Idle Speculation

When do boys start routinely discussing infidelity or impulsive assignations among their parents’ friends? I wouldn’t know but I remember flipping through the pages of a nudie mag when I was 8 or 9.

I distinctly recall a chat during a third-grade recess. I didn’t actually say anything — I just listened.

Kid #1: “I was at Hornbeck’s last Sunday and his mom’s hair is brown and his dad’s hair is kinda sandy. So how come Hornbeck’s hair is red?”

Kid #2: “Red-haired milkman.”

This dates me, of course. I can’t precisely recall when milk delivery guys began to disappear but they were certainly gone by the time of “Bringing It All Back Home.”

My class visited a milk bottling plant when I was 10 or 11. It was during this excursion that I first realized that each and every cow ends up being slaughtered. Nice feeling. Welcome to the world. little calf! When the time comes you’re going to be murdered. Same with pigs and sheep.

When Priggish Moral Standards Were At An All-Time High

[Something has gone really screwy with WordPress coding. The first two words of the next sentence are supposed to read William Holden and not just William, but the coding won’t cooperate.]

William Holden didn’t have to end up dead in Gloria Swanson‘s swimming pool. And he really didn’t have to submit to self-loathing when he began to fall in love with Nancy Olson’s Betty Schaefer, a fellow screenwriter.

Don’t forget that the second half of Billy Wilder’s Sunset Boulevard was largely driven by self-revulsion — a young male screenwriter (Holden’s Joseph C. Gillis) feeling morally sickened by his willingness to sexually satisfy a 50 year-old former silent-era star (Swanson’s Norma Desmond) in exchange for a swanky lifestyle.

1950 was one sexually uptight year, you bet. It saw both the release of Sunset Boulevard and the widespread condemnation of Ingrid Bergman for having had Roberto Rossellini’s baby outside of wedlock. In the eyes of the general public there was nothing more odious than unsavory sexual behavior…any kind of hanky panky outside the usual proper, middle-class boundaries.

But Gillis could have have just laid his cards on the table as he explained to Schaefer, “Look, I was broke…the finance company was about to take my car away. I’m not evil…I’ve simply been using Desmond and living off her largesse while I figure out my next move.

“Plus I did what I could to finesse her awful Salome script. What’s so terrible about that? Okay, so I’ve been to bed with her a few times. I’ve laid there while she rides me like a stallion…big deal.”

Schaefer: “Don’t worry about it, Joe. You did what you had to do in order to survive. Now pack your things. You’re moving in with me.”

Gillis: “But we haven’t even been intimate yet. And what about your devoted fiancé, nice-guy Artie (Jack Webb)?”

Schaefer: “I don’t love him, not really. Largely because he’s too possessive plus he’s not from the creative side, and writing is my lifeblood. We’re not a great match. I’ve submitted to his sexual advances on occasion but he doesn’t turn me on. I’ve never once blown him and I’m sorry but that means something. This may sound cold but all’s fair in love and war.”

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RIP William Hurt

[Sasha here again – yes, Jeff is fine but occupied at the moment]

William Hurt has died at 71 years old of “natural causes,” Variety reports. 

Hurt is fantastic in Lawrence Kasdan’s Body Heat, in which he plays a hapless lawyer in over his head:

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“The Power of the Dog” Wins Best Picture, Director BAFTA Trophies

[This is actually Sasha Stone posting for Jeff, who is not at his desk at the moment]

Netflix Dominated Awards Weekend, with Jane Campion winning at the DGA, Mitchells and the Machines winning at the Annies and the Power of the Dog topping the BAFTAS, though Dune won the most with five BAFTAs. While Nomadland won Picture and Director last year before going on to win at the Oscars, their recent track record for Best Picture in the era of the expanded ballot hasn’t been that great:

2020-Nomadland/Nomadland
2019-1917/Parasite
2018-Roma/Green Book
2017-Three Billboards Outside Ebbing, Missouri/The Shape of Water
2016-La La Land/Moonlight
2015-The Revenant/Spotlight
2014-Boyhood/Birdman
2013-12 Years a Slave/12 Years a Slave
2012-Argo/Argo
2011-The Artist/The Artist
2010-The King’s Speech/The King’s Speech

CODA was a bit of an upset in the Adapted Screenplay category and Licorice Pizza won for Original Screenplay. Will Smith took Best Actor and in the Best Actress category, Joanna Scanlon won for After Love (none of the committee-selected Best Actress contenders were nominated for the Oscar).

The Critics Choice is the next awards show of the weekend, which will be held this evening.

Here are the BAFTA winners:

BEST PICTURE
The Power of the Dog

DIRECTOR
The Power Of The Dog – Jane Campion

LEADING ACTRESS
Joanna Scanlan – After Love

LEADING ACTOR
Will Smith – King Richard

OUTSTANDING BRITISH FILM
Belfast

FILM NOT IN THE ENGLISH LANGUAGE
Drive My Car – Ryûsuke Hamaguchi, Teruhisa Yamamoto

SUPPORTING ACTRESS
Ariana DeBose – West Side Story

SUPPORTING ACTOR
Troy Kotsur – CODA

ORIGINAL SCREENPLAY
Licorice Pizza – Paul Thomas Anderson

ADAPTED SCREENPLAY
CODA – Siân Heder

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