weekend. Hardcore geeks contributed $55 million and change last weekend, but the mainstream crowd wasn’t expected to follow suit. But a drop of 71%, as reported by Big Hollywood’s Steve Mason, is devastating. And a 73% drop, as reported by Deadline Hollywood Daily‘s Nikki Finke, is obviously worse news.

The weekend’s #1 film is Disney’s family-friendly Race To With Mountain, which will probably earn $24 million and change.

Blurred Realms

“In the last couple of years the industrious Joe Swanberg has managed to turn himself into an identifiable independent name despite having evinced little initial filmmaking talent,” N.Y. Times critic Manohla Dargis has written. “Things look better, however, in his latest effort, Alexander the Last, a 72-minute (including credits) series of loosely connected scenes.

“For starters, he finally has a real actress to look at and undress, the charming, vibrantly alive Jess Weixler, who plays Alex, a rather less appealing actress struggling with the divide between life and art. As important, Alexander comes with an imprimatur of legitimacy because the filmmaker Noah Baumbach (Margot at the Wedding) has signed on as a producer. It’s hard to imagine Mr. Baumbach putting his name to anything without some creative input.

“The story in Alexander emerges elliptically after Alex’s musician husband, Elliot (Justin Rice), heads out for a spell. She soon lands a part in a theater production (the movie was shot in Brooklyn), playing the romantic foil to a vague young man, Jamie (the equally hazy Barlow Jacobs), for whom she develops…well, a vague interest.

“The two advance and parry on and increasingly off the stage, even as Alex’s sister, Hellen (Amy Seimetz), moves in on Jamie. Inhibitions and clothes are shed amid awkward silences, lurching conversations and tentative gestures as the focus shifts between life and the theater, and the two realms become more and more blurred, at least for Alex.

“The only thing truly in focus here is Ms. Weixler’s performance.”