Before Today I Hadn’t Read…

…that Andrew Dominik‘s Blonde might be some kind of sexually shocking envelope-pusher…taken together, an alleged rape plus a moment of bloody cunnilingus sounds roughly equivalent to the “go get the butter” scene from Last Tango in Paris…something that audiences might respond to with a gasp and a “holy shit.”

When Netflix bumped Blonde into ’22 the assumption in this corner was “oh, okay, sounds like a bust of some kind.” Now it sounds like bravery and a different equation. Do I know that “Ana de Armas Updates” is telling the truth? No, I don’t. But at the very least I’m intrigued.

Update: Apologies for missing the fact that World of Reel‘s Jordan Ruimy broke the gist of this on 8.1.

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BIODROME Is My Pick

Here are three Mark Frenden logos that will herald three features for forthcoming HE paywall content…BIODROME is self-explanatory, a chapter-by-chapter stream of biographical material…YELLOWING with antiquity is basically scans of old articles from the ’90s and early aughts (EW, L.A. Times Syndicate, Mr. Showbiz, Reel.com, Movie Poop Shoot) with present-tense commentary and perspective…and TALK’S CHEAP is the heading for podcast material, which I’ll try to generate at least once if not twice weekly.

CODA Is Coming…

Posted on 2.3.21: Sian Heder ‘s much-adored, Sundance award-showered CODA (Apple +, 8.13) is moderately appealing and nicely made for the most part. Understand, however, that it’s an “audience movie” — aimed at folks who like feel-good stories with heart, humor, romance and charm.

It’s about a shy Gloucester high-school girl named Ruby (Emilia Jones) with a decent if less than phenomenal singing voice. She’d rather attend Boston’s Berklee College of Music than work for her deaf family’s fishing business, we’re told. The film is about the hurdles and complications that she has to deal with in order to realize this dream.

CODA is one of those “real people struggling with life’s changes and challenges” flicks, but given the fishing-off-the-Massachusetts-coast aspect it’s fair to say it’s no Manchester By The Sea — trust me. It’s a wee bit simplistic and schticky and formulaic -— okay, more than a bit — and contains a fair amount of “acting.”

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Moan and Groan

One of my fondest childhood memories (cliche!) is lying in bed at night and listening to not-so-distant freight and passenger trains clattering along, and especially to that whauuggghhhh sound…that honky, drawn-out groan…one of the great all-time reminders that life pushes on and that endeavor and industry never sleep, which is generally comforting.

In this age of instant everything, of GPS and constant insulation from the raw cacophony of things, of whirring, nearly-silent electric cars and digital this and that, four or five remotes in every living room, remotes everywhere, instant image and video available to any student or bedridden grandma or poor kid in Pakistan, OLED flat panels delivering instant Cary Grant in 1080p, 4K now and 8K before long…

In the midst of all this it’s really pretty wonderful to listen to or, better yet, board one of these huge, churning, rumbling remnants of 19th century technology, buckling and bellowing as they pull into a series of modest-sized stations (like the Metro North line between New Haven and Grand Central Station) an hour or so later…it makes you feel so completely on top of your life, so soothed and connected to the hum of things.

Bedsheet Cinema

What would be your reaction if, say, a friend invited you to a home screening of Robert Siodmak‘s The Killers? Not a viewing of the Criterion 1080p Bluray version on a 77-inch Sony Bravia OLED 4K UHD TV, but a 16mm print projected onto a big sparkly screen or perhaps even a bedsheet?

If you’re a serious film buff, your reaction would be “damn right” — a church service with friends! The rickety-clickety-rickety-clickety sound of the projector, two big reels, the sharp beam of light, the bassy-squawky sound.

Miklos Rosza‘s main-title theme (hohm-buh-BUM-bohm) was half-stolen by the Dragnet series, which premiered in 1951 — the composer was Walter Schumann.

