Month: October 2023

HE-posted on 7.31.17: I’ve never called Somewhere In Time a great or even a top-tier film, but it did develop a cult following about a decade after it opened, and it has — or more accurately had — one of the most beautifully executed single-shot closing sequences in a romantic film that I’ve ever seen, and one that almost certainly influenced the dream-death finale in James Cameron‘s Titanic.

I’m speaking of a longish, ambitiously choreographed, deeply moving tracking shot that’s meant to show the viewer what Reeve’s character, Richard Collier, is experiencing on his passage from life into death. I saw it at a long-lead Manhattan screening of Somewhere in Time 37 years ago, but no one has seen it since.

That’s because some psychopathic Universal exec (or execs) had the sequence cut down and re-edited with dissolves. The version I saw allegedly no longer exists. All that remains today is the abridged version.

The sequence was a single-take extravaganza accomplished with a combination crane and dolly. It happened as Reeve’s character, Richard Collier, is dying on a bed in a Mackinac Island Grand Hotel room. His spirit (i.e., the camera) rises up and above his body, and then turns and floats out the hotel-room window and into a long, brightly-lighted hallway and gradually into the waiting embrace of Collier’s yesteryear lover, Elise McKenna (Jane Seymour).

I asked about this sequence when I happened to run into Somewhere in Time cinematographer Isadore Mankofsky at the 2004 Newport Beach Film Festival. I told him how much I admired it, etc. Mankofsky said that as the film was about to be released some executive at Universal decided that the shot went on too long and trimmed it with a couple of fade-edits.

This was vandalism, pure and simple. The people who caused this sequence to be destroyed should be identified and shamed and if possible pilloried in front of Universal Studios.

Mankofsky told me that as far as he knew the original cut of this closing sequence no longer exists, but he wasn’t entirely sure.

According to 2023 Hamptons Film Festival correspondent and HE friendo Bill McCuddy, Elizabeth Chai Vasarhelyi, the co-director of Nyad, doesn’t believe in directorial authority, at least as far as her relationship with her lead actors is concerned.

She and her co-director husband Jimmy Chin were apparently more into the idea of allowing their Nyad costars, Jodie Foster or Annette Bening, to take charge on the acting and go wherever their instincts lead them, regardless of any possible directorial viewpoints.

“I would never tell Jodie Foster or Annette Bening what to do,” Vasarhelyi said during some kind of post-screening q & a. “But they are the difference between fiction and non-fiction. The emotional story, the instincts, the craftmanship are very similar. You just have a lot more resources in fiction.”

I immediately wrote McCuddy and asked, “Did Vasarhelyi actually say this?”

Can anyone in the HE community imagine David Fincher saying, “I would never tell Jodie Foster or Annette Benning what to do”?

What is Vasarhelyi, some kind of pushover or kiss-ass?

Nobody did double backflips over Nyad in Telluride, I can tell you. It was respected but no one was going “oooh! oooh! oooh!”

Down here on earth, the RT consensus is that David Gordon Green‘s The Exorcist: Believer is a stinker.

Chris Rock knows that his forthcoming Martin Luther King biopic, reported yesterday by Deadline‘s Mike Fleming, can’t be hagiography.

This partly means that it has to get into MLK’s infidelities with white women, which the FBI’s J. Edgar Hoover, armed with with secretly recorded motel-room tapes, tried to blackmail King with.

Years ago Oliver Stone and Paul Greengrass wanted to explore this aspect in their own respective King biopics, but both projects stalled. (Greengrass’s was titled Memphis.) On 1.17.14 Fleming reported the skinny.

If Rock paints a saintly, over-reverent portrait he’ll put everyone to sleep. Surely he understands this.

The fact that Rock’s untitled film is based upon Jonathan Eig’s “King: A Life” suggests that Rock will be taking at least something of a warts-and-all approach.

The book has been described by its publisher as an “intimate portrayal of King as a courageous but emotionally troubled individual who demanded peaceful protest while grappling with his own frailties and a government that hunted him.”

An 8.14.23 Amazon review by Bill Emblom states that Eig’s book “covers the adulteries that King was involved in…[the ones] that Hoover wanted to ensnare him in through bugging his phone or room at the Willard Hotel in Washington.”

Football star and actor Jim Brown was into white women also. Was this due to Brown being a somewhat frail, emotionally troubled guy, or was it because his tastes simply led him in this direction? Remember that Spartacus scene in which Laurence Olivier‘s Marcus Licinius Crassus says he enjoys both snails and oysters? Were Crassus’s appetites an outgrowth of his being an emotionally unstable fellow? As J.J. Hunsecker once said, “Are we kids or what?”

Steven Spielberg will executive produce via his Amblin with Kristie Macosko Krieger producing.

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Five and two thirds years ago (1.14.18) I posted a piece called “New Oscar Bait Hinges on Tribal Identity,” in which I attempted to gauge the pulse of Hollywood’s award-season wokesters.

Stand-out comment #1 was from filmklassik: “A bit cheeky to say ‘never ever again’ (because who the hell knows?), but yeah, in this particular cultural moment it is all about Tribal Identity. And what’s disturbing is, we have a whole generation now for whom Tribal representation is, to use one critic’s word, numinous. The under-40 crowd has invested Race, Gender and Sexuality with a kind of cosmic significance. It doesn’t mean a lot to them — it means everything to them. Indeed, much of their conversation and writing seems to always come back to it.”

Stand-out comment #2 was written by Dan Gaertner: “Will Jeff Wells, Sasha Stone and Tom O’Neil be around in 5 or 10 years? To the new millennial film/award race culture, they’re dinosaurs from another dimension. They don’t approach film, art, or awards in the same fashion. They are tuned into a completely different frequency.”

