Critical Drinker to actor-podcaster Clifton Duncan (6.26.22): “The original Star Trek series, from back in the ’60s…a lot of the writers had served in the military in WWII or Vietnam…giving them all kinds of experience…how chain of command works and how [soldiers] relate to each other in high-pressure situations, and also [they were different] in terms of general maturity about life. But when you look at it now, the people who are writin’ it, the worst hardship they ever had is that someone got their Starbucks order wrong or someone misgendered them on Twitter. That’s not comparable…they don’t have that same well of experience to draw on, and it shows.”

I’m not familiar with Duncan’s acting history (The Good Fight, Scrooge: A Christmas Carol with a Twist, Bluff City Law, NCIS: New Orleans) but he’s a smart, smooth-spoken interviewer, and his discussion with the Scottish CD (aka Will Jordan) definitely gets into the myopic, identity-driven, woke-terrorized nature of screenwriting these days…the climate is too nice, too safe, too sanitized.

YouTube commenter Konstantin Dahlin: “The people in the industry only virtue signal to the people around them. The people they fear. They do not dare step out of line because that can mean losing their jobs. This is a self-sustained ideology where you can have a room with 10 people and none of them is woke, and yet everyone will behave and talk as if they’re woke because they are afraid that some of them, or all, might be. Its a radical ideology that is self-sustained and based on fear. No one except authoritarian types and people with head issues [are cool with] this. Most people are normal, and normal people don’t like radical wokeness.”

The diner scene in Thief is one of James Caan‘s best acting moments ever (obviously), but also the most emotionally wide open and vulnerable in a given screen moment. And the scene doesn’t work, of course, without Tuesday Weld‘s defensiveness, defiance and hostility gradually downshifting into moderation and then listening, and then opening up herself. And finally accepting what’s being offered.

Hat tip and condolences to director-writer Michael Mann.

Sidenote: Any sensible woman would realize, of course, that a professional diamond thief whose survival motto is “nothin’ means ‘nothin'” is not a good bet for a domestic relationship with an adopted kid. Sooner or later the shit will come down and he’ll get out the lead pipe and clobber the aggressor and then the nihilism will kick in. Almost everyone who watches Thief can see this, but the film is so mesmerizing and so well acted that they let it go.

Sting is the big star, loose and cool and playing at a private party in Figline Valdarno, a leafy Tuscan hamlet about 25 km south of Firenze. And having a good old time with “An Englishman in New York,” a 1987 tune that everyone knows and loves. So he has the ears and hearts of the crowd, but alas, not their visual attention. Sting may not be aware of what’s going on, but the woman behind him, trust me, is revelling in the moment. [Performance recorded sometime in the summer of ’20.]

This is my part of Tuscany — Greve, Panzano, Volpaia, San Donato. I’ve driven and scootered all over this region.

Karel Reisz, James Toback and James Caan‘s The Gambler (’74) is at least ten or fifteen times better than Rupert Wyatt and William Monahan‘s 2014 remake. But at least the latter allowed costar John Goodman to deliver a magnificent riff about “fuck you” stability.

Down-on-my-knees respect for the legendary James Caan, who has sadly moved on to greener pastures at age 82.

Born in 1940 (three years younger than Warren Beatty and Robert Redford), Caan delivered fine performances in the ’60s and very early ’70s (especially in El Dorado, The Rain People, Brian’s Song and Rabbit Run) but didn’t hit the jackpot until he played Sonny Corleone in The Godfather (’72).

For the rest of the ’70s and into the early ’80s it was smooth sailing and mostly glory glory glory for this Bronx-born son of German-Jewish immigrants.

Caan made 15 films during an eight-year hot streak — Slither, Cinderella Liberty, The Gambler, Freebie and the Bean, The Godfather Part II, Funny Lady, Rollerball, The Killer Elite, Harry and Walter Go to New York, A Bridge Too Far, Another Man, Another Chance, Comes a Horseman, Chapter Two, Hide in Plain Sight and Thief.

All but four or five were either grade-A or B-plus, and fully respectable.

Caan’s greatest performances, hands down and in this order: Axel Freed in The Gambler (’74), Frank in Thief (’81) and Sonny in The Godfather I & II (’72 and ’74).

Caan’s most eloquent scene, arguably, is the Dostoevsky classroom lecture in The Gambler.

He rebounded in Rob Reiner‘s Misery (’90), of course, and did commendable work in Honeymoon in Vegas (’92), as a senior-aged wise guy in Wes Anderson‘s Bottle Rocket (’95), in James Gray‘s The Yards (’00) and in Lars von Trier‘s Dogville (’03).

After succeeding Theresa May as Prime Minister nearly three years ago (7.24.19), Boris Johnson was quickly understood by those relatively few Americans who pay attention to British politics as a Donald Trump-like figure — brash, conservative, weird blond hair, a bullshitter, an elitist, swaggering, amoral, supported by low-information rurals, deeply loathed by the British left, etc.

And yet from an American perspective Johnson never seemed as utterly foul and rancid and sociopathic as Trump. As arrogant and entitled and indifferent to conventional political behaviors as he was and presumably still is, Johnson has at least, faced with the end of his party’s support and cornered on all sides, finally faced reality and submitted to the rules of the game. Plus he was and is well-educated, well-spoken, occasionally witty and amusing, etc. A woolly mammoth living and conniving by his own rules, if you will, but far more civilized and respectful of the system than Trump ever was or will be.

From Johnson’s resignation statement:

“As we’ve seen recently in Westminster, the herd instinct is powerful. And when the herd moves, it moves. In politics, no one is remotely indispensable. And [so] our brilliant and Darwinian system will produce another leader, equally committed to taking this country forward. I know that there will be many people who are relieved and perhaps quite a few will also be disappointed. And I want you to know how sad I am to be giving up the best job in the world. But them’s the breaks.”

The Criterion Channel is currently running a boxing series — Champion, The Harder They Fall, Raging Bull, Gentleman Jim, The Set-Up, Requiem For A Heavyweight, Somebody Up There Likes Me, etc. Because of some rights hassle they aren’t including the Rocky films, of which at least two are pretty good.

HE’s top six boxing (or mixed martial arts) movies: (1) Gavin O’Connor‘s Warrior (’11) with Tom Hardy and Joel Edgerton; (2) Leon Gast‘s When We Were Kings (’96); (3) Karyn Kusama‘s Girlfight (’00) with Michelle Rodriguez; (4) Mark Robson and Stanley Kramer‘s Champion (’49) with Kirk Douglas; (5) Robson and Phillip Yordan‘s The Harder They Fall (’56) with Humphrey Bogart, and (6) John Avildsen and Sylvester Stallone‘s Rocky (’76).

If I want a good, fast boxing high I’ll just re-watch the Ali-Foreman “Rumble in the Jungle“…eight rounds, great fight, great finale.