“Someone asked me once where I thought my resilience came from. I hesitated, then said, ‘For women, too often, I think what we mistake as resilience is actually just endurance.’ I don’t know if my endurance has served me well. It takes a special kind of endurance to look at the train barreling down the tracks and say, ‘But what if it doesn’t hit me this time?'”

— from Kelly Sundberg‘s “Some People Flip Real Estate — I Flip Men,” posted in the N.Y. Times on 7.2.21.

Hollywood Reporter columnist Scott Feinberg has never been one to let grass grow under his feet. The 2021 Cannes Film Festival starts the day after tomorrow — Tuesday, July 6 — and Scott is already shufflin’ up and down the Croisette. That’s because he’s fast on his feet and his middle name is Hopper — hip-hop, hip-hop, hippity-hop, hippity-hop, hippity-hoppity, hippity-hoppity, etc.

If it was my show I’d still be in Paris, man…strollin’ around Montparnasse and through the Jardin du Luxembourg and maybe over to Passy (the Last Tango in Paris building!) and the non-touristy parts of Montmartre, etc. And I’d be there tomorrow (7.5) also, and then I’d catch the Paris-to-Cannes train on Tuesday (7.6) at 7:15 am.

Incidentally: Always pan slowly, and sometimes it works better if you don’t pan at all. Go with a series of static tableaus, blending one into the other.

Back covering Cannes for the 1st time in 8 years! Last time: GATSBY, FRUITVALE & NEBRASKA; Harvey, Toback & Franco; breakouts JLaw & MBJ; legends Redford & Riva. This time: COVID tests/masks; Spike; a lineup with Damon, Cotillard, Baker, Kousmanen & Farhadi; that same great view. pic.twitter.com/Wx0U8sMxam

— Scott Feinberg (@ScottFeinberg) July 4, 2021

Copies at Amoeba (I’m told, didn’t get there). Book Soup was closed; sold out at Barnes & Noble at The Grove. The NewBev was my last resort…success!

From Dwight Garner’s 6.28 N.Y. Times review:

Seven or eight days ago I mentioned that World of Reel‘s Jordan Ruimy was polling critics on the five best films of 2021. My top five, submitted to Ruimy later that day, were Thomas Anders Jensen’s Riders of Justice, Jasmila Zbanić‘s Quo Vadis, Aida?, Simon Stone‘s The Dig, Phillip Noyce‘s Above Suspicion, and Jon Chu and Lin-Manuel Miranda‘s In The Heights.

I waffled later that night and deleted In The Heights in favor of Michel Franco‘s New Order.

I had a testy conversation with God that night. It was actually more of a threat than a debate. “All I can say is that Ruimy’s critics had better not vote In The Heights into the top slot,” I warned. “That wouldn’t be fair or right. It would be, in fact, hugely depressing, as it would be seen as a sympathetic bro hug from critics who’d approved of Chu and Miranda’s film only to see it dramatically underperform at the box-office and also disappoint as an HBO Max streamer.”

Yesterday Ruimy published the results of his poll, based on the preferences of more than 100 critics, and Quo Vadis, Aida? emerged as the top vote-getter. “Thank God,” I blurted out, although In The Heights polled a close second.

Ruimy: “Jasmila Žbanić’s Quo Vadis, Aida? has been named the best movie of the first six months of 2021. Although it had its world premiere at the Venice Film Festival last September, the film was only released Stateside on March 5th of this year. Tackling the harrowing journey of a Bosnian UN translator torn between family and work as the Serbian army takes over her town, the film earned rave reviews and even managed to garner a Best International Feature Film Oscar nomination.

“The newly installed Oscar eligibility rules made it possible for many critics to include films such as The Father (#7) and Judas and the Black Messiah (#8) into their lists. However, one future Oscar contender that is very much a 2022 movie finished as the runner-up to this poll — John Chu’s In the Heights.”

Married journo pally to HE: “We were listening to sounds in the car when up popped a tune from Tom Waits’ score for One From the Heart. I’ve always loved this bluesy/jazzy collaboration with Crystal Gayle, and have long felt that it, along with Curtis Mayfield‘s ‘Superfly,’ may be the finest song composed exclusively for a film….ever, I mean.