The nub of The Killers is this — Burt Lancaster‘s Pete Lund is a loose cannon and pretty close to an idiot — he has the emotional constitution of a sullen, poorly raised ten-year-old. If you ask me Lund had those bullets coming for ripping off his partners in that robbery so he could spend the dough on Ava Gardner, except she was no good for the start…that was obvious. So he was a fool, a sap.

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KStew vs. Corrin

There’s an expectation that Pablo Larrain‘s Spencer (Neon), a drama about Lady Diana deciding to ask Prince Charles for a divorce during a weekend getaway, will play at the 2021 Telluride Film Festival. And so, being the conscientious type, I thought I’d better watch season #4 of The Crown, which deals significantly with that ghastly arctic relationship between them.

Kristen Stewart (aka KStew) and Jack Farthing play the Princess and Prince of Wales in Larrain’s film; Emma Corrin and Josh O’Connor play them in The Crown.

I watched the first three episodes of season #4 last night, and emerged deeply impressed by Corrin’s Diana (she not only resembles the late ex-royal but has the long-legged height factor, which is more than you can say for KStew) as well as O’Connor’s Charles.

Corwin certainly conveys Diana’s youth and naivete, and O’Connor’s Charles is the very essence of a human worm…a prissy, chilly, cowardly snob with a stooped-over posture and one of the coldest emotional cores I’ve ever felt from a series regular. Plus he closely resembles Charles.

KStew is said to be quite good in Larrain’s film, but she’ll have to do a lot to outshine Corrin.

Jordan Ruimy posts a research screening reaction: “Spencer sucks you right into Princess Diana’s head. It’s a chamber piece and one that will probably anger a lot of fans of The Crown, who will expect some kind of mainstream entertainment.

“Larrain’s movie isn’t the least bit ‘mainstream’ — it’s a Pablo Larrain film, and if you’ve seen Jackie then think of this as its spiritual successor, but in a very limited setting and with a lot more dialogue.

Spencer is a sensory experience about the inner demons Diana had during her days with Charles, characters come and go but she remains firmly there in every scene. There will be a lot of pushback on this movie from royal apologists, who will claim that [some of] Steven Knight’s script is pure fiction, and maybe it is, but who are we to deny that Diana was basically stuck in this claustrophobic and highly stressful situation?”

HE reaction: She was the beloved Diana, Princess of Wales, with a certain agency — she wasn’t stuck in anything. Alas, this is EXACTLY what Larrain did with Jackie. He took Noah Oppenheim‘s straightforward script about Jackie Kennedy‘s experience from JFK’s 11.22.63 assassination to the 11.25.63 burial at Arlington, and turned it into a meditative, meandering metaphysical mood piece (i.e., “what’s it all about, Jackie?”.)

How anxious and paranoid could Diana have possibly been as she was telling Charles that their union was finished? Okay, she’s in a shitty marriage and the Windsors are a powerful family, but what are they gonna do? Have her strangled?

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Saluting Marcia Nasatir

The great Marcia Nasatir, a brilliant, pioneering producer who nudged her way into the chauvinistic Hollywood culture of the ’70s and became, in ’74, the first female vp production at a major Hollywood studio (United Artists), has passed at age 95.

Nasatir’s proudest producing achievement, certainly the one for which she’s best known, was Lawrence Kasdan‘s The Big Chill (’83).

At UA Nasatir also had a hand in finessing and/or guiding along One Flew Over the Cuckoo’s Nest, Carrie, Coming Home, Three Days of the Condor, Rocky and Carrie. She moved to Orion in ’78, and then to Carson Productions, where she exec produced The Big Chill. As an independent producer, Nasatir oversaw and otherwise nurtured Hamburger Hill, Ironweed and Vertical Limit.

I knew Marcia to shmooze with at parties in the ’90s and aughts — always gracious, always witty and wise. And I loved “The Real Geezers,” her video movie-review series with Lorenzo Semple that ran in the mid to late aughts.

