I’ve been trying to find the name of the gravel-voiced, gray-haired actor playing the FBI guy in this jailhouse conference scene with Junior Soprano (Dominic Chianese). Or the episode in which this conversation happens. No luck so far.

“Junior” and Chianese were born close together — Chianese in 1931, “Junior” in ’29 or thereabouts. Corey Stoll, 45, will play the 40ish Junior in The Many Saints of Newark. Chianese’s best known role before he lucked into his long-running Sopranos role was “Johnny Ola”in The Godfather, Part II, whom Chianese portrayed when he was 42.

And if there’s a God, The Many Saints of Newark (Warner Bros./HBO Max, 10.1) will play at Telluride. You can tell it has character, texture…you can tell it’s an actual film made by and for people who are invested in Tri-State area mythology. And you can sense that ardent fans of this film will be…how to put this?…somewhat less enamored of Black Widow.

I can relate, by the way. I grew up (painfully) in New Jersey, and I didn’t apply myself in high school either.

Posted on 12.19.19:

Black Widow (Disney, 7.9) has been screened for the usual salivating suspects, including your MCU fanboys and fangirls. I’ll bet $10K that their reactions are, for the most part, completely without meaning or resonance or trust. At 134 minutes it’s almost certainly going to be a form of punishment for anyone who isn’t a Marvel cultist, especially given that it’s half an origin story — a form of imprisonment in itself. A significant (large?) percentage of critics will default with positive reviews due to the gender representation factor (Scarlet Johansson, Florence Pugh, Cate Shortland directing). But you know what’s coming. Almost certainly a burn, completely negligible, etc. I’m not looking forward to sitting through two hours and 14 minutes of this — what reasonable person of taste would be? Plus Natasha Romanoff has left this mortal coil. Yes, of course — death is an utterly meaningless concept within the MCU, but I saw Endgame…

Ned Beatty‘s recent passing took a lot of us back to John Boorman‘s Deliverance (’72). Released 49 years ago, it was perfect for its time, but would probably not be right for ours. Sometimes it’s better to leave well enough alone.

It’s too white, for one thing. And I’m not sure audiences would want to see an action thriller triggered by the anal rape of an overweight suburban salesman by some unwashed toothless hillbilly — that’s some rough stuff. But what a primal, fascinating tale.

Deliverance was the first and possibly the last well-made drama that scared viewers half to death with the idea that city and suburban folk should stay the hell out of the primitive areas of this country and far away from the residents of these cultures. A film that said “you don’t want to know those people, and they don’t want to know you.”

The basic attraction of Deliverance is the thrill, danger and horror of four suburban guys on a nourishing canoe trip down a beautiful wild river, and how, for a while, it all seems like the greatest woodsy adventure ever.

Until everything turns around in the darkest way imaginable…sexual assault, bloody murder, hiding a body, another killing, a subsequent life or death struggle to survive by having to kill again and and then, back in civilization, having to lie their way out of a possible arrest and prosecution in the aftermath. And all it happening in the midst of a bucolic hillbilly hell — leafy, primal, horrific.

Did Deliverance paint an incorrect and malicious portrait of deep-rural types? Yes, and them’s the breaks. But there’s never been another horror film quite like it. And despite the restrained realistic vibe and first-rate dialogue and Vilmos Zsigmond‘s magnificent cinematography, that’s exactly what it is — a southern nightmare trip.

I wonder how familiar under-40 audiences are with Deliverance, and whether a remake could work. Would there be complaints from the LGBTQ community that a depiction of male rape might somehow demonize homosexuality? (I’ve always wondered if the male rape scene in Pulp Fiction was inspired by Deliverance.)

I’m also wondering how the original would have played if Sam Peckinpah had directed it. It’s probably for the best that he didn’t. The film benefits from Boorman’s deft, somewhat artsy touch.

I’m also wondering how it would’ve played if Gene Hackman, Lee Marvin or Jack Nicholson had played the Jon Voight part. Or if Marlon Brando had played the Burt Reynolds role. Or if Donald Sutherland or Charlton Heston had taken a whack at it.

