Yesterday a Facebook friend chose to process the Kyle Rittenhouse “not guilty” verdict through a racial lens, using the whole tragic episode as an opportunity to lament racially-stacked decks and dump on the general venality of white people. I replied as follows…

“Agreed — if Rittenhouse had been black, the cops probably would have shot him. Then again why would a black dude want to use a loaded weapon against rampaging white leftists? Speaking as a small business owner, my heart went out to retail storefront owners whose businesses were trashed in May and June 2020 because of George Floyd’s murder.

“The Tulsa race riots — a deplorable, shameful chapter in this country’s history — happened almost a century ago. Most of us understand that our culture has progressed since then. This is a significantly different country than it was even in the ‘60s and ‘70s.

“If you want to be completely condemning and dismissive of white people, you can say ‘nothing has changed…they were largely racist and evil then, and they’re pretty much driven by the same white supremacist attitudes today.’ If you want to insist on that viewpoint today, have at it.

“Trump voters are obviously or largely still living in the past (say, the 1950s) but, the racist Charlottesville marchers of 2017 aside, even they wouldn’t be part of a homicidal race riot today. Either you accept that society has the capacity to adapt and evolve, or you don’t.

“The fact is that wokesters have overplayed their hand over the last four or five years, and the recent defeat of Terry McAuliffe in Virginia is probably a good forecast of what will happen a year from now. Outside of Trump loyalists and QAnon loonies, most people, I believe, are basically sensible and decent and will support sensible liberal policies. But they largely hate the radical wokester left, and I for one understand why.

“Wokesters are the new McCarthy-ites — scolders, social-media blacklisters and reverse racists. Thanks to the militant left and proponents of CRT in grade schools, the term ‘older white American male’ is now an epithet. And now the chickens, trust me, are coming home to roost. Congrats.”

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Here’s a re-posting of a classic HE essay titled “Friends of Varinia.” It originally appeared on 2012, and was reposted on 3.14.14 — almost exactly seven years ago. HE will probably re-post again in 2028.

“Nobody and I mean nobody in the history of film criticism has mentioned what I’m about to bring up. It’s about a hidden aspect of Spartacus, although it’s really a question for Howard Fast, who wrote the original 1951 “Spartacus” novel. But Mr. Fast is long gone so let’s just kick it around. It’s about sex and territoriality and rage that would have been unstoppable.

“The issue would have been about the animal anger and resentment that Kirk Douglas‘s Spartacus would have felt over the fact that Jean Simmons‘ Varinia, the love of his life, had been forced to have relations with several of his fellow gladiators, as was the custom during captivity in Lentulus Batiatus‘s gladiator school in Capua. The result would have been heavily strained friendships between Spartacus and his slave-revolt comrades after they’d broken out and become free men.

Tony Curtis, Jean Simmons, Kirk Douglas during filming of Spartacus.

“If Spartacus was anything like Detective James McLeod, whom Douglas portrayed in William Wyler‘s Detective Story (’51), he would have been an intensely jealous guy and no day at the beach. No matter how he intellectually rationalized what had happened — all slave women at Capua were ordered to have weekly sex with gladiators at the direction of Peter Ustinov‘s Batiatus and Charles McGraw‘s Marcellus, the sadistic gladiator boss — he still wouldn’t be able to handle it in his gut.

“Any ex-gladiator who had ‘known’ her would be on Spartacus’ shit list, and he would have given them dirty looks and subliminal attitude and maybe even put them into forward skirmishes with Romans in the hope that they’d get killed.

“Matrimonial relations between Spartacus and Varinia wouldn’t have been very pleasant either. Every time Spartacus looked at her he would see Heironymous Bosch fantasies that would torture him to no end. He would see John Ireland‘s Crixus or Nick Dennis‘s Dionysus or Harold J. Stone‘s David thrusting and groaning like lions.