Please consider watching Anne Goursaud‘s A Classy Broad: Marcia’s Adventures in Hollywood, a 2014 documentary.

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Deflection, Ducking

In the wake of a damning 165-page report about NY governor Andrew Cuomo‘s allegedly intimidating behavior with certain women, announced this morning by New York State attorney general Letitia James, the governor has issued a video response that basically says “I’m sorry that these women reacted as they did but that wasn’t where I was coming from.”

No resignation, no quarter, same deflection.

We can all sense or read into what probably happened during these various alleged episodes, but Cuomo is going to sidestep them regardless.

N.Y. Times summary of one episode: “A few days later, Charlotte Bennett, a former executive assistant to Mr. Cuomo, told The New York Times that the governor made comments that she took as sexual overtures while they were alone in his Albany office last year. Ms. Bennett said Mr. Cuomo said he was looking for a girlfriend and asked her whether she was monogamous and had sex with older men.”

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String Him Up

Born in 1970, Matt Damon was raised in Cambridge, which can be a rough and brutish culture as far as old-school Boston machismo is concerned. He eventually moved up and out of Cambridge, of course, but you can never entirely rid yourself of the old ‘hood. Pieces and shards of your upbringing have a way of sticking to your skin, and there’s no washing them off completely.

Hence the difficulty Damon has gotten himself into after telling the UK Sunday TimesJonathan Dean that “he only stopped using the “f-slur for a homosexual” months ago.

Damon clarification: “I have never called anyone ‘f****t’ in my personal life…I do not use slurs of any kind. I have learned that eradicating prejudice requires active movement toward justice rather than finding passive comfort in imagining myself ‘one of the good guys.’ And given that open hostility against the LGBTQ+ community is still not uncommon, I understand why my statement led many to assume the worst. To be as clear as I can be, I stand with the LGBTQ+ community.”

Tens of millions of young straight guys who rocked and bopped around in the early to mid ’70s…they were all familiar with certain derogatory terms for gay guys. As urban culture evolved they learned, of course, that failing to jettison those terms…hell, even thinking with such terms would hurt them socially and professionally, and so most of them adapted. But with others the old attitudes hide in the shadows.

Warren Beatty is one of the most socially sensitive and political-minded fellows I’ve ever spoken to — he’s very, very careful with what he says and always uses the most oblique terminology he can think of. And yet even Beatty, in the person of George Roundy, used the “f” epithet in this scene with Carrie Fisher in Shampoo (’75), which was released when Damon was five years old. If Beatty and the Shampoo guys (Hal Ashby, Robert Towne) were okay with using the term, you can be damn sure that the world did back then and that it wasn’t a big deal to anyone. [The passage I’m referring to starts at the seven-second mark, and the epithet is repeated by Fisher at the 37-second mark and again at 1:02.]

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Wokeness, Quality of Outcome, Eating Shit

Earlier today Sasha Stone and I discussed the woke choker that progressives have managed to wrap around the Hollywood industry’s neck, at least as far as hiring and standards and award season values are concerned. Various forms of progressive purity are being insisted upon by the comintern, and if you don’t get in line the whip will come out and perhaps even the stick.

The industry is basically experiencing a shift from the idea of equality of opportunity (i.e., the classic liberal code) to a new social code that requires equality of outcome (wokesterism).

3:04 mark: “Basically what’s going on in the progressive left is a conviction that people of color, for a couple of hundred years or 155 years if you start back in 1865, have had a horrific experience in many ways and [have] certainly led suffocating lives in terms of opportunity and basic fairness….we all know the story of racism in this country. or at least we have some idea of it…and the current idea is that things now have to switch around…in some ways the short end of the stick is going to people of European descent because they have had the upper hand for so long, and it’s time for them to eat shit basically.