“Maybe your readers could have some fun with this? What’s the best song score composed exclusively for a film? Broadway shows and previously recorded works don’t count.”

HE to Married Journo Pally: Excellent topic and thanks for suggesting it, although I’m frankly mystified that you would find Waits and Gayle’s One From The Heart song and especially their performance of it…I’m dumbfounded that you find it captivating.

I’m primarily talking about Waits, a seriously respected and certainly a distinctive song stylist, but he’s always infuriated me — to me he’s always has always sounded like a slurry, drunken, degenerate bullfrog lying in the gutter. And you can never understand a word he’s singing — Waits would rather die than fall into line on that score.

Again — I’m not putting Waits down. Well, I am but at the same time I’m acknowledging that he’s revered by people who know the music realm better than I. If I was smart I’d keep my yap shut about him, but I can’t help it. He always sounds the same and does the same thing every damn time with every lyric and song — same mood, same feeling, same “whoaaagghhh!!…rejoice and soak in the hoarse and gravelly boozer sounds I’m putting out here….like Charles Bukowski I’m a man of the bottle or at least I sound like one, and I tell the truth every damn time.”

I’ve never been that much of a fan of Mayfield’s “Superfly” either — a decent early ’70s AM-radio track but calm down.

My two favorite songs written directly for the screen were created in the early ’80s, and less than three years apart.

#1 is “We Don’t Need Another Hero,” the Tina Turner song from Mad Max: Beyond Thunderdome (’85) — lyrics by Terry Britten and Graham Lyle.

#2 is “Up Where We Belong” from Taylor Hackford‘s An Officer and a Gentleman (’82) — composed by Jack Nitzsche and Buffy Sainte-Marie, lyrics by Will Jennings.

And no, I don’t care if the music snobs put me down for having shallow or banal taste in movie tunes. I recognize and respect the artistry of Tom Waits but I’ve never really liked anything he’s ever performed. Sue me but “Up Where We Belong” and “We Don’t Need Another Hero” are pleasing, arresting — they have a catchy, hook-y quality, and are well produced, and they seem to enhance the value of the films from whence they sprang.

Neither Mad Max Beyond Thunderdome or An Officer and a Gentleman are grade-A films, but…I suppose what I’m actually saying is that the songs are better than the films. They reach in and turn the tumbler.

Say it loud, repeat often: Fuck the snobs.

Oh, and speaking of banal: Bill Conti‘s main-title melody for Broadcast News [after the jump] is about as drippy and whore-ish and old-farty as it gets, but it’s well-produced and it works. I’m sorry but it does.

Does anyone remember Dave Karnes? Or more precisely Michael Shannon‘s portrayal of Karnes in Oliver Stone‘s World Trade Center (’06)?

Karnes was the ex-Marine who ducked out of his office job in Wilton, Connecticut, and drove into Manhattan on the afternoon of 9/11/01 and made it through police barriers and onto the WTC site by dinner hour, and who later found Port Authority cops John McLoughlin (Nicolas Cage) and Will Jimeno (Michael Pena) buried under the mashed-up rubble, and brought the rescue teams to their aid.

World Trade Center was an odd Stone film because it had nothing to “say” except (1) “McLoughlin and Jimeo sure went through hell that day”, but (2) “thank God for Karnes and his dogged persistence.” No politics, no Hollywood leftie attitude — just a straight drama about a lot of good people pulling together to save a couple of guys from the jaws of death. A movie about caring, family, duty, perseverance.

If Karnes hadn’t put on his Marine uniform and gotten himself a Marine haircut at a Stamford barbershop and driven down to Manhattan and all, it’s quite possible McLoughlin and Jimeno might not have survived. (Who knows?) Shannon portrays him as a bit of a nut, but a good kind of nut in a situation like 9/11 — a guy who laser-beams right into what needs to be done, and then does it.