“Remember when Warren Beatty‘s Ben Siegel said to Annette Bening‘s Virginia Hill, ‘I was just wondering if there was somebody you haven’t fucked?’ That’s how it would be almost all the time between Spartacus and Varinia.

Charlton Heston passed on 4.5.08 at age 84. The poor guy had been grappling with Alzheimer’s Disease for the previous six years or so. In such a condition, departure for realms beyond isn’t the worst option. I posted the following when I heard the news:

(1) I saw Heston speak at a black-tie dinner at the Beverly Wilshire maybe nine or ten years ago. He didn’t carry a cane but he could barely walk — just shuffling along. I considered him a kind of enemy at that point because of his support of the NRA but my heart went out when I saw what lousy shape his legs were in. That brawny muscular guy in the loincloth who played oar-rower #41 in Ben-Hur had become a frail old coot in a toupee. What a rotten thing it is to suffer the infirmities of age.

(2) His best screen moment happened in the last act of The Big Country, when his ranch-hand character in The Big Country decides to abandon a short-lived ethical mutiny against his ruthless employer, played by Charles Bickford, and follow him into Blanco Canyon and an almost-certain gun battle to the death. When the rest of the hands who had briefly sided with Heston catch up and join them, Heston looks at Bickford with utter revulsion, in part because he knows he can’t defeat him but also because he knows that he’s emotionally trapped.

(3) The best story Heston ever told was when Ben-Hur director William Wyler spoke to him in his dressing room after the first or second day of shooting and said, “Chuck, I’ve thought about your performance over the last couple of days and you’re going to have to be better.” Sure, Willie, said Heston — just tell me what you want, what to do. “I can’t say exactly because I don’t know,” said Wyler. “I just know you have to be better.” And then Wyler said “see ya” and left the room. Heston said something about pouring himself one or two stiff ones and taking a long walk.

(4) Heston should have shown more humanity about gun laws in the wake of the Colombine shootings. He and the NRA should have thought more carefully about gun users being tested for a license, and about the proliferation of automatic weapons. If there was such a thing as answering for your sins at the gates of paradise, right about now St. Peter would definitely be asking Heston to join him on a nearby park bench and explain the gun thing.

When Kirby Dick and Amy Ziering‘s four-part Woody Allen hatchet-job doc, Allen vs. Farrow, begins airing on HBO on Sunday, 2.21, and particularly when they show the then-seven-year-old Dylan Farrow‘s taped recitation of what “daddy did”, keep in mind a 9.2.93 Los Angeles Times article by John J. Goldman.

The article is titled “Nanny Casts Doubt on Farrow Charges” with a subhead that read “She tells Allen’s lawyers the actress pressured her to support molestation accusations against him. She says others have reservations.”

“Lawyers for Woody Allen said Monday that a former nanny who worked for Mia Farrow has testified she was pressured by the actress to support charges that the filmmaker molested their 7-year-old adopted daughter,” the article reads.

“The nanny, Monica Thompson, resigned from the Farrow household on Jan. 25 after being subpoenaed in the bitter custody battle between the actress and Allen. She told Allen’s lawyers in depositions that another baby sitter and one of the couple’s other adopted children told her they had serious doubts about the molestation accusation.

“Authorities in Connecticut are viewing a videotape made by Farrow as part of their investigation, which has included interviews with Allen and Farrow as well as the daughter, named Dylan.

“Farrow’s attorney, Eleanor Alter, issued a statement Monday saying, “It is my understanding…that Ms. Thompson has totally recanted” the statements attributed to her. She noted that Thompson’s salary, upwards of $40,000 a year, was paid by Allen. Thompson could not be reached for comment.

“Thompson said in a deposition that it took the actress two or three days to videotape Dylan making the accusations. At times the youngster appeared not to be interested in the process, the nanny said in sworn affidavits taken by Allen’s attorneys.