“When you think about the symmetry or the balance of this, it’s not a ridiculous idea. But of course, people don’t like eating shit, no matter what the reason is. So naturally there are people who feels it’s gone too much in that direction (i.e., righties). But right now, that’s the way it is.”

Girlfriend Chronicles

[Posted on HE Plus on 10.10.18] If the definition of a successful heterosexual relationship is one that lasts a long while, then I’ve pretty much been an embodiment of failure my whole life. I’m thinking it couldn’t hurt to review this life-long pattern from time to time. If you find this sort of thing icky or tedious, fine — don’t read it. But I have lots of stored-up material.

My basic problem is that in the realm of serious, committed relationships I’ve always been emotionally and spiritually attracted to women of character, steel and substance, which is to say strong, smart, bossy women like my mother. But for whatever reason I’ve always felt less than fully “attracted” to these women on a long-term basis, and so sooner or later — sadly, lamentably — the sensual, Henry Miller or Anais Nin-type currents have always seemed to fall away.

I’ve always completely trusted and valued the various mother-figure types, but I’ve always had a strange concurrent thing for exotic fruit — unhappy or bothered women, passionate loonies like my late sister, impulsive poet-kooks, MILFs when I was in my teens and 20s, kamikaze women, curvy fly-by-nighters and gloomheads of various shapes and modes.

I’ve never been able to reconcile the two, and now that my chasing days are over I’m realizing that my inability to settle into one frame of mind is the fundamental reason for my lifelong failure to find any semblance of long-lasting peace with this or that woman.

The best I can say for myself is that I’ve had good chapters in my life — periods when things were working out pretty well on a professional or creative front, which have left me with a semblance of calm and self-respect, which in turn allowed for the offerings of emotional consistency and trust and financial security as far as that went with journalist-level income, which was never very far.

The best relationships I’ve had with women over the decades have been those of a non-sexual nature, or those that began sexually but then moved past that. I’m glad to say that several women have become this kind of friend and confidante — women whom I love, trust, respect and will always feel close to, and thank fortune for that.

Low self-esteem — a psychological malady that came from my father’s alcoholism — has been tugging at my psyche from the time I was four or five years old, but it really ran the show for the first 25 or 30 years. I know I was plagued with sexual insecurity — a fundamental restlessness or unhappiness with almost every aspect of myself when young — and so the attentions of women were mostly coated with anxiety and terror and feelings of unworthiness until I hit my stride as a writer-journalist in my 30s, and even then things were touch-and-go.

I’ve never regarded myself as any kind of prize, and I’ve felt enormously grateful and redeemed whenever a woman whom I regarded as saucy, formidable or otherwise fetching opened her heart and waved me in, so to speak. I was a complete romantic failure with women until I was 19. I became a total hound in the ’70s and early ’80s, which is when my batting average shot way up. I mentioned a few years ago that the tally is around 175, give or take. I began to make a serious count sometime around ’78, writing down names and dates on a diary-like journal when I was living in a cockroach-infested apartment on Sullivan Street. It took a couple of months but I gradually compiled a list of around 135.

I was out of the game after getting married in ’87, and back into things after the divorce in ’91. I’ve been seriously in love with maybe six or seven women, up to and including my present wife Tatyana.

I came to a realization that I’d bonded with my first “girlfriend” when I was six or seven. I became close with my second significant girlfriend when I was eight or nine. My first “sexual” experience was an awkward thing in the backseat of a car when I was 16 or thereabouts. (Such things happen from time to time.) I only wish I’d been lucky enough to be seduced by a junior-high-school teacher or a divorced or disloyal MILF at that age.

The second most painful relationship of my life was with a Connecticut high-school blonde who had two other boyfriends besides myself, and I wasn’t even a boyfriend but a kind of relief pitcher who never even warmed up in the bullpen. The most painful, achey-brakey, slow-drip relationship of my life was with a married woman whom I met in the offices of People magazine — a relationship that lasted for two and a half years, and which was arduous and humiliating at every turn.