HE to Gaertner [10.6.23]: Sasha and I are definitely still around, and to our way of thinking we aren’t dinosaurs but sensible, feet-on-the-ground realists and straight talkers. Tom O’Neil used to be a tough nut, but he joined the wokester cabal eight years ago when Jay Penske purchased Gold Derby. O’Neil became a Gold Derby consensus manager more than an occasional opinion guy.

Nearly seven years ago I noted something about Lily Gladstone‘s emoting as Jamie, a lovestruck ranch hand, in Kelly Reichardt‘s Certain Women. I noted that Gladstone’s quiet performance, which won her a Best Supporting Actress prize from the Los Angeles Film Critics Association (LAFCA), “registers in a demure, low-key way,” but is “more or less a one-note thing, expressive but largely non-verbal.”

Does that description remind anyone out there of a more recent Gladstone performance?

[“Unrequited Love is The Only Kind That Lasts,” posted on 12.6.16] For one brief moment yesterday, Lily Gladstone‘s performance as a smitten horse stable worker in Kelly Reichardt‘s Certain Women became a thing. Okay, it’s still a thing today. Perhaps her pop-through will gather a certain esteem between now and the announcement of Oscar nominations in January. Gladstone’s performance certainly registers in a distinct, low-key way, and it’s at least conceivable that Academy and guild members will take notice and vote for her. If, that is, they can get through Reichardt’s film, which has struck some (myself included) as a “watching paint dry” experience.

I didn’t need reminding but I’ll bet a lot of people had never given Gladstone’s turn a second thought until the Los Angeles Film Critics Association gave her their Best Supporting Actress award — a decision that seemed questionable if not eccentric given that it necessitated a blow-off of Michelle Williams‘ world-class emoting in Manchester By The Sea.

I certainly realized that Gladstone was a big stand-out element after watching Reichardt’s film at last January’s Sundance Film Festival. But her performance is more or less a one-note thing, expressive but largely non-verbal — “I’m a Belfry-residing stable hand who’s sad and isolated but deeply intoxicated with the idea of having Kristen Stewart as my lover, and I can’t wait for her next biweekly law class so I can sit there and ignore her teaching so I can just sink into her beauty.”

Gladstone freaks when Stewart’s character decides to stop commuting from Livingston to teach the Belfry class, and so she drives all the way to Livingston herself to tell Stewart that she’s got it bad for her — a confession that Stewart obviously doesn’t want to hear, much less deal with.

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Who would be ideally cast as Lana Turner, Johnny Stompanato, Cheryl Crane and Jerry Giesler?

Do Millennials and Zoomers have the faintest clue about any of the players in this sordid, 60-year-old saga? I doubt it.

Terrence Winter (Boardwalk Empire, The Sopranos, The Wolf of Wall Street) has presumably written the screenplay, and would produce.

…Nikki Haley would be the Republican frontrunner, and you know what would almost certainly happen in a one-on-one against President Joe Biden? Haley would win.

[Originally posted on 4.6.20]

“Height is to men what breasts are to women,” an HE commenter said three years ago. To some extent yes, but not necessarily. Or not entirely. Tall or tallish guys enjoy an obvious pecking-order advantage, but towering fellows (6’5″ and up) can seem gangly and galumphy. Or even a tad freakish.

The bottom line is that broad shoulders are the real bodacious ta-tas in the XY realm. I came into broad shoulders when I turned 13 or 14, and believe me I know about the benefits. Ask anyone who’s been lucky by way of genetic inheritance. If you have broad-ass shoulders, you’re halfway home in terms of general estimates, job interviews, receptive women, etc.

By the same token narrow, rounded shoulders are generally not a good look. There’s never been a rounded, narrow-shouldered guy in the history of the planet who’s ever said “man, I am so lucky that I don’t have broad shoulders!” I see a fellow with narrow shoulders and I think “well, okay, I’m sorry…he’s obviously had his share of struggles.”

From “Physical Dominance vs. Psychological Security,” posted on 6.19.19: “I was in love with Alan Ladd and I went to a party at Romanoff’s. I’m 5’7” but in heels I’m 5’9” or 5’10”. They said, ‘Shirley, your favorite actor is here…come and meet him.’ I turned around. He was there and I went, ‘Oh hi, Mr. Ladd.’ He was about 4’9” and all my admiration disappeared literally in the dust.” — attributed to Shirley MacLaine but who knows?

Ladd was notoriously insecure about his height, which (to go by most accounts) was somewhere between 5’5″ and 5’6″. For his entire professional life this psychological albatross was draped around the poor guy’s neck. On the other hand James Cagney was roughly the same size (5’6″ or thereabouts) and he never squawked about it. He spent his whole adult life playing tough urban guys who slapped, punched or psychologically dominated other fellows, and nobody ever said “Jeez, he’s kinda short.” They said, “Shit, here comes Cagney…watch out.”

In short (pun), a good part of life is about owning the right kind of psychology — about feeling secure and confident about who you are and what you look like. It’s about planting your feet, looking the other guy in the eye and saying “take or or leave it but this is me…got a problem with that? Because I don’t.”

On the other hand I understand the Shirley MacLaine mindset. I’ve been a tall, slender, broad-shouldered guy with fairly good hair (augmented by Prague-installed follicles when I got older) all my life. I’ve been that guy since I was 11 or 12, and by the time I hit my early 20s I was feeling pretty cool about it. I know my looks helped in my hound-dog days in the ’70s and early ’80s.

But I’ve always had this unfair or prejudiced attitude about short guys, and I mean going back to when I was nine or ten. I’ve always had this belief that guys need to be 5’8″ or taller, and if they’re not…well, not a problem for me personally but they will have a certain gauntlet to contend with on a daily basis. Life is unfair and often cruel.

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