Curiously, Stone decided to omit a character detail that I’ve always found really interesting. Karnes drove into Manhattan in a recently purchased Porsche 911 convertible, and at times, according to a 9.02 Slate story by Rebeca Liss, at speeds of 120 mph.

That’s a fascinating trait for a 9/11 savior — tear-assing down the Connecticut Turnpike and the Henry Hudson Parkway in a muscle car with the top down, and stopping at a McDonald’s along the way.

Why didn’t Stone show this? My theory is that he wanted Karnes to appear selfless and monk-like — a slightly loony military saint. And I think he knew this impression wouldn’t fly with audiences if he had Karnes driving a Porsche 911 because a lot of people think that guys who drive Porsches are dickheads.

But I had read about Karnes and his Porsche two or three years ago and was waiting for that shot. I felt that Stone sold Karnes short by trying to simplify him into a ex-Marine who resembled the real-deal Karnes in some ways but not entirely.

HE Plus, 6.29.19: There’s a great Charles Bukowski line from one of his short story volumes, a line about how good it feels and how beautiful the world seems when you get out of jail. I can confirm that. Not only does the world look and feel like the friendliest and gentlest place you could possibly experience, but it smells wonderful — food stands, car exhaust, sea air, asphalt, window cleaner, green lawns, garbage dumpsters. Compared to the well-scrubbed but nonetheless stinky aroma of the L.A. County Jail, I mean.

I did three or four days in L.A. County in the ’70s for unpaid parking tickets. Remember that Cary Grant line in North by Northwest about the cops chasing him for “seven parking tickets”? Well, I went to jail for not paying the fines on 27 of the damn things. That’s right — 27. I had a half-arrogant, half-cavalier attitude back then, to put it mildly. I didn’t agree with the idea of forking over hundreds in parking fines. The money they wanted was excessive, I felt, especially after the penalties increased after I didn’t pay in the first place.

One night after 9 pm I was driving west on Wilshire Boulevard, not too far from Bundy. I was pulled over for running a red light. They ran my plates and I was promptly cuffed and taken down to the West Los Angeles police station on Butler Avenue. The desk cops discovered my multiple offenses after doing a search, of course. They printed out copies of each arrest warrant for each “failure to pay fine.” I remember some laughter as the printer kept printing and printing and printing.

I was taken down to L.A. County later that night. It was just like what Dustin Hoffman went through in Straight Time. A shower, orange fatigues, bedding. I was put into a cell with three other guys. Being in close proximity to bald naked winos who smelled horrible…memories!

Over the next three or four days I was driven around to the various municipalities where I’d failed to put quarters into the meter — Santa Monica, Van Nuys, Malibu, Central Los Angeles. In each courtroom I was brought before a judge, listened to my offenses, pled “guilty, your honor” and was given a sentence of “time served.” I was released at the end of the fourth day.

It was an awful thing to go through, but I managed to eliminate a total debt of at least $2K (it might have closer to $2500) so when I got out I didn’t owe a thing to anyone. So in a sense I earned or was “paid” at least $500 a day.

I know enough about mingling with other lawbreakers to recognize the truth of a line that Hoffman’s Max Denbo said in Straight Time: “Outside it’s what you have in your pockets — inside it’s who you are.”

I remember spending several hours in a common-area holding cell with nine or ten guys. One flamboyantly gay guy was jabbering with everyone and discussing his life and values and colorful adventures. He talked a lot about how much he loved hitting his favorite bars in “Glitterwood” (i.e., West Hollywood). At one point he came over to me and flirted a bit…sorry.

There’s nothing like getting out of jail to make you feel like Jesus’ son. It reminds you what a wonderful and blessed place the world outside is, and what a sublime thing it can be to walk around free and do whatever you want within the usual boundaries, and how serene it can be to be smiled at by strangers in stores and restaurants. People you wouldn’t give a second thought to suddenly seem like good samaritans because of some act of casual kindness.

Jail doesn’t just teach you about yourself but about your immediate circle. “If you want to know who your friends are,” Bukowski once wrote, “get yourself a jail sentence.” Or do some time in a hospital bed.