Any time someone posts any kind of “hooray, the Donald is going down!,” the HE commentariat always says “take the needle out of your arm…nobody is going to indict a rich ex-President and make it stick…the man is all but bulletproof…the only thing that can stop him is death itself,” etc. Please tell me what is suspect or unlikely about what Richard Signorelli has tweeted here. Loans will be called in, properties will be liquidated, no new deals, no liquor licenses, etc.

This is an old revisionist routine, but just for the record I thought I’d re-award some of the 1990 Oscars (i.e., the winners of the 63rd Academy Awards that aired on 2.13.91 or 30 and 1/2 years ago).

Original Best Picture winner: Kevin Costner‘s Dances With Wolves. HE re-chosen winner: Martin Scorsese‘s Goodfellas. Other nominees: Awakenings, Ghost, The Godfather Part III.

Original Best Director winner: Kevin Costner (Dances with Wolves). HE re-chosen winner: Martin Scorsese (Goodfellas). Other nominees: Francis Coppola (The Godfather Part III), Stephen Frears (The Grifters), Barbet Schroeder (Reversal of Fortune).

Original Best Actor winner: Jeremy Irons, Reversal of Fortune as Claus von Bülow. HE winner: Ditto — no change. Other nominees: Kevin Costner, Dances with Wolves; Robert De Niro, Awakenings; Gérard Depardieu, Cyrano de Bergerac; Richard Harris, The Field.

Original Best Actress winner: Kathy Bates, Misery. HE winner: Ditto — no change. Other nominees: Anjelica Huston, The Grifters; Julia Roberts, Pretty Woman; Meryl Streep, Postcards from the Edge; Joanne Woodward, Mr. and Mrs. Bridge.

Original Best Supporting Actor winner: Joe Pesci, Goodfellas. HE winner: Ditto — no change. Other nominees: Bruce Davison, Longtime Companion; Andy García, The Godfather Part III; Graham Greene, Dances with Wolves; Al Pacino, Dick Tracy.

Original Best Supporting Actress winner: Whoopi Goldberg, Ghost. HE re-chosen winner: Lorraine Bracco, Goodfellas. Other nominees: Annette Bening, The Grifters; Diane Ladd, Wild at Heart; Mary McDonnell, Dances with Wolves.

Original Best Original Screenplay winner: Ghost, Bruce Joel Rubin. HE re-chosen winner: Metropolitan, Whit Stillman. Other nominees: Alice, Woody Allen; Avalon, Barry Levinson; Green Card, Peter Weir.

Original Best Adapted Screenplay winner: Dances with Wolves, Michael Blake. HE re-chosen winner: Reversal of Fortune, Nicholas Kazan. Other nominees: Awakenings, Steven Zaillian; Goodfellas, Nicholas Pileggi and Martin Scorsese; The Grifters, Donald E. Westlake.

I was flirting with the idea of catching a Los Lobos concert at the Greek amphitheatre on 8.21. The last time I caught a Greek concert was almost exactly six years ago (6.20.15) — a Brian Wilson Beach Boys concert for the ages.

The seats, comped by Lionsgate / Roadside to promote Bill Pohlad‘s Love and Mercy, were somewhere in the right-side B section — the third-best seats you could get. The Los Lobos seats will be strictly cash-on-the-barrelhead, of course.

If I want to sit in the GA PIT section for the Los Lobos show, it’ll set me back $331 per seat or $662 for two of us…not bad! A Center section seats (green) are about the same — $335, $670. If I want to go the El Cheapo route by sitting in the north or south terrace section (violet), the price plummets to $257 or $267 per seat or $314 or $334 for two.

It’s entirely possible that I’ll never attend another large-stadium concert again, and I’m speaking as someone who attended quite a few back in the day. One of my favorite Greek concerts was a Boy George show in ’84 or thereabouts…”I’m Afraid of Me,” etc.