Perturbed Fellows

A Crybaby Year For Men in Movies,” a 12.27 N.Y. Times piece by Natalia Winkelman, lists six 2023 films that featured whiny-ass males weeping and hissyfitting about “a perceived loss of power to a woman.”

The man-babies are played by Mark Ruffalo, Ryan Gosling, Alden Ehrenreich, Samuel Theis, Joaquin Phoenix, et. al.

But one significant crybaby has been overlooked.

Cillian Murphy’s titular physicist character in Chris Nolan’s Oppenheimer, set in the 1940s and ‘50s, never frets over anything to do with power dynamics between men and women.

He is, however, called a “crybaby” by Gary Oldman’s Harry S. Truman in a pivotal third-act scene, and he does weep about having figurative blood on his hands over the A-bomb having killed thousands in Hiroshima and Nagasaki.

And so I figured that a Times article with “crybaby” in its headline…I naturally expected that J. Robert Oppenheimer would warrant some kind of side-mention…no?

“No” because Winkelman’s article is a feminist hit piece about shitty little men, not just in 2023 films but in all corners of the current culture. Oppie is therefore excused as his kind of wailing isn’t sexist in nature.

He does, however, whine about having “become death,” etc. Mainly, I would say, because he lacks a certain adult perspective. Oppie would’ve been fine with the A-bomb murdering tens of thousands of mostiy innocent Germans but he felt badly about tens of thousands of mostly innocent Japanese being wiped out. To this day I’m unsure about the difference.

What I’m really saying, I suppose, is that “crybaby” shouldn’t have been in the headline.

Maybe Stab Itself To Death?

How and why could a smart industry columnist who knows what goes…how could anyone with a semblance of insight and rationality care about the emptiest, most nihilistic and thoroughly repellent franchise in the history of cinema?…what kind of person says “this franchise is important to me” and “I want it to continue”?

Barack’s Blowoffs, Inclusions

HE approves of Barack Obama’s decision to omit Martin Scorsese’s Killers of the Flower Moon from his 2023 Ten Best list.

Which probably means that if the 44th U.S. President were to select his five picks for Best Actress, Lily Gladstone would not be among them. Because Barack believes in merit more than equity (i.e., cruising on the identity gravy train).

Barack’s including Blackberry among his Top Ten also suggests he’s a fan of Glenn Howerton’s supporting performance.

HE is totally aghast that Barack has blown off Maestro and Poor Things. How could be reject either? The Lanthimos especially. Not cool.

Miserable Malibu Clan

If you’re unfortunately tethered to an unhappy and dysfunctional family and can barely stand your siblings during holiday gatherings, you can at least take comfort in the fact that the battling O’Neals were always worse off.

The father of all this misery, of course, was the late Ryan O’Neal, who apparently insisted on disliking his children, never apologizing and blowing them off repeatedly.

Posted early today by the N.Y. Post’s Dana Kennedy:

Tom Smothers Mattered

Respect and praise for the late Tom Smothers, whose provocative views and attitudes in the late ‘60s made The Smothers Brothers Comedy Hour, which aired on CBS for two years and two months (February ‘67 to April ‘69), the hippest mainstream show on television.

If you were youngish and dropping acid, listening to progressive rock (Beatles, Jimi Hendrix, The Who), loving films like The Graduate, Bonnie and Clyde and The President’s Analyst and generally hating the Vietnam War, you almost certainly watched this intensely spiritual (in a Nehru jacket sense of the term), anti-establishment show on a fairly regular and reverent basis.

CBS finally cancelled the Smothers Comedy Hour over regional complaints that it had pushed the counter-culture envelope too far.

Tom has passed from cancer at age 86.

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“Color Purple” Not For Me…No Offense

Is there any way to say that I’m not especially interested in submitting to The Color Purple without sounding like a shitty, closed-off person?

The answer is probably “no”. And so most critics have decided to submit and “enjoy” and just, you know, roll with it. Simpler that way.

I know myself and my cinematic standards, and I can always sense or intuit that a certain film will almost certainly be, for me, a very difficult watch.

Honestly? I didn’t even like the 38-year-old Steven Spielberg version, which many critics have said is allegedly superior to the Blitz Bazawule newbie.

Posted on 3.7.08:

Sidenote: HE acknowledges that the correct spelling is molecular.

Son of Segal Reminder

[Posted on 3.26.21]

Just so we’re clear, Carl Reiner‘s Where’s Poppa? and Peter YatesThe Hot Rock delivered the one-two punch that made George Segal into a marquee brand.

Segal was a respected, well-liked, plugging-away actor throughout the ’60s, and he definitely elevated his stock rating with his lead performance in Irvin Kershner‘s Loving (’70 — 3.4.70).

But Reiner-Yates added the boldface, above-the-title stardom factor to Segal’s guilt-ridden, self-flagellating, Jewish-guy thing, and he was off to the races.

Poppa (a cult film, not a hit) was released on 11.10.70, and The Hot Rock (a silly ensemble caper comedy for guys) arrived on 1.26.72 or 14 months later.

Pre-Poppa and post-Hot Rock Segal were entirely different entities.

With these two in the bag, Segal landed the titular role in Paul Mazursky‘s Blume in Love (6.17.73), and thereafter he wasn’t just a star but a complex ’70s soul man — the highest rung of the realm.

And then, 14 months after Blume, came Segal’s Bill Denny in California Split (8.7.74) — another grand-slammer.

And then God lost interest and Segal’s hot streak ended, just like that. Segal kept working for another 40 years after that, and good for his spirit and tenacity. But what a rude jolt.

1970 through74: “You’re finally really hot, George…you’re totally cool and everyone digs you.” 1975 and onward: “Okay, you’re still good but time to cool things down.”