I’ve eaten at Giorgio Baldi twice…no, three times. The first time was 10 or 11 years ago with Hurt Locker screenwriter Mark Boal (Zero Dark Thirty was years off at the time). Clint Eastwood and Sean Penn were sharing an indoor table. Three or four years later I ate there on my own dime, and then returned again in ’16 or thereabouts. It’s pricey but excellent. The Dover Sole is heavenly — moist and light, bursting with flavor, sprinkled with lime.

But I’ll tell you one thing. If I was rich or famous enough to have a security guy with me, and if he were to gently place his hand on my back as I stepped into the waiting SUV, I would probably stop and turn around and ask, “Why are you putting your hand on my back?”

Security: Sir?
HE: Why did you place your hand on my back as I was stepping into the car?
Security: We’re just here for you, sir. No issues.
HE: What are you trying to do, guide me into the car?
Security: Just an instinct, sir. We’re right behind you.
HE: I know you’re right behind me, but don’t touch me.
Security: Sorry.
HE: It’s okay. Just don’t do it.
Security: Okay. Understood.
HE: I’ve been stepping into SUVs all my life.
Security: Of course.
HE: I’m sure you’re a good man.
Security: I try to be.
HE: And you are.
Security: Yes sir.
HE: Okay, good.

Exactly what, I’m asking myself, will the great Jonah Hill have to say about the great Albert Brooks and his 1991 classic, Defending Your Life? Other than the usual hosannahs and platitudes, I mean — “This film means so much to me personally,” “Brooks is a genius” (which he is), “It’s so rare for a film to be funny and make you think and touch your heart at the same time,” etc. All of which are valid sentiments.

Defending Your Life basically asks viewers “how much of your life has been driven by fear and anxiety and cowardice, and how much of your life has been about truth and bravery and taking stabs at creativity and applying kindness rather than judgment…? We all conform as best we can because we want safety and security in our lives, but conforming too much will suffocate your soul…so where have you been putting most of your emphasis and energy?”

The one thing I didn’t like about Defending Your Life was its portrayal of Meryl Streep‘s “Julia” character –it seemed dishonest, or at the very least incomplete.

Brooks’ recently deceased “Daniel Miller” falls in love with Julia during his stay in Judgment City, which is a kind of purgatory for souls to be judged on their past lives, as they wait to see if their next phase of mortal incarnation will be a re-run or a step up the spiritual ladder. Daniel, we gradually learn, lived too much of his life in fear of this or that, and Julia, it seems, never had a fearful day in her life. She’s so perfect and gracious she’s almost suffocating. Nobody is that good.

11 years ago I riffed about films that have dealt with death in a “good” way: “The best death-meditation films impart a sense of tranquility or acceptance about what’s to come, which is what most of us go to films about death to receive, and what the best of these always seem to convey in some way.

“They usually do this by selling the idea of structure and continuity. They persuade that despite the universe being run on cold chance and mathematical indifference, each life has a particular task or fulfillment that needs to happen, and that by satisfying this requirement some connection to a grand scheme is revealed.

“You can call this a delusional wish-fulfillment scenario (and I won’t argue about that), but certain films have sold this idea in a way that simultaneously gives you the chills but also settles you down and makes you feel okay.

“Here’s a list of some top achievers in this realm. I’m not going to explain why they’re successful in conveying the above except to underline that it’s not just me talking here — these movies definitely impart a sense of benevolent order and a belief that the end of a life on the planet earth is but a passage into something else. I’ve listed them in order of preference, or by the standard of emotional persuasion.

“1. Martin Scorsese‘s The Last Temptation of Christ. 2. Stephen Frears‘ The Hit. 3. Brian Desmond Hurst‘s A Christmas Carol. 4. Warren Beatty and Buck Henry‘s Heaven Can Wait. 5. Henry King‘s Carousel (based on Ferenc Molnar‘s Lilliom). 6. Tim Burton‘s Beetlejuice. 6. Michael Powell‘s A Matter Of Life And Death, a.k.a. Stairway To Heaven. 7. Albert Brooks‘ Defending Your Life.