“’I know that the tape was made over the course of at least two and perhaps three days,’ Thompson said. ‘I was present when Ms. Farrow made a portion of that tape outdoors. I recall Ms. Farrow saying to Dylan at that time, ‘Dylan, what did daddy do…and what did he do next?’

The appearance of actors in a movie poster should never, ever argue with how they look in the film itself. Violation #1: Julie Christie‘s wig in Shampoo is straight, thick and frosty blonde — her natural poster hair is blonde-brownish and curly. Violation #2: In the film Goldie Hawn‘s blonde hair is worn with bangs — in the poster it’s oddly parted in a slightly off-center fashion. Violation #3: In the poster Warren Beatty‘s hair is noticably shorter than it is in the film.

The banner headline on the March issue of Empire, which has been on sale for three weeks, teases “The Greatest Cinema Moments Ever.” Which, of course, is bullshit. The actual content (37 pages) could be more accurately described as “Edgar Wright‘s Favorite Mindlowing Holy-Shit Movie Moments Over The Last 20 Years.”

The epic journey of cinema from the dawn of the sound era to New Year’s Eve 1999 is pretty much ignored. But that’s the Empire readership for you — the ’90s are the good old days, memories of the ’80s are fading fast and anything before the Ronald Reagan era is Paleozoic. That’s Wright for you also — a 46 year-old director who knows all about the 20th Century landscape (and all the joy, pain, anxiety, struggle and exhilaration of that convulsive century) but who thinks about movies only in terms of (a) bang-boom-pow-CG-fizz-whizz for movie nerds and more specifically (b) “Jesus, that was so fucking iconic!” and (c) “My God, that was one fucking kewl adrenaline rush!”

The cover faces are said to include Steven Spielberg, Tessa Thompson, Patty Jenkins, Jordan Peele, Taika Waititi, Paul Rudd, Guillermo del Toro, Chris Evans, Simon Pegg, Daniel Kaluuya, M. Night Shyamalan, Kumail Nanjiani, George Miller, Greta Gerwig, Kevin Feige (pronounced FAY–gee), Christopher McQuarrie, Joe Russo, J.J. Abrams, Bong Joon-ho, David Yates, Daisy (“Cary who?”) Ridley, Joe Cornish, Anya Taylor-Joy, James Gunn, Bill Hader, Alfonso Cuarón, Walter Hill, Rian Johnson, Spike Lee, James Cameron, Lily James, Robert Zemeckis, Ang Lee, Jon Hamm, Daniel Craig, Jon Favreau, Sam Mendes and Mark Hamill. But maybe not.

HE takes exception to the notion that Spike Lee, a serious scholastic movie buff, would watch a film within a packed house (remember packed houses?) while eating a greasy pepperoni pizza. Forget the Do The Right Thing reference — is there anything more rancid than stinking up the joint with the steamy smell of heated pepperoni while chewing and slurping and smacking his lips? I’m not kidding — only animals eat pizza during a film.

Cinematically speaking the ’80s was a big comedown decade — a time of relative shallowness, the end of the glorious ’70s, the flourishing of tits-and-zits sex comedies, the unfortunate advent of high-concept movies, a general climate of cheap highs + terrible fashion choices (shoulder pads, big hair), flash without substance plus Andrew Sarris writing that “the bottom has fallen out of badness in movies,” etc.

As we speak World of Reel‘s Jordan Ruimy is polling the usual suspects for their top ’80s picks, but I’m going to take a mad stab and pick some faves off the top of my head.

What makes a great ’80s film? Not just a relatable, well-crafted story but one that delivers (a) irony, (b) tangy or penetrating flavor, (c) the combination of intriguing characters and perfect acting, and (d) a compelling social echo factor…a mode of delivery that only portrays but sees right through to the essence of what was going on during this comparatively shallow, opportunistic, Reagan-ized period in U.S. history.

And so Hollywood Elsewhere’s choice for the Best (i.e., most arresting and perceptive) Film of the ’80s is — I’m perfectly serious — Paul Brickman‘s Risky Business. Because it’s (a) perfectly (and I mean exquisitely) made, and (b) because the ’80s was when everyone in the culture finally decided that the United States of America was a huge fucking sales opportunity and whorehouse, and that it was all about making money any way that could happen and fuck the consequences, and this movie, focused on a naive but entitled young lad fom Chicago’s North Shore and his smug, droll friends, nails that mindset perfectly. And — this is the master-stroke aspect — Brickman presents these kids as cool, laid-back and ironically self aware.

Here are the rest of my top ’80s picks, in no particular order and with the criteria being not just craft and charm but social resonsance: 2. Adrien Lyne‘s Fatal Attraction; 3 and 4. Peter Weir‘s Witness and Dead Poet’s Society; 5, 6 and 7. Woody Allen‘s Crimes and Misdemeanors, Hannah and Her sisters and The Purple Rose of Cairo; 8. Alan Pakula‘s Sophie’s Choice; 9 and 10. Sidney Lumet‘s Prince of the City and The Verdict; 11. David Lynch‘s Blue Velvet; 12. Oliver Stone‘s Platoon; 13. Spike Lee‘s Do The Right Thing; 14. Francois Truffaut‘s The Woman Next Door; 15 and 16. Stanley Kubrick‘s The Shining and Full Metal Jacket; 17 and 18. Brian DePalma‘s Scarface and The Untouchables; 19. Michael Mann‘s Thief; 20. Ridley Scott‘s Blade Runner; 21. Alain Resnais‘ Mon Oncle d’Amérique; 22. Albert Brooks‘ Lost in America; 24. Alex Cox‘s Repo Man; 25. John McTiernan‘s Die Hard; 26. Martin Scorsese‘s The Last Temptation of Christ; 27. James Cameron‘s Aliens; 28. George Miller‘s The Road Warrior; 29. Steven Spielberg‘s E.T., the Extra Terrestrial; 30. John Carpenter‘s They Live.

Oh, wait, I forgot Lawrence Kasdan‘s Body Heat and The Big Chill…make it 32.

I’ve also forgotten The Hidden, Drugstore Cowboy, Raging Bull and Local Hero… make it 36.

From “How Francis Ford Coppola Got Pulled Back In to Make The Godfather, Coda“, a 12.2.20 N.Y. Times piece by Dave Itzkoff:

“Where The Godfather, Part III (’90) ended famously — some might say notoriously — with the elderly Michael slumping in his chair and falling dead to the ground, Coda shows him old and alive as the scene fades to black and a series of title cards appear. They read, ‘When the Sicilians wish you ‘Cent’anni’, it means ‘for long life’…and a Sicilian never forgets.’”

Despite Coppola’s forthcoming new Bluray version being titled Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone, Al Pacino‘s gray and withered paterfamilias no longer croaks.

That’s right — he lives and lives and lives.

“In fact, for his sins, he has a death worse than death,” Coppola tells Itzkoff. “He may have lived many, many years past this terrible conclusion. But he never forgot what he paid for it.”

Opinions?

In yesterday’s “Evolving Prom Thread” I mentioned that Some Like It Hot is one of my favorite musicals.

Obviously it’s not a traditional song-and-dancer, but if you accept that performative musicals are legitimate permutations and that A Hard Day’s Night and Cabaret are two prime examples, you have to allow that Some Like It Hot also qualifies.

We all understand that classic integrated musicals are about characters breaking into song to express deep-down emotions. But musicals can also be defined as films in which the emotional states of major characters pop through as musical numbers. The key is that separate songs have to be heard three times.

It doesn’t matter if the musical numbers are integrated or performative (a la Some Like It Hot, A Hard Day’s Night and Cabaret). The point is that the songs are (a) telling the audience how this or that main character is feeling, or (b) conveying some aspect of the social milieu, or (c) both.

There are four songs performed in Some Like It Hot — “Runnin’ Wild”, “By The Sea”, “I Wanna Be Loved By You” and “I’m Through With Love.” They convey the successive moods of Marilyn Monroe‘s Sugar “Kane” Kowalczyk (and to a lesser extent those of Tony Curtis and Jack Lemmon‘s Joe and Jerry) as the story moves from Chicago to Miami and as Sugar falls for (and then temporarily loses) “Junior”, the phony Shell Oil heir played by Curtis’s Joe.

The four songs also embroider SLIH in a Cabaret-like way with a fizzy reflection of the late 1920s (jazz bands, madcap attitudes, Chicago gangsters, flappers with great gams, pint flasks, pre-stock market crash hedonism).

Earlier today HE’s “filmklassik” wrote that it’s “absurd” to describe Billy Wilder‘s 1959 classic as a musical. “The emotional state of major characters pops through big-time during the ‘La Marseillaise’ scene in Casablanca,” he wrote. “[By that token] do you consider Casablanca a musical?”

HE reply: No, because (a) the playing of “La Marseillaise” is Casablanca‘s only big number, and a performative musical needs a minimum of three (3) songs. Plus (b) ‘La Marseillaise’ expresses a communal emotion or mood rather than an individual one, or one shared by lovers or close friends.

To judge by this trailer, Ron Howard‘s Hillbilly Elegy (Netflix, 11.24) is a highly charged soap opera about domestic family values. An argument between women, basically…not a male authority figure** in sight. Glenn Close‘s “Mawmaw” vs. Amy Adams‘ druggy, puffy-faced mom with young-and-chubby J.D. Vance (Owen Asztalos) and older, ready-to-move-on J.D. (Gabriel Basso) in the middle.

Guess who saves J.D. and encourages him to find his own life outside this ghastly downswirling culture, and to seek higher ground?

Close is obviously a Best Supporting Actress contender as she checks at least three boxes — unflattering physical transformation, yokel accent, long overdue. She’s clearly doing something that holds your attention. And she’s playing the savior. “Supporting” because I’ve been told over and over that “Mawmaw” is not a lead.

It was reported this morning that Patty Jenkins and Gal Gadot have signed with Paramount Pictures to more or less remake Cleopatra, the 1963 Joseph L. Mankiewicz catastrophe that came close to sinking 20th Century Fox.

Gadot and Jenkins will of course be making their own specific film about the legendary Egyptian queen, but the legacy of the 57 year-old Fox production looms large.

On a scale of 1 to 10, how interested is the HE community in seeing this new version? My honest level of interest is somewhere around five or six. But if there was a plan to make a narrative feature about the making of the Mankiewicz version, or more precisely a drama based on Kevin Burns and Brent Zacky‘s Cleopatra: The Film That Changed Hollywood, a 2001 doc that’s included in the Cleopatra Bluray package, my interest would instantly shoot up to 10.

This has been said over and over, but the Burns-Zacky doc is far more absorbing, entertaining and even more dramatic than the Mankiewicz film. If you’ve never seen it, here it is in two parts. Well worth the two hours.

Buying a house is necessarily a slowish, meticulous, step-by-step process. Endless protocols and procedures, and it’s never a done deal until you’ve signed every last form and inspected the place with a fine-tooth comb. But congrats are nonetheless in order for HE’s Jett Wells and wife Caitlin Bennett on purchasing their first home.

It’s located on a leafy cul-de-sac in West Orange, New Jersey, which is 20 or 25 minutes from Manhattan. Built in the 1930s, nice-looking floors, three bedrooms (or three and a half…I forget), an attic, a basement, 1 1/2 bathrooms, excellent front porch, huge back yard for the dogs, hilly. Expected occupancy by 12.1.20, or possibly a bit earlier. Their neighborhood is due south of Montclair; it’s also near Caldwell, where my maternal grandparents lived for decades.